The five essential albums this time are:
- Feist Metals
- Laura Marling A Creature I Don't Know
- M83, Hurry Up, We're Dreaming
- Tidelands If
- Wilco The Whole Love
This is laid back, and retro in style, since London based instrumentalist Shawn Lee has a special interest in music made between 1967 and 1973. AM from Los Angeles adds the falsetto vocals in this blend of world music, funk and pop. This collaboration was brought to my attention through the Owl Mag and whilst it doesn't engage and move me as some on this list, you have to admire this album's vibe.
Austra Feel it Break (New Wave) 8/10
This Toronto trio are masterly in their chilly intensity: this is dark, mysterious music; hypnotic. The vocalist Katie Stelmanis is a former opera student, joined by bass player and drummer. I can identify a Philip Glass-style minimalism in the use of repetition, and the singing reminds me more of the church than opera house, but this isn't pretentious art music. Some have compared Stelmanis to Kate Bush, and the Cocteau Twins have been mentioned as influences too, but she creates her own mood. This album was nominated for the Polaris Prize, and whilst The Suburbs deserved to win as an album of the decade, let alone of the year, but this is inspired in its own right.
Blind Pilot We Are The Tide (Indie Folk) 6.5/10
This is a straightforward, direct album, and whilst I admire this simplicity, it could have displayed more variety of style and tempo. I still enjoy Israel Nebeker's strong vocals, very much in the foreground, with backing including dulcimer, banjo and assorted percussion. Above all, I appreciate the beautiful use of melody, and although this album could have showed so much more creativity, it's still an uplifting experience.
Caroline Smith & Good Night Sleeps Little Wind (Indie Folk Pop) 7.5/10
This album has gradually charmed me, in part because of Caroline's seductive, characterful voice, the catchy tunes and joie de vivre. Admirers of Regina Spektor or Feist should investigate this up and coming collaboration from Minneapolis: they're beautiful, with a warm, folksy feel. My favourite track is Calliope, with rootsy influences and energetic accompaniment from The Sleeps. I'm grateful to the 185 backers on Kickstarter project who made the recording possible: the record gets stronger and stronger as it progresses.
Caveman Coco Beware (Indie Folk) 8/10
I wasn't surprised to hear that this five piece from New York has opened for Edward Sharpe and The Magnetic Zeros: a 1960's hippy haze pervades this project. My attention was drawn to this album because a trusted Twitter friend compared their sound to Other Lives, and the instrumentation can be epic sounding. As befits the title, there's tribal drumming, and it has an elemental feeling, and conveys hope. The music itself is relatively simple, with repetitive choruses, and has a chilled out vibe as the group jam together. Be kind to your soul and buy this wholesome debut album.
Clap Your Hands Say Yeah Hysterical (Indie Rock) 8/10
Some might question whether this album is too mainstream, or too influenced by the Killers, but I found it really satisfying from the first listen. Reviews in the British press of this New York band's third album have been inexplicably critical. Perhaps it's overproduced, maybe there could have been more variety, but it's just so listenable. I love the catchy melodies and Alec Ounsworth's vulnerable vocal style.
Destroyer Kaputt (Shoegaze) 7.5/10
This is a highly original album which may divide opinion: I wasn't won over initially but as I've lived with it I've come to admire its dreamy, disconnected quality. The highlight is the atmospheric closer, Bay of Pigs, which conveys a deep sense of sadness and regret. The whole album though is full of lush harmonies, imaginative use of electronic beats, gorgeous female backing vocals and perhaps surprisingly, melodic hooks. This a surprisingly accessible 'art' album, with a sultry feel, despite the climate of Dan Bejar's Vancouver home.
Echorev Find North (Indie Rock) 8/10
Another hidden gem I've unearthed thanks to the discernment of the Owl Mag, whose review you should read. The multi national band claims influences including Neil Young and Andrew Bird. It's an eclectic blend of 80s sound, electro beats and folk, concentrated into a tight 30 odd minute album. There are creative, experimental touches, for example from the German drummer, but this isn't difficult music. It's a great journey, relatively chilled out, with contrasting moods over its eight tracks and lovely singing.
Some might question whether this album is too mainstream, or too influenced by the Killers, but I found it really satisfying from the first listen. Reviews in the British press of this New York band's third album have been inexplicably critical. Perhaps it's overproduced, maybe there could have been more variety, but it's just so listenable. I love the catchy melodies and Alec Ounsworth's vulnerable vocal style.
