I enjoyed this year in music. 2017 may not have topped the previous year in terms of overall quality, but it still produced many excellent projects which I kept returning to (shoutouts to Fleet Foxes and Björk who narrowly missed the top 20). I have decided to include an EP and even a deluxe edition of an album on this list because I feel that because the format of albums is becoming more flexible, I believe that music critics should adapt to that. If an EP gave you more enjoyment than an album did, and you believe it is just as musically relevant to our time, why not put it on the list? Anyway, with that brief disclaimer out of the way...
20: Mouth Moods by Neil Cicierga
Memes are not to be dismissed in the realm of art, they are an essential part of the way most humour is communicated on the web. Neil Cicierga has mastered this form of comedy, utilising plunderphonics. Mouth Moods is a collection of ingenious, hilarious mashups that most would not even consider possible. Neil makes an arresting track such as 'Let the Bodies Hit the Floor' sound pathetic, putting screamo vocals on top of Hot Butter's 'Popcorn'. A double banger is born, fusing 'Wonderwall' and Dead or Alive's 'You Spin Me Round'. Even 'YMCA' turns from happy-go-lucky disco tune to melodramatic sob-fest with the instrumental to Zack Hemsey's 'Time' off the Inception soundtrack. I can picture scholars in hundreds of years playing this to students, teaching of what the sapiens of 2017 used to laugh at.
Standout tracks:
'Floor Corn', 'AC/VC', 'Annoyed Grunt', 'Bustin', 'T.I.M.E.', 'Wallspin', 'Shit'
Standout tracks:
'Floor Corn', 'AC/VC', 'Annoyed Grunt', 'Bustin', 'T.I.M.E.', 'Wallspin', 'Shit'
19: Steriods (Crouching Tiger Hidden Gabber) EP by Death Grips
For Death Grips, genre has become so irrelevant that they have basically become their own genre. When describing their music, you could only aptly describe it as just "Death Grips". Without word or warning this year, they dropped an obliterating 22-minute mix that forays into techno, drum 'n' bass, cyberpunk, and 150-90 BPM gabber music. Its a mixture that you could not label concisely, nor put into a box. MC Ride spits over these rave-centric onslaughts like its second nature, there is no point where he shows any sign of not being able to keep up. Every time it is thought they have reached their most experimental, they shatter all expectations. This brutal mesh of amoral bars belted out at you like a drill sergeant, and savage beats that are amplified by extreme levels of noise, tosses you into the digital hell the master postmodernists want to see you burn in.
Standout tracks:
Well, it's one long mix, so 'Steroids (Crouching Tiger Hidden Gabber)' I guess.
Standout tracks:
Well, it's one long mix, so 'Steroids (Crouching Tiger Hidden Gabber)' I guess.
18: Neō Wax Bloom by Iglooghost
Brainfeeder-signed whizz-kid Seamus Malliagh possesses one of the most wild imaginations in contemporary music. Every aspect of his art bleeds creativity, and is totally off-the-wall. The concepts for his projects are playful in nature; Neō Wax Bloom follows a void called Mamu and its destruction by two falling eyeballs, an idea that he conceived upon "finding a portal in [his] garden". The visual graphic designs accompanying his work burst with colour and originality, even developing his own typeface and language for his wacky universe. More significantly, the music sounds exactly like an amalgamation of his visual and conceptual styles. Taking from his personal idol Flying Lotus, making electronic jazz style beats, infuses it with UK bass culture, adding elements of drum 'n' bass, garage, and grime, and chipmunks the vocals. It may sound puerile on first listen, but it definitely bangs.
Standout tracks:
'Super Ink Burst', 'Sōlar Blade', 'White Gum', 'Zen Champ', 'Teal Yomi / Olivine', 'Peanut Choker'
Standout tracks:
'Super Ink Burst', 'Sōlar Blade', 'White Gum', 'Zen Champ', 'Teal Yomi / Olivine', 'Peanut Choker'
17: Take Me Apart by Kelela
Kelela's approach to R&B is cosmic. The Earth orbited the Sun four times in the period she took to release her full-length debut, and it was worth the wait. Employing the electronic pallet of producers such as Arca and Jam City, her heavenly vocal harmonies are layered on top of atmospheric beats crafted with subtle sophistication. Synthesizers whirr in the background, like matter drifting through space, or other times bent and distorted as if that matter was being sucked into a black hole, taken apart on the other side. The musical elements may be outward-looking, but the lyrics are grounded in earthly, human themes, as she explores personal struggles with love, and forging independence from former lovers. She makes very real human emotions sound beautifully ethereal, pushing the envelope for future R&B artists.
