With the help of new and new-ish venues, downtown San Jose saw some great shows in 2015. Sir Mix-A-Lot proved that big butts will never go out of style, and Mac Sabbath demonstrated the power of drive-thru metal with energetic sets at The Ritz; Kirk Hammett brought djent masters Meshuggah and stoner metal veterans High On Fire to the RockBar Theater, with his two-day Fear FestEvil; The Velvet Teen returned with a full-length album and a powerhouse performance at Cafe Stritch; and The Continental Bar, Lounge and Patio hosted some fantastic, forward-thinking dance music—hosting, among others, Ali Shaheed Muhammad of A Tribe Called Quest fame.

Some notable big-name acts rolled through town, as well. Taylor Swift brought her 1989 World Tour to Levi’s Stadium, while Aziz Ansari got big laughs and The Weeknd hit high notes at the Shark Tank.

Also, this year in the realm of musical WTFs, Chris Brown presided over a terrible party (see Pg. 14) at the Fiesta nightclub in south San Jose, where five fans were shot; and Steve Harwell—frontman for the reviled San Jose-bred alt-rockers, Smash Mouth—had a meltdown after the crowd at a Colorado music festival started throwing slices of bread at the band during their set.

“I’m gonna come find your ass, I’m gonna beat your ass, whoever the fuck you are out there, OK?” Harwell can be heard saying into the microphone in a viral video of the bizarre spectacle. A Vine clip of Brown’s “Capricorn Bash” shows the self-styled bad boy R&B singer flinching as shots ring out in the middle of his song, “Loyal.”

And 2015 was also a great year for local releases. Here are my five favorites:

Will Sprott—Vortex Numbers
Former frontman for The Mumlers—one of the better indie rock outfits to emerge from the South Bay in recent memory—released his debut solo LP. On Vortex Numbers, Sprott, who now lives in Seattle, lays out a stripped-down, 10-song set, which recalls his work with the Mumlers, as well as the dusty, shuffling beats, warm guitar lines and shaky harmonies of The Rolling Stones.

Rey Resurreccion­—Heart of the City
When he isn’t rocking shows, writing raps or working on beats in his downtown studio, Rey Resurreccion can often be found teaching chess to young kids. One day in late 2014, Resurreccion told a group of his mentees to “make sure every move you make counts.” Rey Res knows a thing or two about waiting for the right moment. The local emcee made sure that everything was just so before dropping his third full-length, Heart of the City, on Jan. 27. The album is his strongest to date.

Forgotten Gods—Twin Sisters
Anyone who has recorded a full-length record on a tight budget and in a professional studio knows just how stressful the process can be. That they managed to record their sophomore LP in just two days is, in itself, a testament to the work ethic of local stoner metalheads Forgotten Gods—especially considering how good it is. There wasn’t much room for error, says guitarist Dave Stoltenberg. But that didn’t get him too worked up. “We figured that Black Sabbath did Paranoid in one day. We had twice that amount of time.”

Citabria—Exit Reality
After local alt-rockers Citabria released the excellent, if scrappy, The Stereo Guillotine EP in 2010, local fans couldn’t get enough. But then internal tensions led the band to take a long hiatus. They returned in 2015 with the highly polished and ultra-catch Exit Reality. One of the album’s standout tracks, “The Animal,” features a stuttering, Moog bass line, soaring vocal harmonies and jet-plane guitars; it sounds like a cross between Muse, Depeche Mode and Dredg.

Eric Victorino—“Captured”
The frontman for Strata and The Limousines decided to step out on his own this year. Initially calling the project Gestalt—a nod to the psychological concept that underpins the project—he has since changed his moniker to E. James. A record is due out in mid-2016, according to his PledgeMusic page, but at least one full track has been released: the moody, downtempo, electronic track, “Captured.” A snippet of another song, “Stumble Back To You,” recalls the exuberance of Passion Pit.

