Over the past few weeks, I’ve compiled a few lists rounding up 2015- Songs of 2015, Albums of 2015, and the 2015 Festival Awards. These articles of course shed light on all of the best musical output from the year, but with every great song there is a poor one, with every great album is a disappointing one. So here you have it, the Worst Albums of 2015.
5. Mac Miller – GO:OD AM
Mac Miller seriously impressed me with his sophomore album Watching Movies With The Sound Off, and with the announcement of his long-awaited follow up, it had me excited. However, I quickly realised that GO:OD AM was another trend-hopping, trap-plagued bore. With uninteresting production, none of which from Larry Fisherman himself, nowhere structure, odd cameos, and often ridiculous lyrics, Mac Miller’s GO:OD AM was a bitter disappointment. ‘This the music that make white people mad’ Mac raps on In The Bag. And as a white person, I guess I’m proving his point by saying this, but just hearing his whiny nasally flow, coupled with Domo Genesis and Juicy J’s n-word-spouting vocals at the beginning and the end, it really does annoy me, and just makes me laugh.
4. Disclosure – Caracal
Caracal wasn’t necessarily the worst album ever, and after the near-perfection of Settle, it would have taken one hell of an album to exceed the heights of Disclosure’s debut. However, Caracal was still painfully disappointing. Gone were the dreamy synths, the hypnotic flow of vocals meeting production, the effortless contribution from guest vocalists, the organic British feel to it, nothing about Caracal felt like Settle. In place of the aforementioned are big-budget guest stars, tired hooks, metallic synths and forced percussion, all encapsulated with a restricted corporate veil draped over the top. This was the last thing I expected from Disclosure after the refreshing vibe of Settle, and the staid aesthetic to Caracal was instantly apparent and disappointing.
3. Rae Sremmurd – SremmLife
Jesus Christ how is music like this still being created? It’s just a horrendous listen from start to finish, I could literally make this music- anybody could! Bass, bass, clap, trap drum pattern, ad-lib- you’ve now got the beat for all eleven songs on Sremmlife. It’s just such a lazy piece of music from a productional point of view, I know Mike WiLL Made It is for some reason tipped as the next DJ Premier, but how can anyone give the man props for constructing beats with less invention than Pitbull’s haircut? Rae Sremmurd literally sound like two children have picked up a mic, and have been told by their rich label-head stepdad that he’ll put them out on an LP as a little project at the weekend when they come to visit. The ad-libs at the end of every single line? The horrible criss cross between the pair’s slightly distinguishable voices? It’s just a car crash of claps, autotune and ‘No Flex Zones’. To put into perspective, Big Sean’s guest spot feels like an oasis in a vast desert of horror.
2. Rudimental – We The Generation
We The Generation drags itself along with enthusiasm disguised as strenuous vocalists and brash brass accompaniment. The now-falsely-asigned image of Rudimental is passion and love, but nothing about this corporately-constructed album conveys either of these things. All That Love particularly bores, as does the Dizzee Rascal-featuring Love Ain’t Just A Word, dragging the once-great MC into the pit of a bore that is this album. We The Generation is notably colourless and dull, the album is a blank hour and a half of cymbals, and at the very very best is nothing more than done-before pop.
1. Kid Cudi – Faster Than A Speeding Bullet
While the above are just bad, Faster Than A Speeding Bullet is a bore, as well as being bad. Across this hour and a half of mindless monotony, the once-sweet-summer-Cudder, who of course boasted hip-hop jams such as Day N Nite or Pursuit of Happiness, moans and groans without a single relapse from the angst or dread. Speedin’ Bullet To Heaven is exactly what I knew it would be; a dreary experimental bore built on twangs of electric guitar, nowhere production, and spiritless vocal accompaniment. Haunting, dread-filled tracks like The Nothing do nothing but unsettle and fatigue, while crowded, brash barrages of noise in the form of Seance Chaos simply leave you bewildered.