Best albums of 2015

Hello everyone!

Last week I posted my top 30 songs of 2015 (a lot of which I now regret, placement-wise...oops). So now, as promised, here is my top 30 albums of 2015. Like with the songs list, I opted to only do write-ups for the top 10. 

I've also included a playlist of the standout tracks from each featured record, located below the list:

30. Eskimeaux - O.K. 
29. Doldrums - The Air Conditioned Nightmare
28. Kamasi Washington - The Epic
27. Hop Along - Painted Shut
26. Florence + The Machine - How Big How Blue How Beautiful 
25. Adele - 25 (ha)
24. Chvrches - Every Open Eye
23. Father John Misty - I Love You, Honeybear
22. Trembling Bells - The Sovereign Self
21. Sean Nicholas Savage - Other Death
20. The Weeknd - Beauty Behind the Madness
19. Lower Dens - Escape From Evil
18. Waxahatchee - Ivy Tripp
17. Georgia - Georgia
16. Gwenno - Y Dydd Olaf
15. Kendrick Lamar - To Pimp a Butterfly
14. Sufjan Stevens - Carrie & Lowell
13. Baroness - Purple
12. Nadine Shah - Fast Food
11. Chelsea Wolfe - Abyss

10. Natalie Prass - Natalie Prass

Usually albums with awkward release dates (i.e. the very start or very end of the year) are very easily overlooked by the end of the release year. But with the self-titled debut from Natalie Prass, this was far from the case. Instead, this record sent Natalie’s talent into public domain, gracing Later…with Jools Holland and iTunes' best of 2015 feature among others. This success is remarkable for such a…well…pretty and delicate album. That's not to say this record doesn't have bite, but sonically there is a certain Disney-like quality, especially on the closer. Since 2012 this album had been sitting with Matthew E. White's Spacebomb label, who cruelly kept it under wraps in order to promote the latter's 2012 breakthrough record Big Inner, and rightfully so, that album was a masterpiece in its own right. And even though White also dropped an album this year year, 2015 was Prass' time to shine. With such an accomplished debut, is see no reason why whatever she releases in the future won't be even better; I'm expecting even more big things from this rising chanteuse.

Standout track - My Baby Don't Understand Me

9. Holly Herndon - Platform

The range of sounds and styles Holly Herndon experiments with on Platform are what make it such an exciting and engaging listen. Over the course of 10 tracks she explores elements of new-age, break-beat, techno, glitch-hop, choral pop, trip-hop, avante garde, house and even ASMR. There are easily accessible and almost anthemic moments to be found on tracks like 'An Exit' and 'Morning Sun' as well as bizarre left-turns on tracks like 'Lonely at the Top'. Some of her experiments are more successful than others, but overall this is an essential listen for anyone seeking to sonically explore the digital age we currently live in from a perspective which is both critical and celebratory. 

Standout track - Chorus

8. Joanna Newsom – Divers

There is no doubt that Joanna Newsom is one of the greatest songwriters of our time. I didn't even need her to release another masterpiece to prove this, but she darn-well did it anyway. At 11 tracks, Divers is her first attempt at a conventional album structure since her debut, the charming and highly nostalgic, The Milk-Eyed Mender. As ever, the songs of Divers are hearty, rich and beautiful, with Newsom's incredible lyrics remaining the focal point. Aside from the traditional wistful ballads, Divers also offers big pop moments in the form of 'Sapokanikan' and 'Leaving the City'. The fact that the opening track and closer link together lyrically is yet another stunning detail. 

Standout track - Goose Eggs

7. Oneohtrix Point Never - Garden of Delete

I tried to avoid placing albums released so late in the year this high but I can't help but give this album the love it deserves. Even if there is an element of recency bias, I'm sure this record will still hold up in a year's time. I can confidently say that I've enjoyed all of Daniel Lopatin's albums thus far, but Garden of Delete is on a whole new level. Far more urgent than anything he's produced thus far, this record pulsates and crushes throughout its exhilarating 45-minute-and-16-second run time. As well as the record flows, 'Ezra' is definitely the standout moment, hence why it also made my tracks of the year list.

Standout track - Ezra

6. Empress Of - Me

Those of you who follow me on twitter will know that I was (and still am) completely and utterly slain by this album. With the sheer volume of pop music that is being churned out at the moment it is easy to get swallowed up, but Lorely Rodriguez stands out from the crowd and fully asserts her presence with this record. Her production is absolutely on point throughout. This album encompasses the best things about pop in a beautiful package; it's crisp, catchy, funky, modern, emotive, passionate and, above all, it's really fun. And I'll tell you something else, Empress Of has no time for filler whatsoever. All ten tracks are killer, but 'How Do You Do It' and 'Make Up' are the standouts. 

Standout track - How Do you Do It

5. Carly Rae Jepsen - EMOTION

Like I mentioned in the tracks of the year write-up, I really didn't expect to enjoy this album as much as I did. 'Call Me Maybe' was once everyone's guilty pleasure, but 3 years later the 'guilt' has evolved into pure joy - 44 minutes of it to be exact. EMOTION has single-handedly redefined 'all killer, no filler'; from start to finish this album is 80's-tinged perfection and is packed with hooks and melodic flair. There is no clear standout because every track becomes your favourite at one point or another, but the opener 'Run Away With Me' is a very special moment indeed.

Standout track - Run Away With Me

4. Jamie xx - In Colour

In Colour, though composed of a mixture of pre-released material (Girl, Sleep Sound), club bangers (Gosh, Good Times) as well as a handful of tracks which could just as easily been featured on a new xx record (Seesaw, Stranger in a Room, Loud Places), works immaculately as one cohesive body of work. Despite its many standouts, one can't help but listen to the LP in its entirety, that's the only way one can appreciate the triumph that this record is. Also, the fact that 'Colour' was spelled the correct way brought it up the list by at least 2 spots. 

Standout track - Gosh

3. Jaakko Eino Kaveli - Jaakko Eino Kaveli

What is so remarkable about Jaakko Eino Kalevi is that there aren’t actually that many standout tracks in the traditional sense (besides the three singles), yet every track plays a vital roll in pulling the listener into the surreal dream-pop universe created by this synth-pop troubadour. Whether it be the icy synths of the unofficial theme tune 'JEK' or the jazzy outro of the closing track, there are plenty of astonishing artistic achievements scattered across this excellent record. This is undoubtedly one of the best debuts of the year and one that simply must grace your summer playlist in 2016.

