2016, eh? What a year. Trump. Brexit. The deaths of Bowie and Prince, Leonard Cohen and Muhammed Ali, Johann Cruyff and Alan Vega, as well as Emerson, Lake and uhh, Castro. The rise of far right populism across Europe. No more Peep Show. It’s safe to say that 2016CE has been a year that may very well preempt the apocalypse, and we’re all at some kinda shared understanding that everything is well and truly fucked.
But in response to this chaos emerges great art. More so than in any other year has tragedy been so explicitly transformed into beauty; David Bowie and Leonard Cohen said their goodbyes perfectly with Blackstar and You Want It Darker respectively, whilst Nick Cave and Thomas Cohen released albums to deal with the death of their respective teenage son and young wife. Beyoncé released her boldest work today, Lemonade, whilst her sister Solange released Seat At The Table, a masterful album of masterful social commentary. In all honesty, I could list dozens of great records that have confronted the imminent dystopia of 2016, or alternatively offered up an escapist view of something better. I’m not sure what I’m rambling on about here, but 2016 has sucked. And the music released has kinda made it okay. Okay?
So here at The Wave, we’ve put our heads together. Schemed away. And combined our eclectic tastes to come up with a list of our favourite albums of the year. For your aural pleasure, you should listen to every single one (okay, just the ones that seem to interest you) so you can maybe finish your 2016 on a high.
Cal Cashin (Deputy Editor)
Nick Cave – Skeleton Tree
On Skeleton Tree, the Australian singer-songwriter has released his most intensely personal, heartbreaking and moving album to date. Following the tragic all-too-publicly-documented death of his teenage son, Nick Cave burrowed away and got to work on transforming unimaginable pain into unparalleled beauty. Obviously Cave’s covered death in his songs more time than you can count (his 1996 album Murder Ballads has a three figure death count), the poignant I Need You, harrowing Girl In Amber and resignation of the title track show the artist’s 2016 take on human mortality.
Sex Swing – Sex Swing
Threatening drones, cosmic keyboards, and some serious sax abuse, the debut album of South London kraut-psych supergroup is the perfect soundtrack to one of the world’s darkest years yet. Teeming with ambition, it starts off with 12 minute drone composition A Natural Satellite, before the remaining 34 minutes plunge you through a minefield filthy psychedelic noise. The Murder of Maria Marten is a savage 8 minute dirge of saxophone and psychopathic drawl, that details the brutal 1828 ‘Red Barn Murder’, whilst the electric Karnak is an explosion of deranged brass, thundering post-punk basslines and a jagged guitar line. Sex Swing have produced a debut album that is fucked up music for fucked up times, a masterpiece of claustrophobic perfection that is the darkest and probably most essential record that this year has thrown up.
Pardans – Heaven Treason Women
Bloodfirsty no-wave from the Danish capital of Copenhagen, the debut album from Pardans is a treat best served in the darkness with a dash of predisposal to misanthropy. The band’s debut only sticks around for 27 minutes, but in that time they cram in so much anger, so much emotions, and so much confrontation. Think The Birthday Party meets Fun House, intense hell-sent sax entwines with dirgey, filthy guitar licks to create something that sounds like a splurge of gristly, opiated hell. Under the sun, Under your dress is a thumping number that sounds constantly like it’s melting, whilst closing number Her Money, the Heels utilises strings to sound like a film noire panic attack. This is a dark album, and whilst comparisons to Iceage will be coming thick and fast (the singer is a bit of a soundalike to Elias Bender Ronnenfelt, truth be told), the emotional range and grotty extremism make Heaven Treason Women transcend any of the band’s peers.
Connor Brown (Editor-in-Chief)
Kanye West – The Life of Pablo
By far Kanye’s messiest album, with the constant changing of the name and the album not even being technically finished yet, however who knew that something so messy could turn out so good. The Life of Pablo documents Kanye’s life at 38 as he reflects back on his life. With samples ranging from Nina Simone to Sister Nancy and Kanye demonstrating how experimental he can be with his production with tracks like Fade, it’s pretty hard not to include this album in the standouts of 2016, even if it’s not quite finished yet.
Francis and the Lights – Farewell, Starlite!