This is a highly original album which may divide opinion: I wasn't won over initially but as I've lived with it I've come to admire its dreamy, disconnected quality. The highlight is the atmospheric closer, Bay of Pigs, which conveys a deep sense of sadness and regret. The whole album though is full of lush harmonies, imaginative use of electronic beats, gorgeous female backing vocals and perhaps surprisingly, melodic hooks. This a surprisingly accessible 'art' album, with a sultry feel, despite the climate of Dan Bejar's Vancouver home.
Another hidden gem I've unearthed thanks to the discernment of the Owl Mag, whose review you should read. The multi national band claims influences including Neil Young and Andrew Bird. It's an eclectic blend of 80s sound, electro beats and folk, concentrated into a tight 30 odd minute album. There are creative, experimental touches, for example from the German drummer, but this isn't difficult music. It's a great journey, relatively chilled out, with contrasting moods over its eight tracks and lovely singing.
Feist Metals (Indie Pop) 9.5/10
This is one of the year's most exciting releases, and the fourth album from this Broken Social Scene singer doesn't disappoint. It's powerfully direct, emotionally devastating, and that smoky voice is seductive. The opening The Bad in Each Other, about a dysfunctional relationship, immediately seizes your attention, and then the less assertive ballad Graveyard has a more gradual, bluesy build up to its climax. The instrumentation is imaginative, actually not at all stripped back with strings, and even though it's meticulously produced it doesn't seem contrived. This is masterly art, and if you only listen to one new album this month, make it this one.
Gem Club Breakers (Dream Pop) 8/10
There's an affinity with Tidelands' album (reviewed below), or Other Lives, in that this is gentle, beautiful music, with classical influences. The tempo's often slow, the volume muted, and the instrumentation includes piano, cello and horn. It's deliberately understated, melancholy and spare: yet not an academic exercise, as you can relax and wallow in the space it gives you. I discovered this Boston duo through a review in The Owl Mag and I find the music emotionally powerful in its very restraint.
Girls Father, Son, Holy Ghost (Indie Pop) 8/10
This album begins with the jaunty Honey Bunny, but darker emotions are explored as it progresses. This male duo from San Francisco has quite a back story: Christopher Owens was brought up as a member of a religious cult, and I can relate to the sense of regret for a lost youth in this album. At its heart is the 8 minute Forgiveness, which culminates in a guitar solo, and betrays much pain. Some might find it too backward looking, Owens attempting to absorb all at once the musical eras he missed as a child, but for me, it does cohere and has an immediate appeal. It's a lengthy album, sometimes self-indulgent, but I can appreciate the reflective, sensitive feel: 'If you don’t have a little love in your soul, nothing’s gonna get any better'.
Grouplove Never Trust a Happy Song (Indie Pop) 6/10
This is a guilty pleasure: it's insubstantial, catchy music which will probably be ephemeral. I found it a lot of fun though, and it defies the ironic title. There are plenty of singalong choruses, hand claps, and California sunshine. It doesn't show any real development from their 2010 EP, and I don't detect the depth of Modest Mouse (whom some say has influenced Grouplove's vocals). Yet Never Trust a Happy Song has made this list because it's joyful, with a great feeling of happy, innocent collaborative music making.
This is one of the year's most exciting releases, and the fourth album from this Broken Social Scene singer doesn't disappoint. It's powerfully direct, emotionally devastating, and that smoky voice is seductive. The opening The Bad in Each Other, about a dysfunctional relationship, immediately seizes your attention, and then the less assertive ballad Graveyard has a more gradual, bluesy build up to its climax. The instrumentation is imaginative, actually not at all stripped back with strings, and even though it's meticulously produced it doesn't seem contrived. This is masterly art, and if you only listen to one new album this month, make it this one.
There's an affinity with Tidelands' album (reviewed below), or Other Lives, in that this is gentle, beautiful music, with classical influences. The tempo's often slow, the volume muted, and the instrumentation includes piano, cello and horn. It's deliberately understated, melancholy and spare: yet not an academic exercise, as you can relax and wallow in the space it gives you. I discovered this Boston duo through a review in The Owl Mag and I find the music emotionally powerful in its very restraint.