Standout track - Hush Down

2. Grimes - Art Angels

As is the case with Garden Of Delete, there is a possibility of recency bias at play here. Regardless, this album is a fricking masterpiece. Over a year ago now I wrote about how much I was anticipating the follow up to Visions, but little did I know that it would be this good. Like Carly Rae Jepsen, Clair Boucher kills it with every single track, even the Taiwanese rap-dominated 'SCREAM'. Not only is the music outstanding, the packaging is also incredible, allowing me to stare at it as I blast it. My only concern now is how Grimes could possibly top this? But then again, I said the same thing last time and look how that turned out...

Standout track - Flesh Without Blood

1. Julia Holter - Have You In My Wilderness

I knew this record would be amazing from the moment it was announced, this belief was strengthened by the gleaming reviews that began to spring up all over social media. Now that it's finally out, I can confirm that it is in fact…well…incredible. Now, 'amazing' has been over-used to the point where all meaning is now practically void, it's almost a bit tacky and redundant. So instead I'm gonna go with 'awe-inspiring' instead. 

Julia first caught my attention with 2013's slow-burning Loud City Song, which opened me up to the weird and wonderful world of avante garde, from which I haven't turned back. But enough about the past, now is the time to appreciate this absolute beauty of an album. From the opening 'Feel You' and it's gorgeous refrain to the ethereal and left-field closer, this record is consistently bold, elegant and majestic in a classic way, but the clarity and purity of these tracks makes them extremely modern and fresh at the same time. This is my album of the year and it will take a lot to change my mind. 

Standout track - Feel You

Best tracks of 2015

So here we are, at the end of what has been both a wonderful and dreadful year in equal measure. With the world moving in the direction it's going, there is no doubt that music will continue to be my go-to escape.

After much debate (...with myself), I managed to settle on the 30 tracks that defined my year. Looking at the list, I can proudly say that my music taste have diversified a lot in the past year; this not only reflects my taste in general but my interests and priorities too. I now value the power of a downbeat and reflective jam as much as I do an uptempo banger. 

In the interest of space I decided to make it one song per artist and in the interest of time I only did write-ups for the top 10.

I also made a handy spotify playlist of all the tracks below the list. Enjoy! 


30. Holly Herndon - Morning Sun
29. Empress Of - How Do You Do It
28. Martha Ffion - So Long
27. US Girls - Damn That Valley
26. Frances - Grow
25. Daughter - Numbers
24. NoMBe - California Girls
23. Chelsea Wolfe - Iron Moon
22. Bully - Trying
21. Lapsley - Hurt Me
20. Oneothrix Point Never - Ezra
19. Puro Instinct (feat. Christian Rich) - Lake Como
18. Waxahatchee - Summer Of Love
17. Kendrick Lamar - King Kunta
16. Grimes - Pin
15. Sufjan Stevens - Should've Known Better
14. Jamie xx - Seesaw
13. Noonie Bao - Pyramids
12. The Weeknd - Can't Feel My Face
11. Beach House - Sparks

10. Nadine Shah - Fool

If you followed my blog back in 2013, you'd know that I was head over heals in love with Nadine Shah's fantastic debut Love Your Dum and Mad. Two years on and this is still very much the case. Fool is a characteristically dark and macabre affair, but there is an element of humor and fire here which makes it a remarkable leap forward in her sound. The combination of the piercing guitars with her rich, smoky tone is just magical. 

9. Drake - Hotline Bling

Like a said earlier, this list is about the songs that defined 2015, so I couldn't possibly leave Hotline Bling off. From the iconic video to Drake's signature sleek delivery, this track sums up the movement that is happening in popular music, where beats and personality triumph over dull, white middle class indie bands. Oh, and who could forget the incredible gifs the video produced?

8. Chromatics - I Can Never Be Myself When You’re Around


So instead of doing what they were supposed to do, Chromatics thought it would be fun to tease us all for a year and so still haven't dropped the fucking album. Funny, huh? In spite of this I couldn't do this list without featuring one of their fantastic singles from this year. Out of all of them, I Can Never Be Myself When You’re Around is the track that has kept me checking for updates; the driving, pulsating synths ensure that my excitement is still very much alive.

7. Julia Holter - Feel You

Speaking of bewitching tracks, here's another one. This time it's from the wonderful and extremely talented Julia Holter, who's last record Loud City Song is still one of my favourite records of all time. Moving away from a less abstract and more earthy~ sound, 'Feel You' is a sweet and romantic ditty with spine-tingling harpsichord lacing the instrumentation beautifully. As you will soon see, the parent album did very well on my year-end list.

6. Jaakko Eino Kalevi - Deep Shadows

I was initially trying to avoid putting tracks by artists who made the albums list in this one...but yet I've already failed, a lot. In fairness, if there's a track worth defying the 'rules' I set myself, it's this. Deeper Shadows is everything I love in a pop song; it's weird, it's funky, it's full of hooks and IT FEATURES PANPIPES! Seriously incredible stuff, just like the record it sits within, but you already know I love that.

5. Tame Impala - Eventually


Three years on, Lonerism is still the official sponsor of my summer (i.e me eating ice cream and pretzels in my room, listening music and watching old TV shows, alone). But it's so much more than that, it is able to mentally transport me to a psychedelic dream world (like some kind of trippy escape from reality). There are a handful of tracks on Currents which are able to capture the magic of its predecessor, and Eventually is definitely one of them. Shout out to Let It Happen and The Less I Know The Better, the latter actually features on the playlist because I screwed it up. Silly me.

4. Warpaint - I'll Start Believing

A year ago, when I named Warpaint as my favourite album of 2014, I honestly didn't they'd be coming back for more so soon. Embarrassingly, it took me like 5 months to find out this song existed. If you want an explanation for my foolishness I'm sorry, I haven't got one. But I am bloody well making up for it now, I've been playing the shit out of this track ever since. It's everything I love about Warpaint; it's brooding, bewitching, intricate and yet still melodic and, dare I say, catchy. This is a total earworm and will stay with you for quite some time after listening, so be warned. I still believe, girls. 