YEAR-END LISTS typically hew to the comfy round number 10. And although Top 10 has a ring to it, Silicon Valley’s melting pot of musical talent fused genres, collaborated, innovated and turned out so many great LPs and EPs this year that it became a nearly impossible task to narrow it down to even the Top 15 releases, so we squeezed one more pick for a favorite 16. Here, in no particular order, are some of 2013’s best local releases.

The Bangerz: PRiSM
PriSM, the Bangerz’ second soundtrack LP for the Jabbawockeez Las Vegas stage show, showcases the crew going deeper into some amazing futuristic soundscapes. The crew has always straddled a line between throwback hip-hop and cutting edge electro-jams, but it’s all forward thinking with this release. In a sign of the times—as the line between EDM and hip-hop continues to blur—there’s a healthy dose of dubstep influence on this record, as well.

Rebelskamp: The Kill
Going into a recording studio without any written material doesn’t sound like a winning formula for an album, yet Rebelskamp produced a remarkable LP this year. They’ve gotten so good at improvisation that they don’t sound like they’re inventing the music on the spot. Yet, the spontaneity of such a freeform formula remains intact. These songs go any and everywhere, drifting through funk riffs, psychedelic space jams and crazy free-jazz. A highlight is “The Rebel,” with local rapper Dirtbag Dan freestyling a couple verses.

Philthy Dronez: Wepa Life
Up until recently, Matt Gonzales was known mostly as the go-to guitarist for local bands. (Anya and the Getdown, Raul y Mexia, Chris Reed—to name a few). Now the world gets a taste of his solo project: producing Latin-infused electro-beats under his alter-ego, Philthy Dronez. His debut EP, Wepa Life, was released on Global Bass Experience a few months back. It’s a short EP, about 15 minutes, but it’s bumpin’. It centers on the emerging new-cumbia sound, but also veers into electronic and hip-hop territory, and even some old-school cumbia.

Boboso: Grown Ass Man
There are three things Boboso raps about: food, cats and his love for the female derriere—often within the same song. Yet, he’s not exactly a comedy rapper. He can really rhyme. Plus, his production skills are top-notch: classic West Coast beats with surreal twists. The Beach Boys sample on “That Breathe In, Breathe Out Shit” is a particular highlight. Jeff Rosenstock from Brooklyn punk band Bomb the Music Industry also lays down an impressive verse on “Sartorial Panache.”

Careless Hearts: Alum Rock
Alum Rock isn’t just the latest album by Careless Hearts; it’s the culmination of five years of life-changing events. They started out a laidback Americana group, but since 2008’s Heart’s Delight, they’ve gone through some major lineup changes and played a life-changing show with punk legend, Stooges guitarist James Williamson. It shows in the roots-rock, power-pop songwriting on Alum Rock. The release rocks harder, louder and with more passion than their first two albums.

Antwon: In Dark Denim
In Dark Denim isn’t as accessible as Antwon’s prior work and takes the San Jose rapper in a new direction. His beats are grimier, the samples are darker and the lyrics are dirtier than ever. “Work 4 Me,” with its down-and-dirty hip-shaking beat and raunchy lyrics, sounds like he’s seducing the listener. All the while, Antwon’s fanbase continues to grow, with a successful run at SXSW, an appearance at Treasure Island Music Festival and two national tours during the last year.

The Albert Square: How’s Everybody’s Doings?
Last year, Sim Castro reformed his punk rock outfit the Albert Square. The songwriting is much in the same vein, subtly nuanced ’80s and ’90s post-punk-inspired, but the band’s performances are far more unhinged—a good thing. Their newfound spastic energy complements Castro’s reflective songwriting quite well. However, the strongest song, “(Proud) Parents,” is oddly the most reserved track on the EP.

The Limousines: Hush
It’s been a couple years since synth-pop duo the Limousines released their brilliant debut, Get Sharp. Despite all the views they were getting on YouTube and radio play they received, they had major problems to sort out with their label, but Hush was worth the wait: Its synth beats are dancier, the production is more refined and in place of their signature clever nihilism, Hush offers lyrics that are raw and honest. Hush was made with funds from a Kickstarter campaign that sought $30,000 but ended up raising $75,000.