This album begins with the jaunty Honey Bunny, but darker emotions are explored as it progresses. This male duo from San Francisco has quite a back story: Christopher Owens was brought up as a member of a religious cult, and I can relate to the sense of regret for a lost youth in this album. At its heart is the 8 minute Forgiveness, which culminates in a guitar solo, and betrays much pain. Some might find it too backward looking, Owens attempting to absorb all at once the musical eras he missed as a child, but for me, it does cohere and has an immediate appeal. It's a lengthy album, sometimes self-indulgent, but I can appreciate the reflective, sensitive feel: 'If you don’t have a little love in your soul, nothing’s gonna get any better'.
This is a guilty pleasure: it's insubstantial, catchy music which will probably be ephemeral. I found it a lot of fun though, and it defies the ironic title. There are plenty of singalong choruses, hand claps, and California sunshine. It doesn't show any real development from their 2010 EP, and I don't detect the depth of Modest Mouse (whom some say has influenced Grouplove's vocals). Yet Never Trust a Happy Song has made this list because it's joyful, with a great feeling of happy, innocent collaborative music making.
James & Evander Constellating EP (Synth Pop) 8/10
This short EP from Oakland, California has a melancholy, contemplative feel yet still has an uplifting effect. There are three original tracks and two remixes here, the title track's especially beautiful and yo can stream it here. There's a strong chillwave influence, so it's dreamy, but there are catchy hooks, calm vocals and electro pop beats. I do hope they go on to produce a full length in their new style.
The Jezabels Prisoner (Indie Pop) 7.5/10
This Australian band have a rhythmically powerful, ambitiously large sound, and their first album fulfils the promise of their three previous EPs. It's dominated by Hayley Mary's rich, room filling voice which has an astonishing range of pitch. They create a distinctive, rich harmonies from drums, intricate piano playing and synth, giving an epic quality. They are not afraid to use reverb liberally, creating atmosphere, and if sometimes I'd wish they'd relax a little and breathe, this is a memorable sound and uplifting.
This short EP from Oakland, California has a melancholy, contemplative feel yet still has an uplifting effect. There are three original tracks and two remixes here, the title track's especially beautiful and yo can stream it here. There's a strong chillwave influence, so it's dreamy, but there are catchy hooks, calm vocals and electro pop beats. I do hope they go on to produce a full length in their new style.
This Australian band have a rhythmically powerful, ambitiously large sound, and their first album fulfils the promise of their three previous EPs. It's dominated by Hayley Mary's rich, room filling voice which has an astonishing range of pitch. They create a distinctive, rich harmonies from drums, intricate piano playing and synth, giving an epic quality. They are not afraid to use reverb liberally, creating atmosphere, and if sometimes I'd wish they'd relax a little and breathe, this is a memorable sound and uplifting.
Kevin Devine Between the Concrete and Clouds (Indie Folk Rock) 6/10
I found this album through my interest in Manchester Orchestra: Devine collaborated on their joint side project Bad Books. This is his sixth album, and whilst it's been said that he's absorbed some of Andy Hull's angst, I still find this pretty upbeat. This is relatively mainstream: it doesn't break any boundaries, and I'd often wish for something more demanding to stimulate my intellect. The easy lyricism and natural flow are refreshing, and whilst Hull's Simple Math is more to my taste, some will adore this.
Laura Marling A Creature I Don't Know (Indie Folk) 9/10
It's wonderful to see Laura Marling developing a distinctive style on her third album. She's moved away from a pure folk style, her voice has become a little darker, and there's a jazz vibe on tracks such as the opener The Muse. Her lyrics are astonishingly mature for a 21 year old, often introspective, particularly evident on The Beast, the six minute long dark, emotional centre of the album. I was convinced of the genius of this album on my very first listen, but depths are revealed after multiple listens, and it's one of the stand outs of 2012 for me.
It's wonderful to see Laura Marling developing a distinctive style on her third album. She's moved away from a pure folk style, her voice has become a little darker, and there's a jazz vibe on tracks such as the opener The Muse. Her lyrics are astonishingly mature for a 21 year old, often introspective, particularly evident on The Beast, the six minute long dark, emotional centre of the album. I was convinced of the genius of this album on my very first listen, but depths are revealed after multiple listens, and it's one of the stand outs of 2012 for me.