3. Lower Dens - To Die In LA

How does one define euphoria? According to Google it is 'a feeling or state of intense excitement and happiness', this is often associated with music or other forms of art, namely visual. Good music, usually in the genres of dream pop, techno, house or chamber pop tends to have the ability to transform your entire mental state for just a few short moments. But great music, like this track, has the ability to take me to another place entirely, and this motion is so powerful that it resonates far beyond the moment the track finishes. See for yourself.

2. Carly Rae Jepsen - Run Away With Me

As you all probably remember, 2012 was pretty much dominated by Carly Rae Jepsen's mega-hit Call Me Maybe, which I still bop to occasionally (well often...I'm not proud of myself). Three years later, in two the most unexpected moments of the year 1) Carly Rae Jepsen reappeared and 2) Carly Rae Jepsen dropped one of the best pop songs/albums ever made. An overreaction? Perhaps. But the bottom line is that this track is fucking incredible and has been incredible for quite some time now. Carly Rae Jepsen is no longer a guilty pleasure ladies and gentlemen, now bop to your heart's content (skip to track 11 because I screwed up the playlist, again). 

1. Unknown Mortal Orchestra - Multi-Love

Here it is, my song of 2015. I had many options and sounds that I could've picked that would've been as deserving but ultimately I decided to plump for the song that I felt would bring me back to this year whenever I heard it. From the moment I first heard the opening piano riff I knew this track would be special, the infectious chorus went on to confirm this. The fact that this isn't ordinarily a band I'd listen to a lot nor did I particularly enjoy the record this features on is unusual, but I cannot deny how much I love this track.

Best of September

Hi there, I'm beginning to sound like a broken record here (ha) but I apologise for not updating the blog as often as I used to. I'm afraid the days of 30+ posts are over; I've just begun the most challenging academic year of my life so far, so I won't be able to update very week like I did in the good ol' days.

That being said, this blog has always been a great outlet for me and a great distraction, so I will try my best to post as frequently as possible. In a year's time things might be different and I might just have a little more time on my hands. But we shall see...

ANYWAY, September was a great month for music and it would be a shame to ignore it. In fact, some of my favorite records of the year were released last month and it's a shame I can't review them right now, but that's the way it is. The write-ups will be short for now but I will hopefully write a lot more in the year-end list I'm planning. 



Julia Holter - Have You In My Wilderness

Now that summer is well and truly over, the cold is beginning to set in and we're all feeling a bit rubbish, the goddess that is Julia Holter has just made life a little bit easier. I knew this record would be amazing from the moment it was announced, this belief was strengthened by the gleaming reviews that began to spring up all over social media. Now that it's finally out, I can confirm that it is in fact, well, AMAZING.Now, 'amazing' has been over-used to the point where all meaning is now practically void, it's almost a bit tacky and redundant. So instead I'm gonna go with 'awe-inspiring' instead. 

Julia first caught my attention with 2013's slow-burning Loud City Song, which opened me up to the weird and wonderful world of avante garde, from which I haven't turned back since. But enough about the past, now is the time to appreciate this absolute beauty of an album. From the opening 'Feel You' and it's gorgeous refrain to the ethereal and left-field closer, this record is consistently bold, elegant and majestic in a classic way, but the clarity and purity of these tracks makes them extremely modern and fresh at the same time. This is my album of the year and it will take a lot to change my mind. 

Empress of - Me

Those of you who follow me on twitter will know that I was (and still am) completely and utterly slain by this album. With the cheer volume of pop music that is being churned out at the moment it is easy to get swallowed up, but Lorely Rodriguez stands out from the crowd and fully asserts her presence. Oh, and her production is on point. This album encompasses the best things about pop in a beautiful package; it's crisp, catchy, funky, modern, emotive, passionate and, above all, it's really fun. And I'll tell you something else, Empress Of has no time for filler whatsoever. All ten tracks are killer, but 'How Do You Do It' and 'Make Up' are the standouts. 

CHVRCHES - Every Open Eye

CHVRCHES really don't need me to plug them at this point but I'll continue anyway, because this is pop that is too good to be ignored. Unfortunately, the vast majority of the band's 'promo' comes from lead singer Lauren Mayberry speaking out against some disgusting, greasy peasants ('trolls'), who relentlessly target her on social media with all kinds of creepy shit. This is not only a shame because she's a human being but because the music she creates, along with Ian and Martin, is pretty damn great. Thankfully the band have appeared to have overcome the filler issue from their debut and have delivered a consistently solid collection of tracks. Highlights include 'Bury It', 'Empty Threat', 'Keep You on My Side' and 'Playing Dead'. 

Helen - The Original Faces

For those poor souls who don't know who don't know who Liz Harris A.K.A Grouper is (most of you), allow me to fill you in. She is the mother of ambient and dream pop music, no matter what my mood is I can stick a Grouper record on and be transported to another realm. In her new project, she dips her toe into shoegaze and the results are psychedelic, blissful and lush. So basically exactly what you'd expect from Liz Harris doing shoegaze.

Songs

I can't believe I'm writing this but over the past month, no songs (bar one*) have really excited me to the point where I want to devote an entire section to them. I have instead simply picked them out below; I actually think they'll sound fantastic within the context of their respective records.

Oneohtrix Point Never - I Bite Through It
Le1f - Rage

Arca - Soichiro
Joanna Newsom - Leaving The City*
Majical Clouds - Are You Alone?

*So bloody incredible that I might just devote an entire paragraph to it in my forthcoming review of Divers

I fully intend on covering these records when they're out in full. It just so happens that the tracks above are very much album tracks, fantastic, but album tracks nonetheless. 

Best of 2015 so far (and a taste of what's to come)

Hello everyone, apologies for the lack of updates (it's been a pretty hectic summer) but thankfully things have started to quiet down and I am ready to plug some more music! Despite my absence my page views have really shot up over the past few months so thanks for that. 

For those who don't know me off the internet I am also highly passionate about politics and so am working on a few pieces for some political publications, more on this soon...