Standout tracks:
'Frontline', 'Enough', 'Better', 'LMK', 'Blue Light', 'Onanon', 'Turn to Dust'
Standout tracks:
'Frontline', 'Enough', 'Better', 'LMK', 'Blue Light', 'Onanon', 'Turn to Dust'
16: Flower Boy by Tyler, The Creator
Emerging out of the internet rap scene of the early 2010's, Tyler has built his unique image off of the edgy, spontaneous teenage angst that he so effectively expressed in works such as Bastard and Wolf. This new progression in his catalogue marks a newfound maturity for him, whilst still retaining an adventurous sense of youth. The compositions here are the most detailed and luscious yet, drawing upon styles of neo-soul and jazz. Lyrically it is his strongest by a mile, exploring themes of loneliness and depression, hiding these negative emotions, and toying with his public persona (don't listen to the shallow obsession with his sexuality that was propagated by publications, over a couple of typical Tyler-esque shock bars). Experience Tyler at his peak of musical creativity on Flower Boy.
Standout tracks:
'Foreword', 'Who Dat Boy', 'Garden Shed', 'Boredom', 'I Ain't Got Time!', '911 / Mr Lonely', 'November'
Standout tracks:
'Foreword', 'Who Dat Boy', 'Garden Shed', 'Boredom', 'I Ain't Got Time!', '911 / Mr Lonely', 'November'
15: Peasant by Richard Dawson
Picture an English medieval village, of countryside peasantry tending to the fat of the land. The folkloric tunes sung in these days of yore are an interesting obsession for singer-songwriter Richard Dawson. However he contorts these quaint or drunken pub melodies out of shape, with amplified, dissonant acoustics, and especially his rough Geordie accent, mixed so upfront that he's practically wailing directly at you. It can be compared to Tom Waits, as the production has this bony, rickety quality to it, like all the instruments are made of wood, on the verge of capitulation. The ruggedness of this direction is entirely relevant to the subject matter of the album, of the neglect the North faces, and how they are viewed by southerners, viewing the region as if it is still stuck in the distant past. Dawson boldly put himself on the map with this.
Standout tracks:
'Ogre', 'Soldier', 'Weaver', 'Shapeshifter', 'Beggar', 'Masseuse'
Standout tracks:
'Ogre', 'Soldier', 'Weaver', 'Shapeshifter', 'Beggar', 'Masseuse'
14: Big Fish Theory by Vince Staples
Coming from the bleak inner city background of L.A., coerced into gang violence on behalf of the Crips at an early age, Vince Staples' worldview is understandably nihilistic. Nothing fits this punishing outlook better than gritty garage, house, and trap bangers, with hard, and I stress hard, thumping bass hits across its brisk and dizzying 36-minute run-time. Sonically, he himself described it as "Afro-futurist", a valid and fitting label indeed. He flows effortlessly over fast BPMs, sounding cockier than ever, and throws in some excellent surprise features from Kendrick and Ray J, with production from PC Music pioneer SOPHIE. Vince wrestles with fame, love, and the senseless, corrupt political sphere that America inhabits. The consistent quality of his work proves Vince's theory correct - I'm sure you know the saying.
Standout tracks:
'Crabs in a Bucket', 'Big Fish', 'Love Can Be...', 'Yeah Right', 'Homage', 'SAMO', 'BagBak'
Standout tracks:
'Crabs in a Bucket', 'Big Fish', 'Love Can Be...', 'Yeah Right', 'Homage', 'SAMO', 'BagBak'
13: Turn Out the Lights by Julien Baker
Insecurity is a common trait in all of us. No-one is completely sure of themselves, there are always doubts in the back of our minds whether we are really being ourselves, or doing the right thing. It is a sentiment that Julien Baker spills out with candid vigour on her second full-length. She confesses feelings of anxiety, and rejection from love with suitable melodrama. That term is not necessarily bad, as here it punches her emotions through right to the depths of your gut. Instrumentally, this only consists of a guitar, a piano, a violin, and more significantly, her voice, which reaches notes so stunning, and jaw-dropping in their levels of beauty, in the latter half of most of the tracks. She is a guiding light in being open about one's negative feelings, an issue that many young people struggle with today.