The Leisure Society Into the Murky Water (Indie Pop) 6.5/10
This is a bright, breezy light album: not particularly demanding, but instrumentation including double-bass, violin, cello, flute, mandolin, glockenspiel, drums and maracas adds colour. The Leisure Society has been compared to Belle and Sebastian, but this is folksy British pop centred on jaunty melody. It may well make you smile and relax, and whilst the vocal harmonies and lyrics flow so easily, it's not lacking in intelligence.
This is a bright, breezy light album: not particularly demanding, but instrumentation including double-bass, violin, cello, flute, mandolin, glockenspiel, drums and maracas adds colour. The Leisure Society has been compared to Belle and Sebastian, but this is folksy British pop centred on jaunty melody. It may well make you smile and relax, and whilst the vocal harmonies and lyrics flow so easily, it's not lacking in intelligence.
Lykke Li iTunes Session (Indie Pop) 7/10
This is a minimalist recording, and a worthy supplement to her 2011 Wounded Rhymes album (which is essential listening and where I'd start with Lykke Li). It consists of a Big Pink cover (Velvet) and some stripped down, acoustic versions of existing songs where she sounds quite vulnerable. There's also an stilted interview: the questioner reads from a script and makes no attempt to engage in conversation.She's a sensitive vocalist with a distinctive timbre, and the spare arrangements here only add to the sense of brooding mystery.
This is a minimalist recording, and a worthy supplement to her 2011 Wounded Rhymes album (which is essential listening and where I'd start with Lykke Li). It consists of a Big Pink cover (Velvet) and some stripped down, acoustic versions of existing songs where she sounds quite vulnerable. There's also an stilted interview: the questioner reads from a script and makes no attempt to engage in conversation.She's a sensitive vocalist with a distinctive timbre, and the spare arrangements here only add to the sense of brooding mystery.
M83 Hurry Up, We're Dreaming (Electronic Shoe Gaze) 9/10
This is my first encounter with Frenchman Anthony Gonzalez, and it's an amazing journey through this expansive double album (each track on first half has a counterpart on the second). It's euphoric, dreamy, sometimes 80's tinged ambient electronica, which I found incredibly beautiful and satisfying. Of course it's full of synths and reverb effects, but there's a real yearning, nostalgic quality. The absolute stand-out track for me is the delightful, hippyish Raconte-Moi Une Histoire, where a cute little girl talks of a frog and 'the biggest group of friends the world has ever seen'. This album absolutely sparkles, and it really is a dream like experience.
Meiko I'm in Love EP (Indie Pop) 7/10
Meiko's a talented singer song writer from Georgia, now based in LA: she creates quirky pop songs, with a wide appeal. Her style's light and easy on the ear, with catchy melodies, and whilst she doesn't break new ground, her voice is charming. I particularly appreciate the simplicity of the two acoustic numbers on this five track EP. The speed with which her latest Pledge Music project broke through its funding target shows her following, and if you can't get hold of this EP, listen to her 2008 self titled album.
Mogwai Earth Division EP (Post Rock) 7/10
This is my first encounter with Frenchman Anthony Gonzalez, and it's an amazing journey through this expansive double album (each track on first half has a counterpart on the second). It's euphoric, dreamy, sometimes 80's tinged ambient electronica, which I found incredibly beautiful and satisfying. Of course it's full of synths and reverb effects, but there's a real yearning, nostalgic quality. The absolute stand-out track for me is the delightful, hippyish Raconte-Moi Une Histoire, where a cute little girl talks of a frog and 'the biggest group of friends the world has ever seen'. This album absolutely sparkles, and it really is a dream like experience.
Meiko's a talented singer song writer from Georgia, now based in LA: she creates quirky pop songs, with a wide appeal. Her style's light and easy on the ear, with catchy melodies, and whilst she doesn't break new ground, her voice is charming. I particularly appreciate the simplicity of the two acoustic numbers on this five track EP. The speed with which her latest Pledge Music project broke through its funding target shows her following, and if you can't get hold of this EP, listen to her 2008 self titled album.
This is soft, restrained music with cellos and violins adding warmth to the texture. The Scottish group Mogwai is better known for more raucous material, and this could be seen as soundtrack music: it does have an expansive, cinematic quality. Listen closely though to Does This Aways Happen and you will be moved by the sad emotional intensity. There are only four tracks here, so I'd also strongly recommend buying their 2011 London iTunes Festival EP, which is less gentle but equally thoughtful.
