2. Sturgill Simpson, 'Metamodern Sounds in Country Music'
Cool don't advertise, and neither do outlaws, but a wry, wide-brimmed halo of unassuming contentment doesn't make Kentucky native and earthy space cadet Sturgill Simpson's second outstanding record in two years any less revolutionary. Metamodern Sounds in Country Music aims to cut off any reductive retro/genre-savior talk from the goofy/deep-thinking title on down, but damned if you don't get thrilling jolts of Waylon's virile power, Willie's melancholy cheer, Kris' drugstore poetry, and Johnny's thundering sentimentality. (Even the opening drug song, "Turtles All the Way Down," bows to the power of love.) Simpson is at his laconically drawling leisure here, but he can wail when he has to, whether the climactic moment is "She was the first girl ever broke my heart" or "I don't have to do a goddamn thing but sit around and wait to die" or the whole pulverizing last verse of his show-stopping cover of When in Rome's Eighties synth-pop classic "The Promise," which alone proves that he's following no script but his own (and Napoleon Dynamite's). R.H.