Since we're over half way through the year I thought it'd be a good idea to compile a list of my favourite releases of the year so far, as well as a summary of the incredibly exciting releases still to come. This list is in no particular order because my mind is constantly changing about which are my absolute favourites, so they're all pretty damn good.

Jaakko Eino Kalevi - Jaakko Eino Kalevi 

What is so remarkable about Jaakko Eino Kalevi is that there aren’t actually that many standout tracks in the traditional sense (besides the three singles), yet every track plays a vital roll in pulling the listener into the surreal dream-pop universe created by this synth-pop troubadour. Whether it be the icy synths of the unofficial theme tune JEK or the jazzy outro of the closing track, there are plenty of astonishing artistic achievements scattered across this excellent record. This is undoubtedly one of the best debuts of the year so far and one that simply must grace your summer playlist.

Jamie xx - In Colour


In Colour, though composed of a mixture of pre-released material (Girl, Sleep Sound), club bangers (Gosh, Good Times) as well as a handful of tracks which could just as easily been featured on a new xx record (Seesaw, Stranger in a Room, Loud Places), works immaculately as one cohesive body of work. Despite its many standouts, one can't help but listen to the LP in its entirety, that's the only way one can appreciate the triumph that this record is.

Holly Herndon - Platform

The range of sounds and styles Holly experiments with on Platform are what make it such an exciting and engaging listen. Over the course of 10 tracks she explores elements of  new-age, break-beat, techno, glitch-hop, choral pop, trip-hop, avante-garde, house and even ASMR. There are easily accessible and almost anthemic moments to be found on tracks like Chorus, An Exit and Morning Sun as well as bizarre left-turns on tracks like 'Lonely At The Top'. Some of her experiments are more successful than others, but overall this is an essential listen for anyone seeking to sonically explore the digital age we currently live in from a perspective which is both critical and celebratory. 

Natalie Prass - Natalie Prass

What tops this album off is its rather unique back story; if you are wondering why this record sounds so nostalgic and warm, it could be because it was in fact recorded years ago...three to be exact. Since 2012 it had been sitting with Matthew E. White's Spacebomb label, who cruelly kept it under raps in order to promote the latter's 2012 breakthrough record Big Inner, and rightfully so, that album was a masterpiece in its own right. And even though White is releasing his new record later this year (which I'll be reviewing too), to me 2015 finally is Prass' time to shine. With such an accomplished debut, is see no reason why whatever she releases in the future won't be even better, as long as she's used this time productively, I'm expecting big things from this rising chanteuse.

Sufjan Stevens - Carrie & Lowell

Ever since I heard Seven Swans I was hooked on this guy's music. His inventive combinations of traditional folk, chamber pop and the occasional electronic elements, for me, always set him apart from the bog-standard 'dude with a guitar' acts. When it was first announced that Carrie and Lowell would 'a return to his folk roots', I had no idea how true this statement would be; this is the most bare and raw I've ever heard Stevens sound. As a mummy's boy myself, this is a truly devastating listen with absolutely no break from the darkness in its 42 minute running time. But I must admit, praising this record for its rawness and its relentlessness makes me somewhat of a hypocrite when I criticised Sun Kil Moon's Benji for the exact same reasons. The difference is that Sufjan balances the bleakness of these tracks with far more engaging melodies and his signature paper-thin falsetto, which makes the tone much cozier than it should be.

Florence + The Machine - How Big How Blue How Beautiful

With such an ambitious title and such a long absence, it is just as well that Florence and the Machine have in fact come through with a record which is big, blue and beautiful (I went there). With only 11 tracks on the standard edition, every track is vital to the flow and momentum of the record; gentle and reflective cuts like “St Jude” and “Caught” ensure that there is emotional diversity whilst the more anthemic tracks like “Third Eye” and “Queen Of Peace” retain the mainstream appeal of the band’s older sound, striking the perfect balance between appeasing loyal fans and including those who didn’t quite get the oddball charm of the band’s earlier material.

Kendrick Lamar - To Pimp a Butterfly

The ongoing class war in the UK and the race issues in America have defined 2015 so far and I have no doubt they'll continue to be prominent areas of debate among members my generation, and rightfully so. Growing up in an area which is both ethically and economically diverse, I recognise the need for enlightened social commentators like Kendrick Lamar. Even though I didn't get the hype over his last record, both lyrically and production-wise this stands heads and shoulders above Good Kid M.A.AD City. Inevitably his music won't appeal to a cynical and often ignorant older generation, but what is important is that we take notice of Kendrick's message and be inspired to speak about the issues that concern us.

Father John Misty - I Love You, Honeybear

After his breakthrough solo LP Fear Fun, Josh Tillman has delivered yet another excellent singer/songwriter LP. Sonically it isn't much of a departure from his previous material, however he does keep it interesting and throws a few curve balls in there, namely the electronica-tinged 'True Affection'. Best of all is the unashamedly soppy title track, which despite the sickly sweet lyrics is one of the most satisfying and engaging tracks in his discography. 

Waxahatchee - Ivy Tripp

Even if Ivy Tripp didn't exactly grab me at first listen, once you warm up to its quirks it becomes utterly captivating, almost like an ugly pet that you can't help but love. And having had time to take it all in, I can honestly say that I do love this record. I love that I haven't been able to stop playing La Loose (still listening to it as I type), I love that it feels like I've been loosing my shit to Poison for a year already and I love that Air is already an absolute classic, in my book at least. At its core Ivy Tripp is a beast and it will consume you hole once you let your guard down, which is ironic considering that this is one of Crutchfield's for defiant and stoic records lyrically. Well I assume that is the case, there is a lyric on the track 'Less Than' (<) which has perplexed me since the day I heard it; I'm not sure if "you're less than me, I am nothing' is empowering or self-deprecating, but regardless it's a powerful sentiment and one which I feel sums up Ivy Tripp as a whole.