Dinners: Black Rabbits
If such a thing as a San Jose “supergroup” exists, Dinners might be that band, featuring members from Worker Bee and Doctor Nurse. Dinners go into a different direction than either Worker Bee (moody indie rock) or Doctor Nurse (psychedelic folk) with lo-fi noise-pop and a heavy dose of Guided By Voices influence. At first listen, Black Rabbits sounds like the kind of four-track recording popular with ’90s indie bands, but it’s actually a quite meticulously, thoughtfully crafted album. The cover art is amazing, too.

Rey Resurreccion, M-10, Locsta Villan: First Street Sessions
Some of rapper Rey Resurreccion’s finest works are collaborations. Last year, he worked with the Bangerz to make some killer old school hip-hop tunes. This year, he got together with emcees M-10 and Locsta Villan and created the 1st Street Sessions. Together the trio has produced eight laid-back, dreamy hip-hop songs that should be on urban stations all across the country.

Raul y Mexia: Arriba y Lejos
Brothers Raul y Mexia released a fun, passionate Spanish-language album this year on Nacional Records, the current leaders of cutting-edge Latin music. Arriba y Lejos combines elements of cumbia and other traditional Latin sounds with hip-hop and electronica. The duo, who are sons of Hernán Hernández, bassist of famous Norteño band Los Tigres del Norte, has created something that both pays tribute to classic Latin music, like their father created, and all the newer American music they grew up with here in San Jose.

Sean Blak: #Basslife
Sean Blak books live hip-hop shows, puts on battle-rap events and holds a weekly Tuesday night residency, “the Trap Shop” at Johnny V’s. He’s also a prolific rapper, with a ton of lo-fi, surreal homemade hip-hop records online. His best this year is the LP #Basslife. On it, he takes some of the strangest, most intimate beats and makes them sound like outrageous club bangers.

Slime Girls: Vacation Wasteland
By the time Slime Girls came together, the chiptune scene was already well-established. Yet they’ve still been able to find their own sound within it, taking all the old Nintendo chip Gameboy sounds and mixing them with surf, punk and ska. Their latest EP, Vacation Wasteland, is a seriously fun collection of instrumental chip-rock tunes. It was originally pressed on cassette because they’re that into old technology.

David Brookings: The Maze
The Maze is David Brookings’ sixth full-length album since 2000, yet he’s still working on building his fanbase in the Bay Area. He moved to Northern California from the Memphis by way of Richmond, Virginia, in 2009, and produced his five albums before heading West. The Maze, like its five predecessors, brings together ’60s psychedelic-rock and ’80s New Wave.

Derek See: She Came This Way
The title track to Derek See’s She Came This Way is an amazing psychedelic-pop gem. At first, See, who normally plays guitar in soul group the Bang, recorded it, along with a couple other tunes, just for fun. It was good enough for an indie label to offer to release it, and they even ran out of the first pressing. It’s the kind of song that, had it been written in 1967, would have been a Summer of Love FM hit, no doubt.

Noothgrush: Split LP with Coffins
Back in the ’90s, sludge metal group Noothgrush were a pretty big deal. Along with Sleep and a few other bands, San Jose boasted a strong doom metal scene. Noothgrush just recently reformed, and they also just released a split record with Japanese metal band Coffins. The third track, “Thoth” is particularly special, as it contains spoken clips from the late, great, much beloved KFJC DJ, Cy Thoth, who died earlier this year.

PinUp Productions, a local music booking company, announced that Cupertino church and music venue The Refuge will no longer play host to live music.

The Refuge is a church hall that is a part of the Good Sam Church in Cupertino. PinUp Productions set up a variety of local music shows there for more than four years, from their Battle of the Bands to punk and metal shows. Some shows at The Refuge attracted up to 400 people. The church hall, however, was in close proximity to homes and businesses and neighbors frequently complained about loitering and noise late at night.

