Top 5
- Alabama Shakes Boys and Girls
- Delta Spirit
- Flights Anywhere But Where I Am
- Grimes Visions
- The Lumineers
25 Albums
This début album from Athens, Alabama has been eagerly awaited in the blogosphere and is unlikely to disappoint those who enjoyed their EP, released last autumn. It could be described as a blend of soul, blues and garage rock, and sounds as if it's been around for years. The outstanding feature is Brittany Howard's idiomatic vocals, which have been compared to Janis Joplin. Those who have been dismayed by the hype around Lana del Rey would never deny this album's old time music's authenticity. I left it too late to get tickets for their last UK tour, but I can't wait to hear them live in May. They are surely destined to become a phenomenon.
This album is a grower: on repeated listens you appreciate its subtle collage of sound and its quiet experimentalism. It's actually the seventh studio album from this Illinois songwriter and contains real depth of emotion: just listen to Lazy Projector. There is surface appeal in the melody and his seductive voice, but you really need to get lost in its hour length, soaking in the folk, jazz, classical and pop influences, and letting the warm and varied instrumentation wash over you. Don't be put off by the album art: this is a must hear.
The third release from this New York band has an epic feel, heavy on synths and layered textures. It goes beyond shoegaze to evocate more dynamic, danceable soundscapes, building gradually. I love the feel of space, Jon Philpot's vocals and the psychedelic minimalism. All that troubles me is a slightly mechanical feeling; but I'm not sure it was intended to express a warm humanity.
This rootsy album was actually released last year and is from a Brisbane duo As befits music from such warm climes, it's upbeat and positive, life-affirming even. It doesn't plunge depth of profundity or sophistication, but I love the instrumentation which includes harmonica, ukulele, and slide guitar. Foot tapping and fun.
This is an energising, up tempo album from multi instrumentalist and Nashville native Daniel James. It's orchestral pop, with horns joining electronics and strings. The melody is often catchy, and I found it refreshing, with stellar drumming throughout. Not for every mood (this is morning music I feel), but I'm happy to find a niche for it.
This project from Denmark is imaginatively and very fully scored, almost orchestral at times, and takes unexpected turns. This quirkiness sometimes wears thin: the longest of the nine tracks lasts 10 minutes, and it can be self indulgent. They've been known for their folk influence, and Have I ever truly been here combines Fleet Foxes' vocal harmonies with electronics. Tracks like Paralyze have a colder 80's pop feel, however. Uneven, but still fascinating.
Daniel Peason lives in Leeds, UK, but his material has an American tinge, and he cites Ryan Adams as an influence. His songs are direct, and the voice warm, and there's more than enough variety of production and melody to sustain interest. I could imagine that he'd put on a captivating solo acoustic set, but the production here's fuller, with band accompaniment and multi-tracked vocals on some tracks. This debut album is self-released, and deserves to find a wide audience. You can stream four tracks here and it's available in full on iTunes.
This San Diego five piece has produced a wonderful combination of new and traditional American in this album. It's a fuller sound that previously, including synthesiser, yet still with a nod to Southern revival and the 1960's. Tribal like calls at the opening of Tellin' The Mind show that they're not afraid to take risks, and they have a real swagger, especially on tracks like the more conventional but haunting Time Bomb. Likely to make my end of year list.
This is a beautiful record: the album cover is apt, given its connection with nature and the muted, gentle tone. It's the antithesis of catchy, ephemeral mainstream pop, spanning almost an hour, and taking advantage of space and spareness. The Wisconsin duo (now based in Nashville) has made the first two tracks available for free download here, but you really need to appreciate it in full. They use beautiful, dreamy vocal harmonies, and made some use of electronics along with acoustic instruments. I'm looking forward to soaking it up on my next adventure into the wilderness.
This is in many ways the opposite of the Flights album above: flamboyant, confident, over the top; but I still love it. Instead of pastel shades, there are bright colours, and rather than being intellectually stimulated you will be full of the joy of life. It's full of hooks, and sing along choruses; I admire its use of piano too. One esteemed music review site gave it just one star: I'm tempted to say they lack a sense of fun. They do use autotune, and surprisingly there are hip hop influences, but this is lyrical pop, emotionally manipulative in the best way.