Standout tracks:
'Turn Out the Lights', 'Shadowboxing', 'Televangelist', 'Everything to Help You Sleep', 'Hurt Less', 'Claws in Your Back'
Standout tracks:
'Turn Out the Lights', 'Shadowboxing', 'Televangelist', 'Everything to Help You Sleep', 'Hurt Less', 'Claws in Your Back'
12: american dream by LCD Soundsystem
For someone who resurrected this seminal 2000's band from the dead, James Murphy is very concerned with age, dwindling idols, and the infinite itself. After breaking up LCD Soundsystem six years ago, this new hole in his life uncovered a terrifying truth that we all deal with: "I'm getting old". This has spurred him on to create some of their best material yet, from the burrowing earworm, 'oh baby', to the 9-minute takedown of DFA fund-embezzler Tim Goldsworthy on 'how do you sleep?', to the heartbreaking eulogy to his biggest role model and late friend, David Bowie, knowing he is somewhere out there on the 'black screen'. Self-aware of deceiving his fans by bringing the band back, and open about his noticeable aging journey towards the black screen, the anticipated 4th LP turned out a collective sigh of relief for followers and critics alike, as even a slight disappointment would have tarnished their golden legacy.
Standout tracks:
'oh baby', 'other voices', 'i used to', 'how do you sleep?', 'tonite', 'american dream', 'black screen'
Standout tracks:
'oh baby', 'other voices', 'i used to', 'how do you sleep?', 'tonite', 'american dream', 'black screen'
11: DAMN. by Kendrick Lamar
2017 was the year of trap, plastered across the charts of Billboard. From Migos to Lil Pump to the revival of Gucci Mane, booming bass and skittering hi-hats were inescapable. So, Kendrick ditched the saxophones, trading them in for Mike WiLL Made-It's laptop, as if to say to the hip-hop universe: "you might be riding a trend, but I can do it better than you". It's a move that was to be expected, but what was wholly unexpected was how fittingly and aggressively Compton's finest rides those Atlanta bangers, stated from the outset with the ferocious 'DNA'. Although it is not as conceptual as his previous works, he still maintains loose themes that continue on from To Pimp a Butterfly, exploring his place in America, dissecting his fame, his race, and his home. The rollercoaster 55 minutes are as sharp, and to the point as DAMN.'s all-caps title.
Standout tracks:
'DNA.', 'ELEMENT.', 'FEEL.', 'HUMBLE.', 'LUST.', 'XXX.', 'FEAR.', 'DUCKWORTH.'
Standout tracks:
'DNA.', 'ELEMENT.', 'FEEL.', 'HUMBLE.', 'LUST.', 'XXX.', 'FEAR.', 'DUCKWORTH.'
10: Sirens (Deluxe Edition) by Nicolas Jaar
Upon Sirens' release last year, I was impressed, but felt it was wholly unfinished, with 6 tracks making just over 40 minutes. A year on, Nicolas has done what he should have in the first place, by expanding it to a more appropriate length. Here, his vision is so much more realised, confronting Augusto Pinochet's dictatorship of his native Chile, which was backed by his other home country, the United States. It is interwoven with thoughtful ruminations on the effects this conflicting politics has on his dual identity, and on the lives of his family, and on others. He concentrates on narrative subtleties, singing in both English and Spanish interchangeably, and on sonic subtleties, with intricately crafted electronics and samples shyly interacting with one another. Albums are becoming a looser concept in the streaming era; if artists wish to go back and perfect a recent project, like in this case, they should get commendation for accomplished improvement.
Standout tracks:
'Wildflowers', 'The Governor', 'Coin in Nine Hands', 'Three Sides of Nazareth', 'History Lesson'
Standout tracks:
'Wildflowers', 'The Governor', 'Coin in Nine Hands', 'Three Sides of Nazareth', 'History Lesson'
9: No Shape by Perfume Genius
Love has no shape. It has no creed, colour or kind, because it is a fleeting, often indescribable feeling. It is an incredibly beautiful sentiment that lives at the heart of No Shape. Mike Hadreas uses this idea to springboard into one of the most stunning contemporary art pop albums. His words are ones of kindness and acceptance in the face of hatred, and of encouragement when the odds are stacked against. The lavish, shimmering production, and jaw-dropping vocal performances, give his words such distinct poignancy and power. In a crumbling world of fear and toxic resentment, this record stands unmoved as a luminous, radiant beam of light, bereft of form.