St. Vincent Strange Mercy (Indie Pop) 7/10
I'm a huge admirer the incredibly creative Annie Hall, and Strange Mercy has been almost universally acclaimed in the press. There's something disconcerting about this album, which I'm sure was intentional, but as yet, I haven't yet been able to fully grasp its structure. St Vincent's quirkiness can be refreshing, and I love Cruel, but I feel that she's worked too hard to be experimental here, and has lost sight of the overall picture. I'd start with Actor from 2009, and keep a close watch for her fourth album. A track as original as Northern Lights, which starts off conventionally but becomes a crazy sonic cacophony may convince you she's already at the top of her game, but I think the best is still to come.
Samantha Savage Smith Tough Cookie (Indie Folk) 7/10
This debut album from Calgary has a bluesy, soul feel, but it's Samantha's honeyed voice that demands attention. It feels timeless, with influences as diverse as St Vincent and Billie Holiday, yet her voice combines strength and vulnerability. I was amazed to discover she is only 24 years old and this is a wonderfully natural feeling, relaxed album.
Scattered Trees Sympathy (Indie Pop) 7/10
This is beautiful, reflective music written after Nate Eiseland lost his father. It's the Chicago sextet's second album, but rather than being expressing anger about death, it's shows the maturity and growth which comes out of loss. Some may find the instrumentation rather understated, and the lyrics emotionally draining, but you can't help but admire Nate's subdued and heartfelt vocals. I emerged from the experience with hope rather than depression, and it ends up being more uplifting that you'd expect from the subject matter.
Slow Club Paradise (Indie Folk) 5/10
This is an unassuming, unshowy sophomore album from this Sheffield UK based duo. The vocal duets are charming, and the instrumentation stretches beyond acoustic guitars to include various ramshackle percussion. It's touching, charming, and there's a mixture of catchy songs and more melancholy ballads. A standout track is the 10 minute Horses Jumping; whilst this album isn't going make you look at the world afresh, it's highly recommended for lovers of British folk pop, even if the production is sometimes just too unpolished.
This is beautiful, reflective music written after Nate Eiseland lost his father. It's the Chicago sextet's second album, but rather than being expressing anger about death, it's shows the maturity and growth which comes out of loss. Some may find the instrumentation rather understated, and the lyrics emotionally draining, but you can't help but admire Nate's subdued and heartfelt vocals. I emerged from the experience with hope rather than depression, and it ends up being more uplifting that you'd expect from the subject matter.
This is an unassuming, unshowy sophomore album from this Sheffield UK based duo. The vocal duets are charming, and the instrumentation stretches beyond acoustic guitars to include various ramshackle percussion. It's touching, charming, and there's a mixture of catchy songs and more melancholy ballads. A standout track is the 10 minute Horses Jumping; whilst this album isn't going make you look at the world afresh, it's highly recommended for lovers of British folk pop, even if the production is sometimes just too unpolished.
Smith Westerns Dye it Blonde (Indie Rock) 7/10
I saw this Chicago trio live at Reading Festival, and can confirm they are as lively and upbeat a rock 'n roll band in person as on their second album. There's a 1970's feel if course, with great tunes, and a nod to '90's Britpop. Above all you get a feel of a group of young people having fun with guitars, paying tribute to the past yet reinventing for themselves. The standout track is All Die it Young.
I saw this Chicago trio live at Reading Festival, and can confirm they are as lively and upbeat a rock 'n roll band in person as on their second album. There's a 1970's feel if course, with great tunes, and a nod to '90's Britpop. Above all you get a feel of a group of young people having fun with guitars, paying tribute to the past yet reinventing for themselves. The standout track is All Die it Young.
Tidelands If (Indie Folk) 9/10
Like the glorious Other Lives, Tidelands make a dreamy, incredibly beautiful sound, with a tinge of melancholy: I absolutely adore this album. The sound is almost orchestral, with flugel horn, guitar, drums, keyboard, violin and cello. Interestingly, Mie Araki is a classically trained percussionist, whilst Gabriel Montana Leis, also from San Francisco, learnt the flugel horn specially for this project. Like Other Lives, there's a cinematic quality to the compositions, and the array of musicians usually produce a gentle sound, there are climaxes of startling discord. Leis' voice is distinctive, the harmonies gorgeous, and the sounds quite different to any other recent release. I found it uplifting and inspiring.