Lower Dens - Escape From Evil

What is most commendable about Lower Dens on this record is the ease with which they are able to achieve such a distinct atmosphere and sustain it throughout, especially when so many others try so hard to convey any sort of mood whatsoever and fail. Where Escape From Evil shines brightest is when the band let go and embrace a lighter, more euphoric aspect of their sound, particularly on the melancholic yet therapeutic sheen of “To Die in LA”. My only wish is that they capitalized upon this sonic breakthrough with a record full of tracks of this calibre, which makes the fact that they didn't somewhat frustrating. That being said, knowing that Lower Dens have the potential to create melancholic pop perfection is comforting in itself.

My favourite tracks of the year so far

Beach House - Sparks

If you journey back to 2014, you may remember me speaking of my love for this band and my anticipation for their up-and-coming record, which later turned out to be the wonderful Depression Cherry (review coming soon). One of the best songs of their career thus far; Sparks recalls the glory days of My Bloody Valentine with it's suffocating layered production and piercing overriding guitars, while Victoria's ever-stunning vocals never fail to captivate me. This is easily my favourite track of the year so far, 



Warpaint - I'll Start Believing

OK, so I have an embarrassing confession to make...I only just discovered this track a week ago. The embarrassing part comes once you factor that I named their last record Warpaint as my favourite album of 2014 less than 9 months ago. If you want an explanation for my foolishness I'm sorry, I haven't got one. But I am bloody well making up for it now, I've been playing the shit out of this track for the last 7 days. It's everything I love about Warpaint; it's brooding, bewitching, intricate and still melodic and, dare I say, catchy. This is a total earworm and will stay with you for quite some time after listening, so be warned. I still believe, girls. 

 


Lower Dens - To Die In LA


How do you define euphoria? According to Google it is 'a feeling or state of intense excitement and happiness', this is often associated with music or other forms of art, namely visual. Good music, usually in the genres of dream pop, techno, house or even chamber pop, tends to have the ability to transform your entire mental state for just a few short moments. But great music, like this track, has the ability to take me to another place entirely, and this motion is so powerful that it resonates far beyond the moment the track finishes. See for yourself:




Puro Instinct (feat. Christian Rich) - Lake Como


God, this is just gorgeous. Now I'm always partial to a bit of dream pop but this really is outstanding. The duo have been quiet for so long that I kinda forgot about them, but with this stunner they are back with a vengeance. As aggressive as that sounds, 'Lake Como' is a slow, sultry and dreamy mid-tempo with rolling 80's style synths and a majestic chorus. 'Over and over I under your spell, don't know you do it you do it so well', my thoughts exactly ladies, my thoughts exactly...




Jaakko Eino Kalevi - Deep Shadows

I was initially trying to avoid putting tracks by artists who made the albums list in this one...but yet I've already failed, TWICE. In fairness, if there's a track worth defying the 'rules' I set myself, it's this. Deeper Shadows is everything I love in a pop song; it's weird, it's funky, it's full of hooks and IT FEATURES PANPIPES! Seriously incredible stuff, just like the record it sits within, but you already know I love that.




Julia Holter - Feel You

Speaking of bewitching tracks, here's another one. This time it's from the wonderful and extremely talented Julia Holter, who's last record Loud City Song is still one of the best albums I have ever heard. Moving away from a less abstract and more earthy~ sound, 'Feel You' is a sweet and romantic ditty with spine-tingling harpsichord lacing the instrumentation. From what I know of Have You In My Wilderness, her forthcoming LP, we are in for an absolute treat. 




NoMBe - California Girls


Before you jump to any conclusions here, this is NOT a Katy Perry cover. What it is however is a hazy, woozy and gripping piece of electronic blues-rock. The way the song unravels and progresses whilst retaining its intoxicating intimacy is really special. Don't even get me started on that breakdown at the end, it's truly masterful, but I wish it lasted a little longer. I can't wait to put this on blast for the next 4 months, I recommend you save this one for your summer playlist.




Waxahatchee - Summer Of Love


If you trace back to the end of 2013, you'll remember that I placed Katie Crutchfield's sophomore album at number 1 on my favourite albums of 2013 list. Though Ivy Tripp didn't quite meet my expectations, it was [and is] still an excellent record that absolutely deserves your attention. 'Air' or 'La Loose' would've probably been more obvious cuts to feature on my list, but Summer Of Love is the song that really stuck with me and I am still returning to it every other day. It's just so powerful and captivating. Apologies for the lack of recorded version, you'll just have to settle for this wonderful session version instead. 




Rosie Lowe - Who's That Girl


Yet another killer track from rising UK soulstress Rosie Lowe and this could well be her best track to date. She has confirmed that her debut album will be out this year and has given us the excellent 'Who's That Girl' to quench our thirst for the moment. The production, as ever, treads the line between now and the future, with icy beats and subtle vocal manipulation complementing Rosie's vocals impeccably. I need this album, and so do you.




Tame Impala - Let It Happen

God I love this band. Lonerism is still the official sponsor of my summer (i.e me eating ice cream and pretzels in my room, listening music and watching old TV shows, alone). But it's so much more than that, it is able to mentally transport me to a psychedelic dream world (like some kind of trippy escapism from reality). Even though there has been no official announcement of their new record, Let It Happen, at 8 minutes, is long enough to quench my thirst for the moment. 




So there you have it folks, a highly condensed list of the music I've been loving from between January and July this year. I fully intend of producing a massive list for the end of the year write-up to compensate for my inconsistency and flakiness this year. Until then I'll be trying my best to write at least one new review every month. Stay tuned. 

Tame Impala - Currents review

I'm gonna put my hands up straight away and admit that I really wasn't all that into Tame Impala at first. To me, they were just another white, dull and boring indie band that made music for that exact demographic (probably why no one I know has heard of them, then). For quite some time I categorized them with the likes of DIIV, The War On Drugs and Kurt Vile (I could go on and on) and never really felt compelled by the immense hype surrounding these acts by the likes of Pitchfork. Though I still profess that they are a dull indie band who I would most likely dislike on a personal level, I did really like Lonerism (dammit!). This was largely down to the strong psychedelic production drowning out Kevin Parker's dreary vocals and making their whole aesthetic a lot more interesting as a result (see "Elephant", their breakout track). I was pleasantly surprised when the band dropped "Let It Happen", one of my favorite tracks of 2015, a few months ago and thus made me interested to see how the new record would sound. With Currents, they have come through with a more synth-heavy sound which largely serves them well.