Standout tracks:
'Otherside', 'Slip Away', 'Just Like Love', 'Valley', 'Wreath', 'Every Night', 'Choir', 'Die 4 You'
Standout tracks:
'Otherside', 'Slip Away', 'Just Like Love', 'Valley', 'Wreath', 'Every Night', 'Choir', 'Die 4 You'
8: Common as Light and Love Are Red Valleys of Blood by Sun Kil Moon
The less Mark Kozelek cares about getting good reception from critics, following a highly-publicised spat with music journalist Laura Snapes, the less filtered he becomes. His rambling stream-of-consciousness spoken word becomes even more digressive, with tracks that average out at 7-10 minutes long, standing at over 2 hours overall. It might sound a slog, but there is a warmness to Mark; his hoarse, vulnerable voice confesses even the small details of his life, interspersing his blunt confessions with poignant insights. Although Common as Light reels back the tenderness with jagged, hollowed-out, post-punky bass-lines, offering a heavier, industrial take on folk, a rare mixture indeed. The lyricism very much exists within 2016, a cataclysmic year in its own right, whilst whimsically entertaining the mundanities of his old age. Expect many Kozelekisms in all their beautiful, hilarious glory.
Standout tracks:
'God Bless Ohio', 'Philadelphia Cop', 'The Highway Song', 'Window Sash Weights', 'Butch Lullaby', 'I Love Portugal', 'Bastille Day', 'Seventies TV Show Theme Song'
Standout tracks:
'God Bless Ohio', 'Philadelphia Cop', 'The Highway Song', 'Window Sash Weights', 'Butch Lullaby', 'I Love Portugal', 'Bastille Day', 'Seventies TV Show Theme Song'
7: 4:44 by Jay-Z
When one typically hears this iconic pseudonym mentioned in hip-hop, they associate it with words like, "wealth", "respect", or "status". However in light of his wife Beyoncé's acclaimed visual album Lemonade, which revealed rifts in their marriage, he uses this project to get unashamedly personal, conveying a much more regretful, and vulnerable image than the champagne-popping, swaggering gangster-turned-businessman of yesteryear. It is more of a Shawn Carter album than a Jay-Z album. He delves into topics like adultery, financial mistakes he made in the past, and his relationship with his mother; no topic is out of bounds for sombre reflection. Not to forget the raw and lo-fi production from No I.D. brushed all across 4:44, with samples chopped and looped into fragments, laid on top of muddy 808s and snares. It serves the lyrical content to a tee, peeling back his public persona with philosophical, genuine honesty, and serves as one of the most captivating deconstructions of one's artistic identity.
Standout tracks:
'Kill Jay-Z', 'The Story of O.J.', 'Smile', 'Caught Their Eyes', '4:44', 'Bam', 'Marcy Me', 'Legacy'
Standout tracks:
'Kill Jay-Z', 'The Story of O.J.', 'Smile', 'Caught Their Eyes', '4:44', 'Bam', 'Marcy Me', 'Legacy'
6: A Deeper Understanding by The War on Drugs
If Lost in the Dream marked Adam Granduciel overtaking all as modern rock's most important visionary, then this was his victory lap. Raw, confessional emotion lies at the heart of each of his meticulously crafted epics. This relentless resolve to achieve perfection shows exactly how he overcame a mid-life crisis rut that put him out of music for a couple of years, too depressed to write. He has the heartland rock of Bruce Springsteen, but with an atmosphere of psychedelia, structurally taking from slow disco. The production is stunning: softly polishing the sonics of every vibration that the guitar's feedback that launches off into the country-wide, sunset landscape of the Great Plains. Especially the way it is worked over the guitar solos, of which are not incredibly technically gifted (like Santana, Gilmour, or Hendrix), yet strike the most emotional chords. A Deeper Understanding showcases Adam's most life-affirming music to date.
