You know what time it is, folks. Blood, sweat and industry has brought us to this moment. Do enjoy the light reading.
30.
Artist: Jessica Lea Mayfield
Album: Make My Head Sing
Label: ATO
What a
transformation it's been for Jessica Lea Mayfield. Quite surprisingly, she’s
gone from alt-country sweetheart to grunge queen within the blink of an eye.
From supporting the likes of Ryan Adams, to tipping her hat off to ‘90s
alt-rock icons, Make My Head Sing is
quite the boundary breaker.
From
the first notes of ‘Oblivious’ it’s evident that Mayfield has turned the ship
into new waters. Her dialect plays a definitive role during ...Sing. She lets her vowels hang
elegantly, creating an interesting juxtaposition, as they get plucked from the
air by crunching low-tuned guitar drones. Total rock chick moments, really.
‘Standing
In the Sun’ is a track dominated by those very innocent, sweet vocals. The
perfect pop song, all told. ‘Party Drugs’ is a dirge that contains
close-to-the-bone lyrics, interwoven with forlorn guitar riffs. Album closer,
‘Seein* Starz’, is the perfect ending. Its ethereal vibe culminates a well-spent
36 minutes. It’s liking watching your favourite television program. Make
My Head Sing doesn’t outstay its welcome at all.
Make My Head Sing is an artist’s album. Mayfield won’t get the
plaudits she deserves, with many probably assuming that it’s too close to
marrow of nostalgia. Yes, it’s derivative but it’s not pretending to be anything
else. If it’s a tip of the hat to grunge and alternative music, then who cares?
It’s done fucking well and in this case, that’s all that matters.
Favourite Tracks: Oblivious, Party Drugs, Anything You Want, Seein* Starz.
29.
Artist: New Bums
Album: Voices in a Rented Room
Label: Drag City
Donovan Quinn (Skygreen Leopards), and Ben Chasny (Six Organs of
Admittance/Comets on Fire) have joined forces as the New Bums. A duo that has
rendered a bunch of campfire ditties with Voices in a Rented Room.
Admittedly, I don’t know much about the Skygreen Leopards other
than they’re mates with the guys from Woods. As for Chasny, he’s always been an
artist who’s intrigued; particularly with his Six Organs of Admittance project.
He’s always had the knack of penning an unqualified heart wrenching tune. He’s
created a plethora throughout Voices....
You could say this is a Six Organs album without the “what the fuck?” moments. ‘Black Bough’ kicks off the album in splendid fashion. ‘Pigeon Town’ is a little more playful, while ‘Your Girlfriend Might Be A Cop’ is like a piss take to all the pretentious coffee house strummers. ‘It’s the Way’ heads the list on Voices in a Rented Room. It’s Chasny at his best. ‘Cool Daughter’ isn’t too far behind either, which closes this collection of songs in fine fashion.
You can almost feel the texture of dust and smell the leather from the guitar cases when you listen to Voices in a Rented Room. It’s a bare bones two-finger salute to all the Greenwich pretence and wannabe acoustic heroes that's clogged up a nation; actually, it’s clogged up the bloody world! I have to say I love it!
Favourite Tracks: Black Bough, Pigeon Town, It's the Way, Cool Daughter.
28.
Artist: Fennesz
Album: Becs
Label: Editions Mego
Christian Fennesz has always been a welcomed co-traveller. He’s always created a gentle, democratic dissonance, tailor-made for journeys.
Favourite Tracks: Liminality, Becs, Sav.
27.
Artist: Julie Byrne
Christian Fennesz has always been a welcomed co-traveller. He’s always created a gentle, democratic dissonance, tailor-made for journeys.
His latest offering, Becs,
is something else. Spatially beautiful and sonically enchanting. ‘Static Kings’
begins in a very un-Fennesz fashion, with clashes of cathartic sound throwing
you off guard. Then comes those melodic guitars, amid the atmospheric sequences
we’ve all come to associate with his music. 'Liminality' is one of the most
cinematic experiences you'll endure as far as Fennesz is concerned. It starts
with a lo-fi guitar incursion, only to be interrupted by jarring drums followed
by an idyllic post-rock gateway.
Musically, Becs is just
about Christian Fennesz's most accessible work. Is it his finest? It’s up there,
that’s for sure. To reach this point however, the textural substance appears
quite complex. Layers of glitch, bass, and melody coalesce to form Becs’ accessibility. Look no further
than the title track. The end point is triumphant. Favourite Tracks: Liminality, Becs, Sav.
27.
Artist: Julie Byrne
Album: Rooms With Walls and Windows
Label: Ordinal Records
For me, one of the most captivating moments
in music this year was when I held Julie Byrne’s Rooms With Walls and Windows to my ear for the first time. That
first minute of the opening 'Wisdom Teeth Song.' Her low hushes, the raw
production where you can hear her finger picking guitar skills; gorgeous.