This is an album that has been in making for a while now, with the collectives first release being in 2007. Farewell, Starlite! can easily be declared as 2016’s most dynamic sounding album of the year. It’s a cluster of synths, vocoders and harsh electronic foundations surrounding the LP, leaving us with an array of emotions you wouldn’t expect to be conveyed through an album this electronic. It’s that perfect blend of juxtaposed happiness and sadness and from the very second you hear that opening track, you know you’re in for an audible journey like no other.
Childish Gambino – Awaken, My Love!
Awaken, My Love! Should receive praise alone for seeing an artist like Childish Gambino move so far from his hip-hop comfort zone. Seeing him go from tongue n cheek rapid fire lyrical delivery through rap to this psychedelic soul album full of singing and vocal manipulation is crazy. It’s hard to get your head around on the first listen, but after appreciating the amount of precision that has gone into making tracks like bassline heavy Boogieman to the soul-rock meets r&b ready Me and Your Mama, you’ll turn to realise that Gambino is at a level of creative genius that many have yet to have reached.
Eden Tizard (Reviews Editor)
Jenny Hval – Blood Bitch
Blood Bitch is a powerful album, with a thoughtful and compassionate sense of longing permeating its entirety. Crucially Jenny Hval’s record is never consumed by despair, baring with it a vital and endearing humour, easily excavated amongst its feelings of dissatisfaction. Musically, the album lurks around the lucid and impressionistic; interjected with rabid-dog panting, concréte explorations, and undulating synthesisers slowly ebbing above and below the surface. The themes of menstruation and vampires are explored in a non logical fashion – thankfully avoiding any dry academic style dissection. Above all, the album is Hval’s least self conscious effort, wisely letting instinct take a firm president. For my money, Blood Bitch is the years most captivating and profound musical statement.
Peder Mannerfelt – Controlling Body
A high octane ringing sets the tone for Controlling Body, an album largely characterised by its foreboding malice. A divergence from his usual methods, Mannerfelt’s pallet has taken a turn towards the kaleidoscopic, with a chromatic vibrancy seeping across these nine tracks. Repetition -bordering on sadism- can be located on a piece like Limits To Growth, the neoliberal mantra (‘create growth’) being sardonically situated amongst hellishly potent synth stabs. Though at times a harrowing experience, Controlling Body can be seen as nothing but a transfixing accomplishment.
Babyfather – 419
Many were shocked by results of both Brexit and the American election, but Dean Blunt was painfully aware of the insidious mindset bubbling clearly under the surface. Rage and discontent emanates from Blunt’s Babyfather work, a project smug journalists and onlookers wrongly regarded as an endeavour interested in pure novelty. The defiant 419 mixtape is a more consistent release than his album: BBF Hosted By DJ Escrow – the Kate Bush sampling SYWALKER sounding flat out iconic. With Babyfather, Blunt unquestionably forged a path as one of Britain’s most conceptually radical artists.
Gino Franks (Radio extraordinaire)
Powell – Sport
If you’re looking for electro-fidegtry with post-punk thrashings at the core, then look no further than 2016’s Sport. The debut from former advertising exec turned clean-shaven tracked-techno wizard comes as a bit of a shock to the ears of the more centrist contingent of the rave/dance community. Where Powell lacks in penetrating sales demographics he makes up for in publicised tomfoolery. For instance, when Big Black’s Steve Albini sent Powell a sternly worded email in response to a request for permission to sample a recording, his answer –“I detest club culture as deeply as I detest anything on earth, so I am against what you’re into, and an enemy of where you come from.” Oscar Powell’s immediate thought was blew this email up and pasted it to a billboard above a bustling Shoreditch thoroughfare. On the audio side of things it’s been described on the RA chatrooms as everything from “Brilliant” to “it sounds like bees dying and a lot of people making farts all the time”. But who believes chatrooms…
Factory Floor – 25 25
A record I’ve not silenced since its release, 25 25 sees the post-industrial techno delights of Gabriel Gurnsey, Nik Colk Void and Dominic Butler be streamlined to just the former two, as Butler left late on in 2013 to continue with side project Bronze Teeth. Circumstances did not impede the now duo’s collaborative creation nonetheless, and 2016 saw the return of a more minimal, sequence heavy FF. Initially birthed up north in an old silk mill – the pulsating sequence tones, gaudy tempo changes and the ear-arousing swell of Chicago-infused snares makes for an intense, yet anaesthetizing grit-beat. The albums pièce de résistance is perhaps the throbbing minimal pulse and yuppie-centric mockery that can be heard on penultimate track Ya. It’s a follow up single that rivals the likes of Turn It Up with Void still mastering the TC Helicon Voice and Effectron II, this time de-tuning the vocal for a less visceral feel.