The record begins strongly with Let It Happen, an epic labyrinth of psychedelia which is as compliant with old school disco as it is surf rock, making it one of the band's more experimental moments. This sets the tone for Currents rather well (especially as minimal guitar use is a theme throughout the record) and as a result many of the album highlights are synth-heavy and different to the rest of the band's discography. The production is certainly where this album's strengths lie, this is most prominent on tracks like 'Eventually', where an orchestra of synths, sneers and crashing symbols create a cascading dream-like soundscape. Elsewhere the band return to their earlier sound with mostly successful results, a key example being 'The Less I Know The Better', where the groove is structured around an instant guitar hook and Cam Avery's impeccable bass. The band revisit their Lonerism sound once again on the track 'The Moment', which features one of the more distinctive and hook-laden melodies on Currents, despite not actually having a defined chorus as such.

Despite the many highs this record has, there are a fair few duds which hinder my overall enjoyment. It is evident from my earlier praise that I adore the production, this has always been my favourite thing about the band itself. My issue with not only this record but Tame Impala as a whole is Kevin Parker's weak and often grating falsetto. Unfortunately this is a vocal style which dominates the indie rock 'scene', hence why it is often so damn dull. When the production is strong, I can overlook weak vocals, but where the production is lackluster and the vocals are more prevalent, they can cross the line into insufferable. 'Disciples' is the biggest culprit of this, the fast pace of the track perhaps making Parker's voice sound extra whiny. But thankfully this track is only 2 minutes long so the suffering is not prolonged, the same cannot be said for 'Cause I'm a Man' which is easily one of the most indulgent, irritating and unappealing songs of their career thus far.

But believe it or not, I actually do quite like this record; It may not be as good as Lonerism, but it still hits far more than it misses. Let It Happen and The Less I Know The Better, both of which are career highlights, in particular ensure that the bad recover from misjudgments such as 'Cause I'm A Man and the awkward interludes. Overall I commend Kevin Parker and Co. for experimenting with the sound that broke them into the mainstream without alienating their older fans, which is somewhat of a rarity in the industry today.

7.4

Best tracks: Let It Happen, The Moment, Eventually, The Less I Know The Better

Jaakko Eino Kalevi - S/T review

As you may have gathered from my Jamie XX review earlier this month, I have a deep appreciation for music which encompasses levity and space whilst retaining its hooks and melodic charm. Unlike In Colour however, the focus of Jaakko Eino Kalevi isn’t in the club, but rather the subtleties in basic day-to-day life, viewed through tinted spectacles. His music first caught my attention when I heard the stunning “No End” from his Dreamzone EP back in late 2013, I was captivated by the hushed vocals (courtesy of frequent collaborator Suad Khalifa) and the woozy yet distinct melody which circulated my brain for the last two years (no exaggeration). Even though none of the 4 tracks from the EP made it onto the track list, Jaakko Eino Kalevi feels very much like an expansion upon the ideas he presented on Dreamzone, cementing his status as the best thing to have come out of Sweden in recent memory.

Before I heard this record I was slightly anxious as to whether or not Jaakko Eino Kalevi could pull off an album’s worth of material, Dreamzone may have worked incredibly well as a 4-track EP but would his act wear thin on an entire LP? The answer is yes, yes he can. The opening track “JEK” and the unpronounceable closing track “Ikuinen Purkautumaton Jännite” act as bookends for the record, both mirroring the same progressive production style with glacial synths driving their melodies which build up to epic climaxes, especially the closer, which erupts into a fantastic horn section. For the most part Jaakko Eino Kalevi is made up of avant garde lounge pop, with many tracks being suitable for some kind of obscure ’70s movie with heaps of smoke and mustaches (which would be aptly strange). The track “Room” encompasses this imagery the most, with Jaakko and Suad’s hushed vocal harmonies creating a sultry bedroom jam.

Away from the more ambient and atmospheric sounds that dominate the album come some more distinctive and memorable tracks, some more ‘poppy’ moments if you will. The obvious standout is “Deeper Shadows”, with it’s hook-laden panpipe-led melody and meandering dual vocals, making this his catchiest and most instant track to date. Elsewhere the disorientating shoegaze of “Double Talk” draws on simplicity with the refrain “You talk, double talk/you think, double thoughts”. The penultimate track “Hush Down” calls upon a funkier aspect of JEK’s sound, particularly the warped synth-heavy pre-chorus leading up to the joyous slurry grooves of the chorus. These tracks in particular standout against the chilled and surreal backdrop of the rest of the LP, creating a sense of diversity.

What is so remarkable about Jaakko Eino Kalevi is that there aren’t actually that many standout tracks in the traditional sense (besides the three singles), yet every track plays a vital roll in pulling the listener into the surreal dream-pop universe created by this synth-pop troubadour. Whether it be the icy synths of the unofficial theme tune JEK or the jazzy outro of the closing track, there are plenty of astonishing artistic achievements scattered across this excellent record. This is undoubtedly one of the best debuts of the year so far and one that simply must grace your summer playlist.

8.8

Best tracks: JEK, Double Talk, Deeper Shadows, Hush Down, Ikuinen Purkautumaton Jännite

Florence + the Machine - How Big, How Blue, How Beautiful review

Over their spectacular albeit short discography, Florence and the Machine have achieved both critical and commercial acclaim ever since they burst onto the scene in 2007 with “Dog Days Are Over” and subsequently their debut album Lungs. What initially drew my attention to FATM was the commanding and passionate vocals of front woman and primary songwriter Florence Welch alongside the organic and ‘quirky’ instrumentation that dominated the band’s early material. On their sophomore album Ceremonials however, the band left the meadows and forest creatures behind in favor of soul choirs, lavish string arrangements and a new, more sleek aesthetic altogether. As much I adore both of the aforementioned records, How Big, How Blue, How Beautiful comes as a refreshing new chapter for the band’s discography, delivering a sharp, streamlined yet equally enjoyable record.