Byrne is a traveller. She skips from city to city. Originating from Buffalo, and then moving to Chicago, now currently residing in Seattle. You can feel the nomadic pastoral charm throughout RWWAW. Her grace of floating between tracks is her strength. In no way am I saying that Byrne’s debut affair is insipid. It’s just a great album to potter around your house to. I imagine it to be a good foil to watch the sunset to, or even sit by your fire; very therapeutic.
After several listens, you could’ve
imagined Grouper’s Liz Harris making something like this. Without prescience, it
appears she did her best with this year’s Ruins.
It’s hard to pinpoint a standout track through this journey. ‘Butter Lamb’ and ‘Marmalade’
will no doubt garner an appeal from most, however, for mine, ‘Keep on Raging’
steals the show. The guitar arrangements are luscious. Byrne’s gliding vocal
ever-present and at its most ruminating. It’s the moment that caps off RWWAW
as one of the finest debut LPs released in 2014.
Favourite Tracks: Wisdom Teeth Song, Butter Lamb, Vertical Ray, Keep on Raging.
26.
Artist: The Rural Albert Advantage
Album: Mended With Gold
Label: Saddle Creek/ Paper Bag
Toronto's The Rural Alberta Advantage has
always got on with things in no-nonsense fashion. A band with a loyal fan-base
and very little fanfare from the critics. They return with their third album, Mended With Gold. Like its predecessor, Departing, it's quite evident that this
band can do no wrong.
Lyrically, frontman, Nils Edenloff, is at his most darkest. The album is centred around love, both gained and lost. The opening track, 'Our Love', kicks it off with Edenloff lamenting "Love will bring you down." It doesn't get any more buoyant, either (track titles such as 'On the Rocks' and 'To Be Scared', add further weight to the source). It's an interesting juxtaposition considering TRAA's sound and that's what makes Mended With Gold so intriguing.
We've always associated TRAA with
rollicking drums and perceptive guitar strums, all hinting towards an
infectious, anthemic folk-pop hybrid. They've refined this aspect of their
craft, too, which is quite the feat considering how great Departing truly was. 'Not Love or Death' could well be the best
song they've written. You can feel what's at stake when Edenloff sings "Nothing's
gonna tear you away from me, not love or death." Amy Cole's keyboards shape the
song into something special, as Edenloff's vocal soars into the chorus.
Given, TRAA aren't everyone's cup of tea. Edenloff's nasal-like vocal could be off-putting, but for me, the music is too attractive to feel anything other than a profound affection for this band. Mended With Gold could be TRAA's most accessible outing yet. Where does it rank within their catalogue? Should you ask me that question three times within a week, you could end up with three different answers. That tells the story right there.
Favourite Tracks: Our Love, To be Scared, The Build, Not Love or Death.
Artist: Total Control
Album: Typical System
Label: Iron Lung
While Henge Beat may have grabbed the attention of most, Total Control's follow-up in Typical System is on another level. It grabs you by throat and demands your attention. A bit like that fucker in the pisser after one too many beers. Much like the demeanour the members of Total Control portray as individuals, this album's intangible. Its message holds a subtle sensibility.
'Flesh War' is a futuristic journey, seemingly going hand in hand with a Philip K. Dick novel. 'Two Less Jacks' is a raw assault, with sawing guitars and drum snare explosions which represent post-punk freshly produced from an inner suburb garage. 'Hunter' may just be the album's clincher. Playing to their strengths of '80s homage, you could imagine holding an ear this song in a club at 4am in the morning. A true come down moment, culminating with pulsating beats and hypnotic synth.
While most are getting over animated about Australia's new phenomena of young psychedelic artists (sorry, not me), it's important to keep a chair at the table for Total Control. Make it the head of the table, too, because, quite simply, this is the best album from our shores in 2014.
Favourite Tracks: Bloody Glass, Flesh War, Two Less Jacks, Hunter.
In terms of playlists, Philadelphia’s Nothing has been the go-to artist to get me out of a rut. Everyone has one of those bands or albums that negate your indecisions. Guilt of Everything has been that album for me this year.
It comes from a brooding space. Frontman, Dominic
Palermo’s two-year stint in the cement seems to be the catalyst for Guilty of Everything sounding the way it
does. (side note: Palermo was formerly a member of hard-core band, Horror Show).
Some will say it’s derivative and they’re not far
wrong. Head nods to the likes of Ride, Chapterhouse and Slowdive can be quite
distinctly heard. However, with tracks like ‘Bent Nail’ - one of the best
released this year from any artist, for mine - , ‘Endlessly’, and ‘Beat Around
the Bush’, all being as good as they are, it’s hard to present this band as a
tribute act, despite the hipster overtures to do just that.