Standout tracks:
'Up All Night', 'Pain', 'Holding On', 'Strangest Thing', 'Thinking of a Place', 'In Chains', 'You Don't Have to Go'
Standout tracks:
'Up All Night', 'Pain', 'Holding On', 'Strangest Thing', 'Thinking of a Place', 'In Chains', 'You Don't Have to Go'
5: async by Ryuichi Sakamoto
Since being diagnosed with oropharyngeal cancer in 2014, Ryuichi Sakamoto was hit with the gravity of mortality. Thankfully he beat cancer, marking another victory in his life, having played such an unnoticed pioneering role in music, making contributions to electronic music in the late 70's to early 80's with his band, Yellow Magic Orchestra. However none of his works are quite as sombre as this collection of tracks he composed in that period of time. He uses ambience to create these contrasting yet cohesive atmospheres, they are serene but disconcerting. Timed beeps springing out of hazy synth-sustains give an eerie sense of decay, of time slowly ticking away. It has a meditative quality to it, contemplating a black future that will never come. He does not question his suffering, he just listens to the slow tick of the clock.
Standout tracks:
'andata', 'disintegration', 'solari', 'ZURE', 'ubi', 'fullmoon', 'LIFE, LIFE', 'ff', 'garden'
Standout tracks:
'andata', 'disintegration', 'solari', 'ZURE', 'ubi', 'fullmoon', 'LIFE, LIFE', 'ff', 'garden'
4: Black Origami by Jlin
Black Origami can be listened to almost like a factory-line operating the musical equivalent to a giant paper shredder. It's a strange comparison to make, but hear me out. At one end, you have diverse world rhythms being fed at one end, whether tribal drumming, Georgian chanting, didgeridoo humming, harp fretting, or druidesses harmonising. Inside the machine, pummelling 808 bass, grating MIDI synths, and samplers upon samplers, chop these sounds up into confused fragments. The strands are then spewed out, and wind seamlessly around each other, creating this endless stream of reorganised strands of music hitting you soundbite after soundbite, like lines of binary code zipping information at lightning speed. What Jlin has constructed here, is an innovative, inventive vision where the sonic opposites of acoustic world music and electronic dance music are compressed into one another, making supposedly archaic worldly rhythms for the digital age.
Standout tracks:
'Black Origami', 'Enigma', 'Kyanite', 'Holy Child', 'Nyakinyua Rise', 'Hatshepsut', 'Carbon 7 (161)', 'Nandi', 'Challenge (To Be Continued)'
Standout tracks:
'Black Origami', 'Enigma', 'Kyanite', 'Holy Child', 'Nyakinyua Rise', 'Hatshepsut', 'Carbon 7 (161)', 'Nandi', 'Challenge (To Be Continued)'
3: Pure Comedy by Father John Misty
This is one of the most important listens of the decade. Father John Misty (a.k.a Josh Tillman) has constructed folk rock epic which is comprehensive review of the human condition, and a potential sign of things to come, presented with appropriate satirical theatricality. Josh flaunts his tongue-in-cheek, singer-songwriter darling persona to cut to the heart of the issues that face us: potentially harmful technology, narcissism, hateful nationalism, disregard for truth, all slowly driving us to self-extinction – bleak, I know. This album was completely overlooked by the music press, who shrugged and asked, "so what was his point, what is his solution?". Tell us then, what is your solution to the crises that face humanity? No-one expects one person to offer up an answer to ALL problems, but it is records like this that comprehensively pick apart, and ruthlessly examine the mess that we have gotten ourselves into that we so desperately need in these disorientating times. Pure Comedy, is the story of a species who fought to become gods, and once they did, had not a clue what to do with their power, and it is told with wit, intelligence, and sublime showmanship.
Standout tracks:
'Pure Comedy', 'Total Entertainment', 'Things It Would Have Been Helpful to Know Before the Revolution', 'Ballad of the Dying Man', 'Leaving LA', 'Two Wildly Different Perspectives', 'The Memo', 'So I'm Growing Old on Magic Mountain', 'In Twenty Years or So'
Standout tracks:
'Pure Comedy', 'Total Entertainment', 'Things It Would Have Been Helpful to Know Before the Revolution', 'Ballad of the Dying Man', 'Leaving LA', 'Two Wildly Different Perspectives', 'The Memo', 'So I'm Growing Old on Magic Mountain', 'In Twenty Years or So'
2: The OOZ by King Krule
The world of The OOZ is reminiscent of a black and white noir film, that follows the inner struggle of a lonesome heartbroken man, wandering the streets of post-industrial London in search of a sense of direction to his life. Drawing from jazz, lounge, and chill-hop (occasionally throwing in punk to revitalise the energy), the foggy, murky atmosphere that shrouds this world allows us to wander with him. Part of what is so fascinating about it, is that despite that this is released under the King Krule moniker, it is easily Archy Marshall's most personal album yet, capturing a timely portrait of the hole left in his life by his unrequited love, and conflicting thoughts on anti-depressants, while conversely keeping the brash cockney swagger of King Krule. It is an immersive experience that transports you from this world to his own.