Last week Good Sam Church was informed by a sheriff that they would no longer be able to host non-ministry events, according to PinUp Productions. A meeting was scheduled between surrounding business, residents, Good Sam staff and the PinUp Productions staff to discuss the problems. Good Sam, however, was informed that they would not be able to host any further music events before said meeting took place.

PinUp still plans to book shows in the South Bay and plans to expand into the East Bay.

Dan Vado, owner of comics and local music hub SLG Art Boutiki, announce that his shop and local music venue will move from its longtime home in the SoFA District to a new location near the Alameda, across from Mexico Lindo, next to Freebirds.

A select few who have the new location at at 44 Race Stree are excited for the potential to host live music, an issue that Vado was concerned with when he announced SLG would have to move from its current SoFA District location. Though no longer positioned in downtown San Jose to gain foot traffic from South First Fridays the new location is surrounded by businesses that complement the interests of people who already frequent SLG, such as The Usuals, Black & Brown, Current Tattooing and more.

The new location could host shows at the front of the venue spaces and the back area has potential green rooms, storage space, a kitchen, and load-in-load out areas, but Vado is holding off on discussing details until he gets closer to moving and reopening at the new location.

The current Art Boutiki on Market Street has two final shows on March 15th and the 16th (details TBA) before the move.

For five years, Cartoon Bar Fight has gone through  lineup changes, with only two of the founding members left: Kendall Sallay and Dirk Milotz. Despite the instability, they’ve mastered a few songs along the way. Following their release of their debut EP, Tell All The Children, almost exactly last year to date ( Nov. 18th), the San Jose band presents a full album showcasing songs they have long waited to present.

Beautiful, haunting melodies create a surreal, peaceful mood on CBF’s Reincarnate. Starting fresh after a previous life seems to be the theme for CBF, from their original formation to now. In a sense they have reincarnated themselves in the process of releasing this album.

The album starts with an eerie organ-like movement, “A Beautiful Death” (the same title as the album artwork by Terry Fan), and into “Dear Victoria,” a solemn song almost styled as a shanty. “Circus” continues in the same vein with a cry for change as the ending chant repeats the lyrics “I sleep too often, when will I awake?” and  “I know I’ve fallen away.”

The title track, “Reincarnate,” helps close the album with much more hopeful lyrics for life and change as heard in the chorus, “in life and death, disappear, change your shape, reappear, reincarnate” before the final song “A Beautiful Life.”

The album really shows a much darker and reflective side of CBF not present in Tell All The Children, with more musical development, instrumentation depth and richness to their songs.

Highlight Tracks: The Marquee, Reincarnate, The Kingdom Of

Every Thursday night in downtown San Jose, Iguanas Taqueria hosts its weekly open-mic session. The soft ambiance of neon lighting from the front window serves as a backdrop for the performers, and encouraging accoutrements such as an excellent sound system, microphones and bar stools are provided.

The crowd is generally a supportive group of young and old, regulars and newcomers, that come together to soak up some self-expression ranging from stand-up comedy to spoken word, from rappers to acoustic musicians.

The seats are mostly always filled, and the small room draws a comfortably close peanut gallery to the back. A few times throughout the show, the enthusiastic hosts recommend that everyone high-five the person next to them and introduce themselves. It’s a “come as strangers, leave as friends” type of vibe.

Many of the performers are local artists hoping to get their name and/or message out to the public. One individual from Fremont who uses the stage name Chekmate plans to make Iguanas’ open-mic night a regular event on his calendar: “I was just walking around in downtown and popped my head in and decided I was going to start coming more often.” He hopes to bring more of his music, especially his own R&B material, to future open mics.

Some performers are already in the network and want to expand their repertoire. Two business partners from Southern California who specialize in club promotions produce what they consider “an advanced and improved LMFAO,” a dance club-rap sound. They had the audience foot-tapping and head-nodding along.

The most interesting part of the Iguanas open-mic sessions is that these performers are real people subject to the same daily satisfactions and struggles as the rest of us. The curtain between performer and audience is made transparent here. As one performer put it, “Poetry don’t pay.” These artists are all here because they love to both watch and participate.