Kate Tempest – Let Them Eat Chaos
Aside from having some downright aesthetic artwork and a blooming good title, Let Them Eat Chaos, Tempest’s 2nd full length, is a melting pot of grime-infused spoken word/rap pastiche. LTEC was released both as a long-form rap poem, but also as a debut book of verse, narrating the lives of seven damaged, shut-away neighbours in a London borough forced to interact by a great storm that drives them away from their flats.If you’re a sucker for a song that documents points in time, then look no further than Europe Is Lost for a track that encapsulates urban life in 2016. Tempest delivers a concise but complex story over a engrossing variety of instrumentals, tracks like Whoops with its heavy synth notes and lacquering’s of instilled grime, or the atmospherics of tracks Breaks and Perfect Coffee.
Tom Baxter (Social Media Editor)
King Gizzard & the Lizard Wizard – Nonagon Infinity
King Gizzard’s eighth studio album Nonagon Infinity is a bona fide garage rock killer. The album is an infinite loop meaning the last note perfectly reunites with the first, and it truly is another great record by the prolific Aussies. Their blend of all styles of rock music create a special field of its own. The group show no sign of letting up with five albums pencilled in for next year, so 2017 looks set to be a year where the enigma that is King Gizzard grows ever sweeter.
Yak – Alas Salvation
Elegantly brutal. Yak’s raucous debut Alas Salvation showcases the bands potent lust for danger and noise. The record is packed full of heavy distorted bass lines and extreme howls from frontman Oli Burslem. The band can portray a brutalist psych at times and execute it with a minimalist way at times. The three-piece from London have released an extremely solid debut, and guitar music can savour this breath of fresh air.
The Rolling Stones – Blue & Lonesome
Still in its infancy, the new Stones record is a peculiar one. Play this to a casual listener and they’d think it is the Stones of the early to mid-60s. They sound young again, and after about 30 years of frustrating material, the ageing rockers seemed to have had no pressure recording this album. Blue & Lonesome is a collection blues covers that are magically pulled off. Mick Jagger swaggers his way through the record with Keith and Ronnie seamlessly jamming with a flowing exuberance. Listening to the album you can just imagine the Stones having fun playing what truly made them superstars in the first place, the blues.
Jordan Emery (Deputy Reviews Editor)
Beyoncé – Lemonade
Beyoncé binds a varied collection of songs with a compelling story of infidelity and black empowerment. Interestingly, unlike her influence Michael Jackson who’s work became more ambitious the closer to white culture he got, Bey creates her most interesting pop album by embracing her heritage. With the Trump presidency and America seemingly voting against social progression, this album became increasingly important as the year went on. This is perhaps the opus of one of the most interesting pop stars of the past 50 years.
Anohni – Hopelessness
Perhaps the most ambitious album of 2016. The lead singer of chamber pop outfit Anthony and the Johnsons comes out with a debut electronic solo album under her name Anohni. Surprisingly the album never touches upon her transition but instead focuses on global warming, cancer and drone strikes of the Obama administration. Soundtracked by Hudson Mohawke and Oneohtix Point Never, they create a jagged and industrial landscape for Anohni’s cutting voice that demands your attention. She blames the listener as much as she blames herself for these issues and you may come out of this album with some new views about the world around you.
Anderson Paak – Malibu
The revolution of retromania is upon us. The influence of past eras seeps through both commercial and critical music more obviously than it ever has before and this album is no different. Indebted in 60s/70s soul and funk there is certainly a level of looking back with the horn solos, guitar licks and driving bass, but it’s not just the music. The lyrics are based in his past, his mothers work on a farm in South Korea, his fathers imprisonment and his homelessness with a wife and new born child. This is why the sound works well for him, the past soundtracks his past.