I discovered this San Francisco trio thanks to The Owl Mag, which compared their sound to M83. They have a cellist, Nathan Blaz, whilst Michael Deni sings falsetto effortlessly. The mood is upbeat, and much of the interest is in the dreamy textures. If there's a criticism, it's a suspicion of a lack of emotional depth. I'm not entirely won over by Brian Ostreicher's drum machine, but it's certainly atmospheric and Geographer deserve a wider audience.
Young Montreal artist Claire Boucher evidently has an amazingly free ranging imagination in this dream pop. It's sophisticated music, dominated by ethereal vocals, loops and crisp beats, yet eminently listenable. Her voice is light, but the range is astonishing, and this an album which flows coherently, amazing considering it's her first full length. The atmosphere is over-wordly, like Panda Bear's, and it's been meticulously crafted. Despite the wide ranging influences, it has originality in evoking moods, and is full of ideas.
Surprisingly, this is the work of a philosophy student called Tom Krell who studies in Cologne and Brooklyn, and consolidates material which originally appeared on a series of EPs. It makes sometimes extreme use of distortion, which can be disconcerting initially, but I found its dreamy experiementalism mesmerising. It's exceptionally subtle, less rhythmic than conventional R&B, his vocals often obscured by fuzz and echo, drifting in an out of your consciousness. The experience if listening is rather like gazing at an abstract painting.
Jesse, a singer songwriter based in LA but from Kentucky, has a characterful, raspy voice, singing soulfully about lost love. I'd love to hear her in an acoustic set, as the backing here can sometimes be a little fussy, but her personality shines through. Her music is catchy, not strikingly original, but I'd imagine it would be fantastic live in a small venue, and it's really lifted by the vocals.
This is the side project of Will Whitwham of Wilderness of Manitoba, and is similar in style to their work. It's centred around the sound of a 12 string guitar, and reverberating vocals; drums are absent. The tone is often melancholy, and tempo slow, and is imbuded with serenity. I loved its simple charm; some might call it bland, or unoriginal, but its introspective 'glum folk' is right up my street.
Despite his 11 albums, this is my first encounter with Kurt Wagner's ultra laid back, bluesy style. It's surely intended to be music for relaxation with a drink. You'll gradually noticed the unexpectedly nuanced backing from the Nashville musicians, and that its simplicity can be deceptive. Songs like Gone Tomorrow are actually cleverly constructed, and is brilliance is in making it sound so inevitable and natural. Some may mistake this for lounge music, but it's so classily executed.
These indie rockers from Ohio have produced a bold, confident fourth album, which was recorded onto analogue tape in 'live' sessions. It's proof of the health of guitar rock on a grand scale, with sing-along choruses and crashing climaxes. This is energising music, with notably strong and often lyrical vocals from Michael Shepard. The melody and sense of control in Girl shows they can be subtle too.
Of all the albums this month, this one makes me feel most content; perhaps it's my love of Americana, but there's no doubt The Lumineers' have a big heart. This is despite the melancholy twinge: this trio from Denver starting player after two members lost a brother and best friend to a drug overdose. The instrumentalist Neyla Pekarek is classically trained and plays mandolin, piano and 'cello. The folk melodies are beautifully sung by Wesley Schultz, and the overall feeling is deeply nostalgic. It will certainly appeal to lovers of Mumford & Sons, but has a gentler, more subtle aura.
I discovered Madi through Pledge Music: she's a Nashville based singer songwriter with a gift for accessible melody and a light voice. The style is straightforward folk pop, and the lyrics tend to be about relationships. She's accompanied by a band, and I found this refreshingly direct and unpretentious. She doesn't stretch boundaries like Grimes, yet this gives real pleasure, being upbeat and sunny in mood
It's a bold move for a new group (albeit one linked to Gayngs) to share an album title with a Radiohead song, but this is bold and energetic. The Owl Mag compared its sound to Zola Jesus, and it is fronted by chanteuse Channy Casselle. Polica tour with two drummers, and their rhythms give an uneasy, restless feel with R&B influences. It's mysterious, eerie music of the night, and this album's made me keen to see that live show.