It bridges a nice gap between belligerence and splendour. Guilty of Everything demonstrates that beauty can be found from aggression. Palermo appears to have figured this out with Nothing. Let's hope it continues.
Favourite Tracks: Hymn to the Pillory, Bent Nail, Endlessly, Beat Around the Bush.
23.
Artist: Steve Gunn
Album: Way Out Weather
Label: Paradise of Bachelors
Artist: Steve Gunn
Album: Way Out Weather
Label: Paradise of Bachelors
Steve Gunn’s 2013 breakthrough, Time Out , was the perfect foil
album for William Tyler’s Impossible
Truth. It was (and still is) a great Sunday morning record. It’s a sleepy
drifter full of alt-country ditties. Side A of Time Out was
something you could spend a lot of time with on repeat, resulting in side B
being untouched for the best part of three consecutive Sundays.
Gunn’s esoteric meanderings on Way Out Weather don’t suffer from
its predecessor’s slight disposition. There’s no favouritism or politics on
either side of this one. It’s Gunn’s magnum opus. Simply put, it’s majestic.
The opening title track is all class, with Gunn’s signature country vibe
ringing in from the very first note. 'Milly's Garden' is the most melodic thing
Gunn has put to record, with lengthy guitar noodlings and syncopated drum beats
forming one of the many centrepieces of ....Weather.
'Fiction' is Gunn in the form of his life. The most straight-forward of the
pieces on WoW, but done to perfection. This is the song
that will no doubt make people stand up.
‘Atmosphere’ sees Gunn branching out in what is his greatest
achievement, thus far. Its ethereal blur is something to behold, shrouded in
ambience and Gunn’s finger-smith virtuoso. His quiet, modest vocal almost remedial.
It pretty much sets him apart from the notion of being "just another
alt-country song-smith."
Way Out Weather is breezy. It’s one of those albums where you don’t wish for it to end, despite
the fact that ‘Tommy’s Gongo’ is so fucking epic. Where the likes of Ryan Adams
and Wilco used to dominate the alt-country status quo, there’s a new kid in
town. Steve Gunn has joined the fold with the flawless Way Out Weather.
Favourite Tracks: Way Out Weather, Milly's Garden, Fiction, Atmosphere, Tommy's Congo.
22.
Artist: The Phantom Band
Artist: The Phantom Band
Album: Strange Friend
Label: Chemikal Underground
Despite
the fact their back catalogue of work fails to excite me, The Phantom Band appear
to have defied the odds by occupying my list. A continuous trend for me in 2014,
it seems. Strange Friend is their
first album in four years and what a comeback it is.
They've
built a following by delivering acoustic meanderings with a Krautrock satire,
however with Strange Friend, they've
rendered a pop sensibility that could almost be Scotland's answer to the Broken
Social Scene.
'The
Wind that Cried the World' starts with pop infused keyboard and nagging bass
line that sets the tone for what's to come. 'Clapshot' is high-octane sheets of
blissful noise that prior to Strange Friend,
you just couldn't see this band creating.
It's an
album without a weak link. It's anthemic ('Strange Friends'), meandering ('No
Shoes Blues') and uplifting ('Women of Ghent'). That's what The Phantom Band is;
a collage band. A seamless ideology of sound. A patchwork quilt, if you will. Strange Friends attests to that.
21.
Artist: Willis Earl Beal
Artist: Willis Earl Beal
Album: Experiments in Time
Label: Self-Released
Since last year’s mesmerising Nobody Knows, Willis Earl Beal has been through the wringer. His
well documented split with XL recordings being the major talking point, not to
mention various issues which transpired whilst on tour. His follow-up album, Experiments in Time has a philosophical
feel to it. Its lo-fi soul hybrid is a space where Beal flourishes.
His love for Vincent Gallo is evident throughout
(look no further than ‘Monotony’); fans of When
will find a place for Experiments in Time
in their heart.
‘Same Auld Tears’ is a gloomy traipse, dominated
by a sombre keyboard as Beal sings “I shed the same auld tears ‘til my eyes
don’t cry no more.” ‘Who Knows’ renders more lyrical interplay on the back of
disconsolate instrumentation with Beal professing that “apocalyptic scenes are
serene, all things are created we can’t know what they mean.”
The thing that strikes me about Beal is his zeal to
swim against the tide of the status quo. Surmising, he’s just a guy out there
creating something, trying to make sense of it all. The album's title, Experiments in Time, pretty much indicates
that. He doesn’t need anyone alongside him it seems. His ethos hints towards
punk and autonomy. Qualities that seem largely amiss in the modern landscape.
Favourite Tracks: Questions, Same Auld Tears, Monotony, Who Knows, Slow Bus.
20.