Alexander van der Weston-Noond
Babyfather – “BBF” Hosted By DJ Escrow
Musical anomaly Dean Blunt emerged from seclusion this year offering an album of agit-rap under the pseudonym Babyfather. “BBF” Hosted by DJ Escrow tells the story of a London grime artist dealing with the complications related to his pregnant girlfriend, his unborn child and the threat of gang violence. Blunt converses with his unborn child, personified as a looping sample. A bleak irony wades through the album providing an insight into the rapper’s daily life: his phone being stolen, his girlfriend stressing him out, DJ Escrow, his ‘only friend’, interrogating him: ‘Who you really reppin tho?’. “BBF” Hosted by DJ Escrow is more of an art piece than a conventional album. It contains some challenging tracks designed to test the listener. Extended silences, bursts of white noise are juxtaposed with intentionally amateurish beats. Track one repeats the line, ‘This makes me proud to be British’ for five minutes straight. It’s worth the complications.
Xiu Xiu – Plays the Music of Twin Peaks
Zee-oo Zee-oo? Zh-i-u Zh-i-u? Jhu Jhu? Xiu Xiu (Shoo Shoo) are bloody weird. Apart from having a name that is unpronounceable without a quick google search, they make some of the most unassuming confrontational music out there. With themes ranging from child abuse, homophobia and suicide to the war in Iraq, they aren’t a relaxing listen, which is why they are brilliant. On this release, however, Xiu Xiu took a step back from working with their own material and instead decided to interpret Angelo Badalamenti’s score for the classic tv show, Twin Peaks. As you can imagine, the music retains the eerie sound Xiu Xiu are famous for, outshining the original score in some aspects, adding more layers of texture and noise evoking something more than nostalgia.
Bully Fae – Defy A Thing To Be
Defy A Thing To Be is 22 minutes of slightly absurd, heavily percussive campy minimalist rap mixing electronic beats with found noise. The album presents a collection of musical abstractions exploring ‘queerness, abjection and seduction’. The ideas and problems discussed here will only become more relevant in times to come. Bully Fae is the project of LA-based multimedia artist Bryan Edward Collins who states that ‘I wouldn’t say I’m Bully Fae myself, rather Bully Fae is something I can possess at certain times’. ‘I’m a man? / No I’m a woman in a man / Drag king at the party going in again / Pull on all my filament / Address me like a government’.
Night Verses – Into The Vanishing Light
Blissfully Destructive. A follow up to 2013’s Lift Your Existence, Los Angeles heroes Night Verses return with another technical masterpiece, showcasing some of their finest work to date. The band bring it harder than ever, pushing to new limits in every way possible, especially in the drum department, where Guitar Centre Drum-Off finalist and Night Verses drummer Aric Importa, manages to deliver a performance that would make most drummers feel faint. It’s a dark, adrenaline fuelled journey through the galaxy with destructive, throat-gripping sounds that make you feel like you’re gazing straight into a black-hole. Some of the highlights of this album include Connecting Hexes, Growing out of Orbit and Strange Graves.
Letlive. – If I’m The Devil…
Bone Chillingly Beautiful. Despite being a more relaxed album, there’s no arguing that Letlive’s latest release is a triumph. If I’m The Devil… takes a takes a step back from the band’s usual rampant riot of a performance to deliver something just a thought provoking, yet seemingly more thoughtful and gracefully delivered. With the exception of Another Offensive Song which echoes the nostalgia of early Cancer Bats and also some of the act’s previous work, tracks like Who You Are Not and Reluctantly Dead usher in a new era of Letlive. This outstanding delivery of the new Letlive, is surely something that will please new and old fans alike, while still fitting the criteria of the band’s chaotic shows.
Thought Forms – Songs About Drowning
The phenomenal return of Wiltshire’s definition of sonic progression, Thought Forms’ first release since their 2014 Split LP with Brighton’s Esben and the Witch, Songs About Drowning is a fantastic example of the quality and high standards that the band work to, it is an intoxicating and exhilarating experience. Songs like Forget My Name and By the Stars have a perfect blend of improvised drums and hypnotic instruments, with the addition of new instruments to the mix it shows a new confidence within the band and this by far their best body of work to date.
The 1975 – I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It
2016 has undoubtedly been The 1975’s year and it would seem we’re just seeing the start of their rise to the top. Spanning 17 songs and drawing influence from Prince to David Bowie, their sophomore record is unapologetically pop. The Wilmslow four-piece burst with confidence from the hypnotic opening riff of Love Me through to the R&B grooves of Somebody Else. It’s an album full of relatable lyrics and will no doubt be soundtracking the lives of young people around the world right now. Matty Healy makes a genuine case for being a modern day pop icon with a much improved vocal performance to their debut. It’s a far more mature and self-assured record and shows why love them or hate them they’re the most exciting pop act around.