Like the glorious Other Lives, Tidelands make a dreamy, incredibly beautiful sound, with a tinge of melancholy: I absolutely adore this album. The sound is almost orchestral, with flugel horn, guitar, drums, keyboard, violin and cello. Interestingly, Mie Araki is a classically trained percussionist, whilst Gabriel Montana Leis, also from San Francisco, learnt the flugel horn specially for this project. Like Other Lives, there's a cinematic quality to the compositions, and the array of musicians usually produce a gentle sound, there are climaxes of startling discord. Leis' voice is distinctive, the harmonies gorgeous, and the sounds quite different to any other recent release. I found it uplifting and inspiring.
The Weeknd Thursday (R&B) 8/10
Canadian Abel Tesfay emerged from obscurity to create a sensation with his first album, House of Balloons, which I loved and has been endorsed by Drake. Thursday is the second of the trilogy, also available for free download, and it's been claimed it''s suffered from being rush released. I don't think it has the impact of the first album, but it's still tremendously atmospheric, and brilliantly produced. It's music for a late night drive home from a gig along deserted roads, chillingly raw, drawing you into a strange, shadowy world. The stand out track is Life of The Party, but it flow beautifully as an album.
Wilco The Whole Love (Indie Rock, Country) 8/10
Here, Jeff Tweedy is in a gentle, lyrical mood, with beautiful melody and harmony in tracks such as Sunloathe. This is followed by the more upbeat, fun Dawned on Me, which exemplifies the well judged contrasts in this album. I love the American rootsy foundation to their style, and whilst I'm not familiar with their entire back catalogue, I feel this new work compares very favourably to the self-titled album from 2009. The core of the album is the 12 minute One Sunday Morning: Tweedy's voice is incredibly expressive, and it's touching. If you're a Radiohead fan, the closing Art of Almost is a must listen: it sounds as if Tweedy is an admirer of King of Limbs.
Wild Flag Wild Flag (Indie Rock) 8/10
Canadian Abel Tesfay emerged from obscurity to create a sensation with his first album, House of Balloons, which I loved and has been endorsed by Drake. Thursday is the second of the trilogy, also available for free download, and it's been claimed it''s suffered from being rush released. I don't think it has the impact of the first album, but it's still tremendously atmospheric, and brilliantly produced. It's music for a late night drive home from a gig along deserted roads, chillingly raw, drawing you into a strange, shadowy world. The stand out track is Life of The Party, but it flow beautifully as an album.
Here, Jeff Tweedy is in a gentle, lyrical mood, with beautiful melody and harmony in tracks such as Sunloathe. This is followed by the more upbeat, fun Dawned on Me, which exemplifies the well judged contrasts in this album. I love the American rootsy foundation to their style, and whilst I'm not familiar with their entire back catalogue, I feel this new work compares very favourably to the self-titled album from 2009. The core of the album is the 12 minute One Sunday Morning: Tweedy's voice is incredibly expressive, and it's touching. If you're a Radiohead fan, the closing Art of Almost is a must listen: it sounds as if Tweedy is an admirer of King of Limbs.
This female supergroup has produced an album with joyful rock energy: it's tremendous fun. The stand out for me is the guitar playing, and the four part vocal harmonising, yet the drumming's vigorous, Cole's keyboard playing solid and the ensemble tight. There's sufficient variety across its 40 minutes to allow the more intelligent, quirky moments to balance the harder almost punk like rock. This may be a new collaboration, but the four musicians' creativity is evident. It's a wild, sometimes ride which can take unexpected turns, and I'd love to experience it live.
Albums I liked but didn't quite make my shortlist include:
Canon Blue Rumspringa, The Albertans New Age, Work Drugs Summer Blood, Bombay Bicycle Club A Different Kind of Fix, Charlie Simpson Young Pilgrim, Big Troubles Worry, Yukon Blonde, John Steel Singers Tangalooma, The Rapture Love, Peter Wolf Crier, Neon Indian Mind Ctrl, Stylus Boy Whole Picture, Ladytron Gravity The Seducer, Super Heavy. Ed Sheeran +, Neon Indian Era Extrana, Tori Amos Night of Hunters, Blitzen Trapper American Goldring, The Rifles Freedom Run, Kyler England Electric Hum, Jake Newton Kill The Past, Tropics Parodia Flare
I've been listening to Blind Pilot and the new Kevin Devine albums too - my thoughts are pretty similar on those to yours!
ReplyDeleteCan't wait to hear the new Feist album and really want to check out Tidelands now!
Thanks for sharing :)