Artist: The Bug
Album: Angels & Devils
Label: Ninja Tune
Kevin Martin is back, this time under his moniker of The Bug. His break through success under this moniker came in the way of 2008’s London Zoo; an urgent representation where dubstep clashed with the core of raga and dance hall. The proof was really in the title for all to bear witness.
Side B is more likened to London Zoo’s hostile and boisterous approach, but for me is more refined than its predecessor. ‘Fat Mac’ is an assault ‘n’ a half. Floden’s distinct heavy Jamaican dialect surges over Justin Broadrick’s rifle-like guitar feedback. It’s the darkest moment on Angels and Devils.
Kevin Martin is back, this time under his moniker of The Bug. His break through success under this moniker came in the way of 2008’s London Zoo; an urgent representation where dubstep clashed with the core of raga and dance hall. The proof was really in the title for all to bear witness.
Angels
& Devils adds further weight to Martin’s
genius. Again, the record’s title says it all where the first half of the
record sees Martin take this journey into a more down-tempo requiem, not too
dissimilar to his brilliant King Midas Sound project.
Liz Harris' appearance on ‘Void’ is alarming
and grabs you instantly. ‘Ascension’ is arguably side A’s highest point.Side B is more likened to London Zoo’s hostile and boisterous approach, but for me is more refined than its predecessor. ‘Fat Mac’ is an assault ‘n’ a half. Floden’s distinct heavy Jamaican dialect surges over Justin Broadrick’s rifle-like guitar feedback. It’s the darkest moment on Angels and Devils.
Many will feel this falls short of the
acclaimed London Zoo. I’m not many,
though. This has it all. It’s a bourgeoning representation of beauty and brutality.
It’s pure London. The good and the bad. It’s real. And Martin doesn’t
sugar-coat it. He never has.
Favourite Tracks: Void, Ascension, The One, Fat Mac, Dirty.
Artist: Pallbearer
18.
Artist: Dope Body
Album: Foundations of Burden
Label: Profound Lore Records
I was never sure on Arkansas quartet, Pallbearer. The lazy maxim of "just a Black Sabbath tribute" sprung to mind when Sorrow and Extinction was released. How wrong and how stupid I was. Foundations of Burden is Pallbearer's second album and although I had similar reservations upon several early listens, amid the nine to five commuters on the train home from work, my mind was changed in a big way.
Favourite Tracks: Foundations, Watcher in the Dark, The Ghost I Used to Be, Ashes.
I was never sure on Arkansas quartet, Pallbearer. The lazy maxim of "just a Black Sabbath tribute" sprung to mind when Sorrow and Extinction was released. How wrong and how stupid I was. Foundations of Burden is Pallbearer's second album and although I had similar reservations upon several early listens, amid the nine to five commuters on the train home from work, my mind was changed in a big way.
Simply put, this is a piece of work. It's an
alliance of doom, sludge and traditional metal, executed with aplomb. For
starters, Iron Maiden couldn't conjure a better title than 'Watcher in the
Dark'.
This is six tracks of anguish. Blood sweat
and tears. One song bleeds into another. Despite the exterior members of
Pallbearer may portray, you can sense that they form under a fragile
undercurrent. None more so than frontman, Brett Campbell.
'The Ghost I Used to Be' is perhaps one of
the most forlorn pieces of music I've heard for some time. It wouldn't sound
out of place as a backdrop to one's eulogy. Campbell sings about burdening
regret, kindling to ignite. Which then bleeds into the album's most despondent
moment in 'Ashes'.
We were spoilt for choice last year with
Deafheaven's masterpiece (and over a year since the release of Sunbather, it's safe to say it is just
that). Music is the gift that keeps on giving. For those who like their sounds
slightly more aggressive, Pallbearer's Foundations
of Burden may just be its closest rival. Time will be an accurate measure
of that.Favourite Tracks: Foundations, Watcher in the Dark, The Ghost I Used to Be, Ashes.
18.
Artist: Dope Body
Album: Lifer
Label: Drag City
Baltimore's Dope
Body came alive with their sophomore delivery in 2012's Natural History. It was a top 30 hit in my end of year list and
it's great to be able to welcome them back with Lifer. Arguably their best effort yet.
Pissed Jeans
aficionados' will flock to this like moths to a flame. Lifer is an ode to noise rock. Whilst the sludge is somewhat
missing in their repertoire, their ability to bastardise the blues is not.
'Repo Man' is pure noise rock made from a garage that probably homes
a batch of home brew. It's dirty, perilous and just plain fucking good! Like
Squirrel Bait with added vigour. David Jacober is a menace behind the drum kit
as he bludgeons his snare. Front man, Andrew Luamann, carries the flag for The
Jesus Lizard, while Zachery Ute's abrasive guitar chords compliment this primordial
outing. 'Hired Gun' continues Lifer's high-octane
start. In fact, it never really lets up. 'Day by Day' grabs you by the throat
and yanks and jerks like a pit-bull on speed. 'I'd Say to You' and 'Even in the
End' are arguably the album's highlights as the penultimate and final tracks,
respectively.