Standout tracks:
'The Locomotive', 'Dum Surfer', 'Slush Puppy', 'Logos', 'Czech One', 'Vidual', 'Half Man Half Shark', 'The OOZ', 'La Lune'
Standout tracks:
'The Locomotive', 'Dum Surfer', 'Slush Puppy', 'Logos', 'Czech One', 'Vidual', 'Half Man Half Shark', 'The OOZ', 'La Lune'
1: A Crow Looked at Me by Mount Eerie
"Death is real / someone's there and then they're not / it's not for singing about / it's not for making into art". The first line that is croaked from Phil Elverum's lips pose a profound statement on how we respond to life’s heaviest truth, a truth he faces in all its pain on A Crow Looked at Me. Recorded in the six months following the death of his wife, Genevieve, to pancreatic cancer, leaving behind a one-and-a-half-year-old daughter, the songs are a raw outpouring of grief. It is even more intimate with the knowledge that he recorded it in her room, with her instruments. Do not expect polished songs that have been revised meticulously and produced in a studio. Expect just him, a guitar, a piano, and a drum machine, shrouded by a lo-fi crackle. It is has been described as "non-musical", but it is not meant to be musical, it is about expression.
His words here are often blunt and drawn out, like time itself has slowed, every minute is like an hour. They document the most intimate period of one’s beloved passing. If his knees fail one day, he says “my knees fail”, if he cries another, his voice cracks “I wailed”. Also, he often refers to the date he is writing the song on – it is a diary of mourning. These archives are beyond difficult to listen to; from conversations with his daughter, to seeing Genevieve in the bed where she used to lay, to taking out the garbage of her bloodied tissues left before she died in his and her parents’ arms. One of heaviest moments reveals that his and his wife’s counsellor and close friend died just two months after she did. The chances of that happening in this absurd world we live in are incomprehensible.
Yet in between these despondent utterances, Phil offers these profound reflections on death itself. Genevieve may not be in this world in person, but she remains an encompassing presence. On ‘Swims’, his daughter asks him if her mother swims. To that, he replies “yes, she does, and that’s probably all she does now”, because her ashes spread in the waters of the lake they intended to build a family home upon, she is “borne across waves / evaporating”. He poured the ashes onto seaweed, ready to be swept away by the easy tide, so she can watch the sunset, but he does not see her ashes as her, she is the sunset. Genevieve is not dead, but exists around them, immersed in nature, watching over her family like a guardian angel.
Phil proved himself wrong, this album is one of the most affecting, artistic works in music.
Thank you Phil.
Standout tracks:
All of them
His words here are often blunt and drawn out, like time itself has slowed, every minute is like an hour. They document the most intimate period of one’s beloved passing. If his knees fail one day, he says “my knees fail”, if he cries another, his voice cracks “I wailed”. Also, he often refers to the date he is writing the song on – it is a diary of mourning. These archives are beyond difficult to listen to; from conversations with his daughter, to seeing Genevieve in the bed where she used to lay, to taking out the garbage of her bloodied tissues left before she died in his and her parents’ arms. One of heaviest moments reveals that his and his wife’s counsellor and close friend died just two months after she did. The chances of that happening in this absurd world we live in are incomprehensible.
Yet in between these despondent utterances, Phil offers these profound reflections on death itself. Genevieve may not be in this world in person, but she remains an encompassing presence. On ‘Swims’, his daughter asks him if her mother swims. To that, he replies “yes, she does, and that’s probably all she does now”, because her ashes spread in the waters of the lake they intended to build a family home upon, she is “borne across waves / evaporating”. He poured the ashes onto seaweed, ready to be swept away by the easy tide, so she can watch the sunset, but he does not see her ashes as her, she is the sunset. Genevieve is not dead, but exists around them, immersed in nature, watching over her family like a guardian angel.
Phil proved himself wrong, this album is one of the most affecting, artistic works in music.
Thank you Phil.
Standout tracks:
All of them