Kano – Made In The Manor
Grime has well and truly hit the mainstream and leading the charge is veteran Kano. On Made In The Manor, Kano masterfully balances nodding to the past and soundtracking the future. Most of the the record’s appeal draws from its accessibility to non-grime fans, it’s musically diverse and even features a brass section. With guest appearances from Giggs, JME and even Damon Albarn, it brilliantly showcases why grime is one of the most forward-thinking genres around.
DMA’S – Hills End
All’s been quiet on the Britpop front for some years now however it would seem we have a revival of sorts on our hands. Melbourne three-piece DMA’s started causing a stir with the release of debut single Delete a few years back. Highlight of the record delete begins a acoustically and builds to a huge peak when the rest of the band come in. It’s a track that manages to perfectly demonstrate the magic of DMA’s, from the heartfelt lyrics to the rawness of the vocals it feels more like a victory lap than a song from a debut album. The final minute of layered vocals and guitars makes for a euphoric moment that will no doubt be a real moment when played live. Overall for a trio in their early stages both in life and in their band this is a record that oozes the maturity and confidence of a group beyond their years. It’s an explosive distillation of Britpop influences with the Melbourne – trio’s own injection of personality. While the record is by no means perfect it’s a welcome one, the attitude and musical brilliance of the nineties has been sorely missed.
Yumi Zouma – Yoncalla
The tendency to pile a first LP high with EP material and single releases is a trait I want rid of. Yumi Zouma, a New Zealand collective whose succession of EPs established them as a serious deal, have correctly avoided this. On Yoncalla, they marked themselves as dream-pop’s finest, crafting a record as dazzling and imitate as their back catalogue without the desire to cram it on to their debut. Text From Sweden and Haji Awali push their dancefloor inclinations further than before, all wrapped up in some of the prettiest music of recent memory.
Niki & The Dove – Everybody’s Heart Is Broken Now
For their sophomore record, the Swedish duo filed off the shrill, razor-sharp edges that landed them half the blogosphere’s affection with their 2012 debut in favour of luscious synths, acoustic instrumentation and a more cohesive collection of summer-soundtrackers and blisteringly obvious Prince vibes. Nostalgic and euphoric, switching stories oif tackling heartbreak, rioting and the rise of racism in Sweden.
Kate Bush – Before The Dawn
Tearing apart the hearts of many by declaring the DVD footage of her stellar 22-date Hammersmith run (and not to mention that Theresa May comment), Kate Bush’s obscure set list becomes as alive as it was live, a feat hard to reach in terms of live albums. Maybe the best way the show could be encapsulated, allowing the sheer busyness of the stage setup to not overtake the music and keep Bush fans ticking over till new material emerges.
Danny Brown – Atrocity Exhibition
Named after the Joy Division track of the same name Danny Brown’s latest album Atrocity Exhibition is a dark and haunting record which is as horrifically mind blowing. The album covers topics such as depression, addiction and the dark side of fame. The Highlights are Ain’t It Funny, When it Rain and the single Really Doe which features verses from Ab Soul, Earl Sweatshirt and Kendrick Lamar. The album is a harrowing masterpiece and should not be taken lightly, but more than anything this record shows that hip hop as a genre is young and has a lot to give.
Ahnohni – Hopelessness
2016 has seen a handful of fantastic protest albums and Ahnohni’s Hopelessness is no exception. Hudson Mohawk and Oneohtrix Point Never lent their production talents to the LP and the bombastic electronic soundscapes really complement the soulful voice of the former Anthony and the Johnsons singer. In the opening track Watch Me Ahnohni sings about mass surveillance and on the track Obama she addresses the former president’s treatment of whistle-blowers. The album is a complete sonic departure from her whimsical chamber pop albums with Anthony and the Johnsons and it’s a much welcome change of style.