As the title hints, How Big, How Blue, How Beautiful contains a fair number of epic moments, in fact, I’d go as far as to say that the record is dominated by huge choruses, much like the band’s previous material. ‘Ship to Wreck’, one of the more uptempo and joyous cuts, laced with jingle-jangling guitar chords which recall the solo work of Fleetwood Mac legend Stevie Nicks. One of the bigger moments on the record come on the horn-laced “Queen of Peace”, which is one of the strongest tracks the band have ever produced both sonically and lyrically, the tense horn/drum combo along with the regal imagery capture Florence Welch’s lyrical talent at its very best, a career highlight. Another standout, “Third Eye”, displays Welch’s knack for hook-laden songwriting, complete with soaring chants and the desperate assertion of the lyric “I’m the same, I’m the same, I’m trying to change”, once again reinforcing the idea that this record is a new chapter for the band.

Between these grand moments Florence and Co. also come through with some more reflective cuts, some rather blue moments, if you will. This mood is captured perfectly on the track “Caught”; what feels like a real breakthrough for Welch artistically, “Caught” is a frank and honest confession of her shortcomings, as if she’s coming clean and leaving her mistakes behind in order to free herself at last. This reflective vibe serves her less well on the track “Long & Lost”, one of the weaker tracks on the record. Here the instrumentation remains stagnant and even a little drab despite Welch’s voice being as stunning as ever. Even if the melody isn’t up to much I will always welcome a track where I can hear Florence giving a more restrained vocal performance, so this is still very much an essential part of the album.

When the moments of melancholy subside, the clouds eventually part to reveal a glimmer of sun to penetrate the grey-scale sheen, making for some, dare I say, rather beautiful moments. With harp being such a prominent feature on many of their older tracks, we know that Florence and the Machine never shy away from a more ethereal and otherworldly sound. On the stunning penultimate track “St Jude”, we hear a more skeletal and vulnerable side of the band’s sound, the use of organ reflecting the soulful grandeur of Ceremonials, to some extent. The title track is one of the more dynamic moments on the record, deviating from folk-rock to baroque and chamber pop when the horn and string sections kick in towards the swooning outro.

With such an ambitious title and such a long absence, it is just as well that Florence and the Machine have in fact come through with a record which is big, blue and beautiful (I went there). With only 11 tracks on the standard edition, every track is vital to the flow and momentum of the record; gentle and reflective cuts like “St Jude” and “Caught” ensure that there is emotional diversity whilst the more anthemic tracks like “Third Eye” and “Queen Of Peace” retain the mainstream appeal of the band’s older sound, striking the perfect balance between appeasing loyal fans and including those who didn’t quite get the oddball charm of the band’s earlier material.

8.3

Best tracks: How Big, How Blue, How Beautiful, Queen of Peace, Caught, Third Eye, St Jude

Best of May

Over the last month we've heard some serious AOTY (album of the year) contenders from Holly Herndon, Novella and The Weather Station, all of which represent completely different sections of the music spectrum, exemplifying why this was such an interesting month for new music. I've also discovered a promising new artist by the name of r.e.l, who features below the albums section.  

But perhaps the highlight of the month was the long-awaited announcement of the new Beach House record titled Depression Cherry. Despite no material being dropped as yet, it is already one of my favourite albums of the year; amazing name - check, solid record label(s) behind release - check, excellent cover - check and, for the shallow collectors like myself, excellent packaging - check (I mean it has a red velvet sleeve for crying out loud!). But the bottom line is that Beach House are one of the most consistently excellent bands of the 21st century and so I have every hope that this will be yet another strong addition to their immaculate discography. 

Albums of the month



Holly Herndon - Platform

The range of sounds and styles Holly experiments with on Platform are what make it such an exciting and engaging listen. Over the course of 10 tracks she explores elements of new-age, break-beat, techno, glitch-hop, choral pop, trip-hop, avante-garde, house and even ASMR (Autonomous sensory meridian response). There are easily accessible and almost anthemic moments to be found on tracks like 'Chorus', 'An Exit' and 'Morning Sun' as well as bizarre left-turns on tracks like 'Lonely At The Top'. Some of her experiments are more successful than others, but overall this is an essential listen for anyone seeking to sonically explore the digital age we currently live in from a perspective which is both critical and celebratory. 



Read my full review here.

Eskimeaux - O.K.

Even if O.K. isn’t the flashiest or even the most hard-hitting of pop records I’ve heard this year, it certainly speaks to me the most. The vocals are often light and vulnerable, at points they’re barely above a whisper, but the occasional harmonization is there to remind us all that we aren’t always alone. The power that these folky-pop ditties possess, whether that be lyrically or sonically, make O.K. one of the more compelling releases of the year, and Eskimeaux one of the most endearing and charming of the many indie-pop acts I’ve discovered as of late. So if you’re ever feeling down or in need of comfort and reassurance when the world is getting a little too much to bear, I would recommend O.K. straight away.



The Weather station - Loyalty

As much as I love techno and audacious pop music, I'm also partial to good folk record and this is likely to be the best you'll hear all year (unless Queen Joanna Newsom finally drops one this year, here's hoping). Even though there are no synths or vocal acrobatics to make her tracks accessible or catchy, Tamara Lindeman's gorgeous vocals assure that I remain engaged and hanging on her every word. The instrumentation is simple yet the melodies, perfectly complementary to Lindeman's vocals, bring the lyrics to life and take you into the whimsical world that Loyalty exists in. This is yet another strong release for Paradise of Bachelors.




Novella - Land

As many of you may be aware, I've been anticipating this record for a while now. Thankfully, Land was well worth the wait and has been on heavy rotation for the last couple of weeks. The impeccable 'Follow' has been re-recorded and opens the record perfectly, the driving guitar melody retains the psychedelic charm of the band's earlier material that I love so dearly. The record shines the most on the more hook-laden tracks like 'Sentences' and 'Land Gone', the harmonization of their vocals in combination with the reverb-soaked production and shedding guitars provide some the most compelling musical moments of the year so far.  




Blanck Mass - Dumb Flesh

Dumb Flesh is a weird ol' record. It isn't designed for the dance-floor, it isn't designed for road trips and it certainly isn't a  record you can listen to casually after work/school. These songs hit grooves and ride them in a way that Benjamin John Power's earlier work didn't. If his self-titled debut was an exploration of the outer reaches of (audible) space, Dumb Flesh torpedoes straight to the core and rips it to shreds. Whether it be the ear-shattering drones on 'Dead Format' or the surprisingly therapeutic second-half of the closer 'Detritus', this project never fails to excite and intrigue me. 