In a year where guitar bands have slightly skewed off into the
post-punk realm, Dope Body has stood their ground and played it straight down
the line. Lifer is an album that
leaves you gasping for air. Natural
History was more eclectic. You heard a band trying to figure out their
relevance amongst it all. Lifer holds
more of a steadfast ideology. It takes no prisoners. This is Dope Body's
strength and by Christ, they've played to it in menacing fashion.
Favourite Tracks: Repo Man, Hired Gun, Day by Day, I'd Say to You, Even in the End.
17.
Artist: New Madrid
Album: Sunswimmer
Label: New West Records
17.
Artist: New Madrid
Album: Sunswimmer
Label: New West Records
There's always
one album during the year which poses as criminally underrated. New Madrid's Sunswimmer is that album. Discarded by
many, New Jersey's New Madrid is a band of sonic bliss. From the opening notes
you just know that you've hit the jackpot. Think Akron/Family sprinkled with tones
the mighty Constantine's once heaped upon us.
Sunswimmer is the perfect
foil album for the War on Drugs' Lost in
the Dream. It makes more sense listening to this on vinyl. The short sharp
bursts of side A setting you up for the final two
pieces which comprises of side B.
The heart-wrenching
'Homesick' is centred on a forlorn jam that presents sombre tones; agonisingly
beautiful. Just when you think it can’t be topped, New Madrid blow it out of the
water with 'And She Smiles'. The framework of grumbling bass, intertwining with minimal
guitar scapes which shape 'And She Smiles' into the ultimate closing track.
Sunswimmer is a dizzy infusion
of dark tone-scapes that hint towards a collision of alt-country and kraut rock. How this gem has been overlooked is one of the year’s great
mysteries. Suffice to say, Sunswimmer
is purely mesmerising and the sort of album a band hopes to make perhaps on the
third or fourth attempt. Not the first.
Favourite Tracks: All Around the Locust (Out On the Pavement), Manners, Homesick, And She Smiles.
16.
Artist: Andy Stott
Album: Faith in Strangers
Label: Modern Love
16.
Artist: Andy Stott
Album: Faith in Strangers
Label: Modern Love
It's
been a prolific year for Andy Stott. Regarding the Manchester native, most will see his follow-up to Luxury Problems as the most important of his releases, perhaps casting aside his Millie & Andrea project (more on that later). Whether you agree with that or not, Faith
in Strangers is unwavering in many aspects, not least its minimalism.
Alison Skidmore is a vital component throughout Faith in Strangers. Her cameos throughout 2012's Luxury Problems proved to be the highlights of the release. As a staple throughout this journey, it enhances Stott's allure. He's found the perfect balance on all fronts this time around. 'Violence' sees Skidmore's entrance, as its sombre mash-ups bode like a remedy for your internal organs.
'How it Was' holds all the ingredients of a tech-house glitch laden dance floor romp. Throbbing bass and melody slice through the layers of glitch. The glacial soundscapes of the title track add another string to Stott's bow. Easily the most accessible moment on the album thanks to Skidmore's caricature of a out 'n' out frontwoman.
Many used to turn to Will Bevan in the search of electronic dirges and down-tempo hymns. Although perfecting a vastly different form of electronic aesthetic, Stott provides a nice variation, so much so that he must now be seen as one of the pioneers of electronic music. It's a large umbrella but with Faith in Strangers, Stott holds that umbrella.
Favourite Tracks: Violence, On Oath, Science and Industry, How it Was, Faith in Strangers.
15.
Artist: Wild Beasts
Album: Present TenseAlison Skidmore is a vital component throughout Faith in Strangers. Her cameos throughout 2012's Luxury Problems proved to be the highlights of the release. As a staple throughout this journey, it enhances Stott's allure. He's found the perfect balance on all fronts this time around. 'Violence' sees Skidmore's entrance, as its sombre mash-ups bode like a remedy for your internal organs.
'How it Was' holds all the ingredients of a tech-house glitch laden dance floor romp. Throbbing bass and melody slice through the layers of glitch. The glacial soundscapes of the title track add another string to Stott's bow. Easily the most accessible moment on the album thanks to Skidmore's caricature of a out 'n' out frontwoman.
Many used to turn to Will Bevan in the search of electronic dirges and down-tempo hymns. Although perfecting a vastly different form of electronic aesthetic, Stott provides a nice variation, so much so that he must now be seen as one of the pioneers of electronic music. It's a large umbrella but with Faith in Strangers, Stott holds that umbrella.