This indie pop from LA twin brothers is introspective and impressionistic; music to think by. The standout feature is the instrumentation from the 7 piece New Music Ensemble: lots of synth, perscusion including marimba, strings and horns, reminiscent of Other Lives in its borrowing of classical techniques. This isn't a conventionally structured rock album: some will fail to engage with its layered, warm instrumentation and reverb soaked vocals, but I love the muted tone. You need to soak up this pop, letting it wash over you as you watch the world go by.
After my first listen I wondered if this tried too hard to please, but it's growing on me. It combines folk harmonies with pop catchiness and jauntiness across its generous 15 tracks (analysed one by one here). There's imaginative instrumentation and numerous references to its Canadian origins, yet with an almost Australian sense of effervesce. Sometimes I yearn for more bitter sweet melancholy, and wish they would sit back and admire the scenery, but it seems churlish to complain. Find a video and interview here.
This new collaboration has produced optimistic electronic pop, heavy on synths and guitars. One half of the duo, Matt Welsh played,with Phonograph, and along with Tim Williams is now based in California. It's an easy listen, melodic and warm, and the single Every Little Thing is a great starting point. Its surface appeal is alluring, and whilst I don't see this becoming a future classic, it evokes happy summer days.
School of Seven Bells has toured with M83, and this album is almost as impressive as their Hurry Up, I'm Dreaming. Ghostory is about a haunted character called Lafaye, and has a strong rhythmic underpinning. The outstanding feature though is the angelic voice of Alejandra Deheza, the effect aided by generous reverb. You could describe it as cinematic shoe gaze; ignore Pitchfork's pretentious review and judge for yourself; I found myself getting lost in its haze.
You can stream this New York trio's album in full here. It was compiled from music conceived in 10 different locations around the world whilst travelling. It's essentially chillwave with hip hop influences: one review described it as 'Panda Bear blinded in fog'. The structure is amorphous, as the title suggests, but to criticise it for being a fusion of styles is to miss its point. I found it bold and refreshing and love the artwork.
5 EPs
Whilst this was released back in 2010, I've included it as the Chicago four piece has made it available for free download, and because I found it imaginative. The female vocals are strong, whilst I imagine the title refers to the wide variety of styles it encompasses. Despite this, there's a strong sense of forward motion, and it bodes well for the full length currently being recorded.
This is challenging, mind blowing music, and two of the tracks are over 11 minutes. Your patience and persistance is amply rewarded though: it creates a powerful, dark mood with some amazingly original electronic sounds. Ignore the genre label: if you have any sense of adventure and appreciate depth hiding amidst minimalism, this is a must listen. Kindred is the more recent of these two EPs and the title track is the place to wade straight in.
Eisley from Texas impressed with their album The Valley last year; this EP was originally to include B sides but actually comprises new tracks. This doesn't break new ground, but the title song is especially melodic. It's predominantly slow and dreamy in tempo, and is charming.
This is the Las Vegas group's fourth EP and their first made with the help of a major label. They make liberal use of electronics to supplement their sound and its bold and assertive, with even a little hip hop influence. It's highly melodic: my only fear for their upcoming full length debut is that they will try too hard to emulate Coldplay's appeal and it will be over-produced. There's no doubting this is fun though.
This is Zach Rogue of Rogue Wave's solo project, and it's a joy. The instrumentation is fuller than his largely acoustic debut Come Back to Use released last year, and it's upbeat throughout. The final track is a cover of Talking Heads' Road to Nowhere.
Honourable Mentions
Air Voyage Dans La Lune
Amos Lee At the Crow Flies EP
Ben Queller Go Fly a Kite
Beth Jeans Houghton Yours Truly, Celephane Nose
Bowerbirds The Clearing
Django Django
Dry The River Shallow Bed
Field Music Plumb
Frankie Rose Interstellar
Magnetic Fields, Love at the Bottom of the Sea
Million Young Replicants
Mount Moriah
of Montreal Paralytic Stalks
Punch Brothers Who's Feeling Young Now
Team Me To The Treetops
The Twilight Sad No One Can Ever Know
The Weeknd Balloons of Haus Remix
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