Circuit Des Yeux - In Plain Speech

Ever since I discovered Circuit Des Yeux I knew I was going to have a hard time describing her music, but I'm gonna try my best. Firstly, it's surreal; I have never heard a female baritone before, I never thought it would work to be completely honest. But within the labyrinth that is In Plain Speech, Haley Fohr's rich vocals blend seamlessly with the droning soundscapes to create a record which is unique, fresh and bold. None of the tracks necessarily work alone, but together they each feel substantial and captivating in their own right. 

Discovery: r.e.l

Earlier this month I was greeted with an email about an exciting 19 year old female artist who's showing great promise and has a sound reminiscent of the likes of Lorde, who I happen to love immensely. So I had a listen and was delighted with what I heard, I'd even go as far as to say that this is one of the strongest pop releases of the year so far. For a debut release, I was surprised to hear that she wasn't mimicking other female artists or blatantly recycling melodies, instead r.e.l borrows from an eclectic range of influences, from bubblegum pop to darker electronica and occasionally folk sounds. 

Her self-titled EP consists of 6 light, catchy and occasionally touching pop songs. My favourite of all is the opening track 'All That Bite', the infectious chorus recalls the style of blog favourite Hannah Diamond of PC Music fame with its bubbly synths and sickly-sweet vocal delivery. The EP shows immense range over the course of these 6 tracks, deviating from care-free party songs ('Salt') to skeletal hymns ('Love Your Neighbor'). The album's true moment comes on the track 'Headed To The Sun', an anthemic love song which I would fit quite comfortably on a mainstream radio playlist. But for now, my introductory playlist is below and features tracks from her debut EP as well as some relevant tracks from similar artists.

For fans of: Wet, Sylvan Esso, Lorde, Wild Ones




Songs of the month (playlist at the end)



Puro Instinct (feat. Christian Rich) - Lake Como

God, this is just gorgeous. Now I'm always partial to a bit of dream pop but this really is outstanding. The duo have been quiet for so long that I kinda forgot about them, but with this stunner they are back with a vengeance. As aggressive as that sounds, 'Lake Como' is a slow, sultry and dreamy mid-tempo with rolling 80's style synths and a majestic chorus. 'Over and over I under your spell, don't know you do it you do it so well', my thoughts exactly ladies, my thoughts exactly...

Samantha Crain - Outside The Pale

Moving on to something COMPLETELY different, a spot of Americana, courtesy of Samantha Crain, who released her stunning debut Kid Face early last year. Her debut was a 'hidden gem' in every sense of the word, but I blame this on the weird-ass release date...I mean, who released an album in December/January? When everyone is broke, hungover and depressed and the music media are on holiday? Smart move. Clearly this is nothing to do with the very talented Samantha, and fortunately her new record is receiving a fair amount of press already. This is by far her strongest track so far, the strings and raw production style remind my of exactly why I loved Torres' debut record. She has a very ~authentic~ and ~rootsy~ sound and I'm really looking forward to hearing this new record. 

Jamie XX - I Know There's Gonna Be Good Times (feat Young Thug)

Now that it's very nearly summer, the new Jamie xx LP In Colour (full review here) is already ready and waiting to be your soundtrack. Even if (like me) you won't actually enjoy this summer at all because of school/work/stress/life in general, this record with certainly make it easier. Amongst the many understated, nocturnal club tracks comes this odd-ball, which sticks out like a sore thumb, in the best possible way. Young Thug, one of the most promising rising rappers, really adds to this track, his crazy flow fits the sampling perfectly. I'm just gonna ignore the lyrics, it's a club track after all, so who's judging? 




VÉRITÉ - Colors

While we're on the subject of summer bangers, here's another one for you. It's nice (and rare) to see a pop song that is this well-crafted; the production in the verses is as well thought-out and hook-laden as the spectacular chorus. Unlike many pop songs, the lyrics aren't vapid and the concept of colours and euphoria blend seamlessly into the atmosphere and mood of the track, tying it all together rather nicely. 

DRINKS - Hermits On Holiday

OK, this is a weird one. Yep, that pretty much covers it. 'Hermits on Holiday' is a bonkers piece of indie (I couldn't think a better genre to defy it with). But what you really need to know is that half of this newly-formed duo is the very excellent singer/songwriter Cate Le Bon, whose LP Mug Museum is still every bit as incredible as it was when it came out back in 2013. Anyway, the majority of you probably won't really like this but I do and it's my blog so...

Gwenno - Patriarchaeth

There must be something in the water across the boarder because here is yet another outstanding recent track from a Welsh artist, this time it's Gwenno Saunders, the former frontwoman of The Pipettes who has since gone solo under the moniker Gwenno. If the last track wasn't Welsh enough for you, this one is actually sung in Welsh. Gwenno actually released her album, titled Y Dydd Olaf, in October last year on a small Welsh label called Peski Records. This here is a fun, 70's inspired ditty which has a great sense of authenticity and really stands out from the many songs I've heard in recent months. 

Adult Mom - Survival

Here's yet another hip indie band from New York! (courtesy of Stereogum, naturally). I sound cynical but I keep coming back for more so I can't really complain. 'Survival', at first listen, is a deceptively pleasant, light and catchy indie pop track but the lyrics reveal undercurrent of teen rebellion and self-depreciation which make it feel a lot more memorable than your average indie pop track. Plus it has really nice synths, which I have a real weakness for. 

Briana Marela - Surrender

I thought I'd end the post (and indeed, the playlist) with a euphoric piece of folktronica. Jagjaguar is a label renowned for its constancy in delivering solid and interesting records from artists who have longevity (Sharon Van Etten, Unknown Mortal Orchestra) and I reckon their latest signee Briana Marela will be no exception to this. 'Surrender' doesn't really follow any recent trends, it just exists in its own little world, picking flowers and frolicking through meadows; the layered tones and bleeps under Briana's ethereal vocals make it perfect for some Disney-inspired fun.