Favourite Tracks: Violence, On Oath, Science and Industry, How it Was, Faith in Strangers.
15.
Artist: Wild Beasts
Label: Domino
I'll admit it. I came to a realisation that Wild Beats just weren't
my saucer of rat poison. I always admired their attempts of grandiosity. I just felt marrow-cold
with their execution. However, reading a few interviews with these guys made me
become mildly interested in their forthcoming album, Present Tense. Lucky I'm a guy that will give most things a try,
and even a second chance. Now I can happily admit it; Wild Beast are slowly
becoming my saucer of rat poison.
Present Tense is a body of work. It has a Depeche Mode vibe in areas. It also
tips the hat off to the wonderful London underground scene, circa 1990. I hear the
influence of Disco Inferno and Bark Psychosis, albeit indirectly. It's art
rock. 'Wanderlust' begins with Hayden Thorpe professing that we're "decadent
beyond our means, we've a zeal." 'Mecca' is one of the finest tracks this
year. Perfect melodies in front of a piercing backdrop of instrumentation.
Side B has a few meandering moments, however 'New Life' sparks the
album right back into action. Its haunting minimalism is wrought with fragile grace.
Closing track, 'Palace', finishes just how the album starts. It's as frenetic
as Wild Beasts will get but that's okay. Hectic, this band is not.
The peaks are far too high to omit Present Tense from greatness. Without question, it's Wild Beasts'
finest effort yet. It also places them amongst the most innovative acts
throughout their native Britain.
Favourite Tracks: Wanderlust, Mecca, Daughters, New Life, Palace.
Undoubtedly, the Les Revants OST has rubbed off on Mogwai with their latest offering, Rave Tapes. I feel there’s more of an emotional quality with Mogwai in 2014. Having seen the band many times in the live arena, their ATP appearance at Camber Sands late last year felt like a new dawn.
Intertwining between their astounding back catalogue, the new songs which - at the time - would later consist of Rave Tapes seemed to breathe a new life into their back-catalogue. It was as if the visceral quality of their previous work was substituted for elegance. This, despite songs like ‘Mogwai Fears Satan’ never sounding bigger and better. Maybe it was the moment, but Raves Tapes has certainly instilled a certain beautification; a term always associated with Mogwai’s music, but not necessarily apparent from the get-go.
‘Heard About You Last Night’ is a cinematic sprawl so great that it would easily assume a position amongst the band’s finest works. ‘Remurded’ completes the sea change with Martin Bulloch’s drums never sounding so rollicking. ‘Blues Hour’ appears to be the sister track to ‘Cody’; nothing more really needs to be said. ‘No Medicine for Regret’ is probably the track on Rave Tapes which most would associate as stock-standard Mogwai. ‘The Lord is Out of Control’ sees multi-instrumentalist, Barry Burns, assuming the role of vocalist. Quite fitting considering Rave Tapes is Burns’ watershed moment during his tenure with the band.
Rave Tapes might have raised a few eyebrows for those yearning for the aggressive paths Mogwai have taken during the years. Granted, however the turn that Scotland’s pride has taken is extremely enlightening and from my perspective, a welcoming one. They’ve always been ahead of the game in the genre of post-rock and Rave Tapes further demonstrates this notion.
Favourite Tracks: Heard About You Last Night, Remurdered, Blues Hour, No Medicine For Regret, The Lord is Out of Control.
13.
Artist: Iceage
Album: Ploughing Through the Fields of Love
Label: Matador
After their sensational sophomore effort, You're Nothing, many wouldn't have made a fuss if Iceage delivered more of the same. Most of us expected them to.
After seeing them live prior to the release of their much anticipated third album, I came away cold to the marrow. Iceage's performance was underwhelming, with a set of new songs that felt like they were trying to fit a square peg into a round hole. It wasn't until Ploughing Into the Fields of Love graced my ears on record, before their indifferent performance made sense. This band is uncompromising. Playing songs that most are unfamiliar with is their shtick. A "fuck you" gesture.
Ploughing.... is Iceage's Up on the Sun.
The piano, although sparse, is welcoming. Album highlight, 'How Many', benefits from this. The honky
tonk drum beats. The spaghetti western horns. They've conceived an arty
aesthetic within their ferocious post-punk pastiche. Nods to early Nick Cave
& The Bad Seeds and even to Rowland S. Howard's solo outings. The results
are flawless.
'Simone' is likened to their material off their first two albums but
even still, you can feel a maturity, ending with a more refined version of a
band. With Ploughing... been such a
departure, you just wonder whether Iceage have been pulling our chain for the
last 3 years.
12 months ago I couldn't even conjure the thought of Iceage penning
a song like 'Against the Moon'. The fact that it's one of my favourite tracks off Ploughing... is probably the biggest
compliment I can give them.