Tribe Called Quest – We Got it From Here… Thankyou 4 Your Service
2016 was already a stellar year for hip hop and what a way to top it off the 90s legends dropping their final record. A double album featuring 16 tracks a lot of them referencing Donald Trump. The track we are the people is a fantastic display of Q Tip’s lyrical talent he has on unreal flow on a fantastic beat. Anderson Paak continues his amazing year featuring on the track Moving Backwards and Kendrick Lamar shows up on Conrad Tokyo. The album is an excellent farewell from one of the most important groups in hip hop history.
Noisia – Outer Edges
Noisia has had very high standards to keep up for their 2016 album ‘Outer Edges’. With this most recent album, the kings of neurofunk have made it very hard for people to pigeon-hole them into a specific genre. With skeleton-shaking heavy neurofunk in songs such as Straight Hook and Tentacles, to American EDM style trap on Vigilante, the Dutch trio are proving that their compositional skills and quest for heavy bass frequencies can encompass a variety of electronic music. Their experimentation in Outer Edges has worked well, despite some die-hard drum and bass fans expressing disagreement. The album is still full of heavy neurofunk and I doubt Noisia will ever turn their back on drum and bass.
Clams Casino – 32 Levels
Clams Casino has been a popular producer for a while so it’s odd to think this is his first studio album. With features from A$AP Rocky, Vince Staples and Samuel T. Herring, this is a superbly produced chilled hip-hop album with lots of ethereal synths. Lots of heavily filtered vocal samples show that Clams Casino isn’t straying too far from the established recognisable sound he has.
Denzel Curry – Imperial
Ultimate. The song that people flipped water bottles to, written by Denzel Curry. Curry’s unbelievable flows and lyrical content has been overshadowed by that terrible water bottle trend, but Imperial is a showcase of his skills as a rapper and a songwriter. Curry has unique flows which are as catchy as his hooks.
Panic At The Disco – Death of a Batchelor
Everything but the name makes this album a solo one, but it sounds more put together than ever. You don’t have to listen closely to hear the magnitude of charisma and confidence floating through your speakers – title track Death of a Bachelor is reminiscent of Frank Sinatra with an edge, while LA Devotee uses the simple but effective harmony of ‘woah oh’ to layer the music that’s already filled with brassy horns and synth beats. Brendon Urie has used almost every genre and talent he knows to create this album, and it’s impressive to say the least.
Blink-182 – California
It’s been nearly twenty years since the Californian trio burst into music and since then, they’ve lost a vital band member in Tom DeLonge. This time around they’ve replaced him and have gone full circle. Bored To Death opens with a screeching guitar riff that’s scarily familiar to the one in Adam’s Song, but it doesn’t sound reused or repetitive, whereas She’s Out Of Her Mind revisits the band’s playful side with lyrics like ‘She’s got a black shirt, black skirt and Bauhaus stuck in her head’, and this record seems to be the perfect song for a pop punk play day.
Against Me! – Shape Shift With Me
Several of Against Me!’s recent albums have been a documentation of vocalist Laura Jane Grace’s struggle with the transgender process, and Shape Shift With Me is no different. It represents the trans perspective on relationships – possibly a first – and tracks like 12:03, which opens with a catchy bouncing riff, dancing under the words to help describe how Grace is being strung along by a lover, and Norse Truth is clearly a break up song, but it’s a break up song like no other. While Shape Shift With Me might not be as politically driven as Against Me!’s previous albums, it’s still a strong contender in their back catalogue and it also doesn’t hurt that the music is incredible too.
Megadeth – Dystopia
By far the best album from Megadeth for the past twenty years. They really tried to go back to their roots in this album and you can really hear it. Dave Mustaine has tried to become his old technical self once again which is a nice breath of fresh air. The new guitarist and drummer are made clear as they have stand out features on the album. Even bassist David Ellefson has some stand out solos which is unlike their previous albums. My personal favourite track is Fatal Illusion because it sounds like a Megadeth classic which is what fans want to hear!
Vektor – Terminal Redux
The third album by the space-thrash legends and they did not disappoint. Fuelled with mechanical guitar riffs and mind blowing, high pitched vocals. I saw them preform this album in August and it was incredible to see live. I have never seen a band sound exactly the same live as they do recorded, on such a technical level. It is clear that they have tried to outdo themselves but also tried to stick to the theme on their previous albums. Truly a remarkable band that should get more recognition for their talent!
Special thanks to all contributors, and all the artists that filled our stereo with beautiful noise this year. Introduction by Cal Cashin.