Algiers

A bracing, apocalyptic, feverish, proudly activist, epic gospel-punk masterpiece of a first album from an Atlanta/NY/London trio just signed to Matador. Shouted and cooed group vocals, totally uncontrived handclaps, relentless noise, post-punk and hip-hop rhythms, extremely dense production—and at the center, chilling and overpowering performances from singer Franklin James Fisher. In terms of aesthetic experimentation and political intensity this reminds me of New War, except this is even sharper and more topical. This is music to get angry to, to protest to, to love to, to play in the streets—the sound of wrenching a better future into being. I submit that this is the best debut of 2015, and if anything reverses my statement, we’re in for one hell of a ride. Listen in, and play this for everyone you know. Favorites: 2, 4, 6, 8, 9 (though 9 has an FCC).

1. (3:06)—Slow, brooding, slow to build. 80s horror synths, really loud stomping and clapping.
2. *(3:31)—Medium-slow, Suicide-esque beat. Claustrophobic, train tunnel atmosphere. Like a hellfire rendition of 60s soul.
3. (3:42)—Mid-tempo. Minimal electronic beats, buzzing synths, chilling chorus.
4. *(5:39)—Slow, beautiful, extremely anthemic, heavy on the gospel influence.
5. (4:25)—Fast, tight driving, with a beat and synths straight from Suicide’s first album.
6. *(4:31)—Fast, driving, early 80s hip-hop beat. Screamingly intense and cool. “We put our faith into Afro-pop in a decolonized context!”
7. (3:59)—Long, noisy, ghostly intro. Medium-slow spooky strut, with blown-out piano.
8. *(3:39)—Fast, starting with unhinged shouting and morphing into a really tight, funky, surfy jam.
9. *(3:49)—FCC (s***). Slow and despairing and lovely, like a decaying classic R&B record.
10. (5:41)—Slow, tortured, hellish dirge. Sounds like Fisher’s heart is being torn out of his chest. Fades suddenly into 11.
11. (2:40)—Outro to 10. Eerie, wispy vocals and piano. A loop of a gospel record fades in. Heart-stoppingly beautiful.