Favourite Tracks: How Many, Stay, Simone, Against the Moon, Plough Though the Fields of Love.12.
Artist: Ought
Album: Today More Than Any Other Day
Label: Constellation
Montreal quartet, Ought, are something akin
to a rainbow coalition. Their music
weaves its way in and out of some very interesting moments. Throbbing bass
lines that render a dub pastiche (look no further than the title track).
Thumping drum beats that foil around a very tight rhythm section. Spiky guitars
and a vocalist in Tim Beeler who comes across as quite the song writer and
dare I say it, charismatic.
I find that all good post-punk bands are
elusive. They dangerously creep up on you and hit you where it counts. Ought do
this with aplomb with their debut album, Today
More Than Any Other Day. Comparisons to the Modern Lovers and various other
Proto-punk touchstones will be bandied around, but - all told - Ought present a
new dawn. A vibrancy in a scene that’s seemingly convoluted with pretenders and
mediocrity.
Look no further than the album's final two
tracks. ‘Clarity’ is one of the tracks of 2014. Beeler screams "And
when you feel like no one holds you, like they used, and you've earned it."
One of the brief sound bites in a song that poses many questions. ‘Gemni'
finish the album off in rollicking fashion, with Beeler's democratic mutterings
typifying what the band stands for.
Today
More Than Any Other Day is an album full of
panache. An album full of industry and more importantly, soul. A lot of lo-fi
post-punk bands lack the final ingredient and those who can’t click with the
likes of Parquet Courts should find a more compelling result in Ought. All
mouth, no trousers, this is not. Ought
are the thinking man’s proposition. Beeler's words of "Everything is going to be
okay, together, today." It's a breath of optimism in year where I was
thought optimism was lost.Favourite Tracks: Today More Than Any Other Day, Habit, Forgiveness, Clarity!, Gemini.
11.
Artist: ...And You Will Know Us By The Trail Of Dead
Album: IX
Label: Superball Music
...And You Will Know Us By The Trail Of Dead's IX is a collection of songs which takes time. As the Austin quartet is my all time favourite band, I have enough of that [time].
Unlike their
brilliant Lost Songs, the
instantaneous hit we all associated with the Deads' isn't present during IX. It's an album that spells maturity.
In fact, it's their most mature album yet.
IX once again bring us the piano. Without the grandiosity that
one may have accused them of in the past (think So Divided), the vicious assault of those melting power chords are
still well within arm's reach. They're with us from the opening sequences of 'The
Doomsday Book' and the mesmerising
'Jaded Apostles'. It's during 'The Ghost Within' where you feel The
Deads' have found it. It's vintage ...Trail of Dead. The melodic piano. The
foot stomping grooves. The vocal interplay between stalwarts, Conrad Keely and
Jason Reece. It's an upgrade of The
Century of Self's 'Bells of Creation'.
Then there's 'Bus
Lines'. Keely's defining moment. Oozing with maturity amid the guitar jaunts
and slender acoustics, it's the highlight of the album, followed by the
frenetic 'Lost in the Grand Scheme of Things'. Perhaps Reece's closest rival to
Source Tags and Codes' 'Days of Being
Wild'.
IX's slow burner tendencies may make things difficult in terms
of where to place this in the ...Trail Of Dead pantheon. They've substituted
aggression for grandeur in parts and although they have attempted this in the
past, this time they've nailed it. A clear manifestation of a band refining
their art. Favourite Tracks: The Doomsday Book, Jaded Apostles, The Ghost Within, Bus Lines, Lost in the Grand Scheme of Things.
10.
Artist: Watter
Album: This World
Label: Temporary Residence
Watter is Zakk Riles (Grails), Britt Walford (Slint), and Tyler Trotter. They've given us an album that's seemingly flown under the radar. Surmising, the six pieces of music which comprise of Watter's debut LP, The World, are simply beautiful.
'Rustic Fog' opens the album with more of a
Grails pastiche than anything else. No bad thing, let me tell you. You can
still hear Riles doing his best to bastardise Ravi Shankar. 'Lord I Want More'
slips in to the realm of acoustic sorcery; the first of three acoustic pieces
that interweave through this grand journey.
'Small Business' is the epicentre of This World. Psychedelic grooves dominate
this post-rock behemoth as the musical virtuosity of both Walford and Riles
collide with sonic splendour. The title track is the perfect closer. One of the
best of 2014, in fact. A track dominated once again by acoustic interplay, it's
a track that you could play at both your wedding and funeral. It's the most
beautiful thing that either artist has accomplished. It may fit the repertoire
of Grails' earlier work (Burden of Hope),
however in Walford's case, you'd perhaps expect this to be something his Slint
counterpart, David Pajo, would conjure instead.
Rachel Grimes (Rachel's), Tony Levin (King
Crimson), and Todd Cook (The For Carnation) lend a hand throughout this
blissful excursion. It's Walford's first dabble with new music since he offered
his expertise to the Breeders during the Pod
recordings. What a return it is. As for Riles; if Watter is to be his
primary music project these days, then I anticipate This World's follow-up with religious fervour.
Favourite Tracks: Rustic Fog, Lord I Want More, Small Business, This World.9.
Artist: Earth
Album: Primitive and Deadly
Label: Southern Lord
The collaboration between Mark Lanegan and Earth is one of those anomalies which fails to spring to mind until they’re both mentioned in the same breath. After that, you think to yourself “yes, why didn’t I think of that?” Both were seemingly born to trawl the desert. You can almost feel the tumbleweed brush past your leg when listening to Primitive and Deadly. It’s a return to form, and although slightly out of the realm of vintage Earth, given the vocal presence of both Lanegan and Rabia Shaheen Qazi, it’s a welcomed variation at this point.
Five songs that are best listened to by sitting back, cracking a beer and letting it all play out. ‘Torn by the Fox of the Crescent Moon’ is bog standard Earth, but with added vigour. Dylan Carlson’s guitar growl, missing throughout their last two opuses, is back with a vengeance. ‘There is a Serpent Coming’ is our first taste of Lanegan’s arrival. As you experience with each listen, you get to the nuts and bolts of why this collaboration makes so much sense. Lanegan’s whiskey soaked drawls coupled with Carlson’s desert drone guitar chords.
‘From Zodiacal Light’ introduces Rabia Shaheen Qazi, whose witch screeches bring the highest point of the record thus far, as she belches “there’s a darkness…” and “dreams pass by your window.” Carlson’s guitar drones ring and fuck with your internal organs. 'Hell Has its Heroes’ sounds like something the late Ron Asheton could’ve penned at 3am in the morning back in 1969. It’s a psychedelic groove tailor made for the late night/early morning come down. ‘Rooks Across the Gates’ is arguably Earth’s finest moment since the band’s inception. It’s certainly one of Lanegan’s, too. Its brooding eminence enhances this collaboration as one of the finest in 2014.
Very seldom do I mention a full tracklist during a rant, but in this case it would be rude not to. One track bleeds into another, just like a good electronic album. The production of Primitive and Deadly is what enhances its genius. Its menacing entirety is something to behold.
Favourite Tracks: See above.
8.
Artist: Woven Hand
Album: Refractory Obdurate
Label: Deathwish
Prior to this release, I always found Woven Hand a tough proposition; too many ideas together at once, perhaps? Refractory Obdurate, however, is different gravy. This could well be the gateway to put their body of work under a closer microscope.
It seems David Eugene Edwards' involvement with Crime And The City Solution has rubbed off to great effect, as the rockier moments throughout RO play a nice backdrop in paving the way for his religious rhetoric; a definitive focal point throughout.
In essence, this is something you could almost call anthemic folk-rock. ‘Masonic Youth’ is like Ian Astbury fronting the mighty Grails. In fact the whole album renders this sonic aroma. ‘The Refractory’ is perhaps the album’s highlight. All the elements of this album condensed into four minutes of a rocking folk-stomp. Penultimate track, ‘Hiss’, is balls to the wall rock 'n' roll with white noise spraying chaos through the speakers; how this number would shred live.
Edwards has spent years traipsing around the backwaters of Europe's live scene. America's, too. His work ethic holds great magnitude; a working class hero in today's landscape, in fact. Refractory Obdurate is Woven Hand's greatest feat and is no doubt one of the year’s greatest hidden treasures.
Favourite Tracks: Corsicana Clip, Masonic Youth, The Refractory, Hiss.
7.
Artist: Marissa Nadler
Album: July
Label: Sacred Bones
It's been some year for female word-smiths. Marissa Nadler is at the summit of it with her stunning opus, July. This is music produced on the back of years of hard work. Focus, determination and a sheer belief. That's Marissa Nadler. Independent artists take note. Marissa Nadler should be your inspiration for moving forward with your art.
The brooding
undercurrent sweeps you up and takes you into Nadler's world of darkness. Her gothic
aesthetic is spellbinding much like her guitar prowess. It's a whisper in the
dark. You can almost see yourself meandering on the fog laden river banks feeling
the beautiful sounds of album highlights, ‘Drive’, 'Dead City Emily' and
‘Was it a Dream’; it almost drags you over edge.
It's worth noting that producer,
Randall Dunn, should be attributed to the aural tapestry July presents. His expertise behind the soundboards helps pave the way for July's
success. That's not to discard Nadler's capabilities. Her artistic abilities
can no way be denied.
She
has been criminally overlooked throughout her career, releasing a spate of independent
albums - many of which are great within their own right (Little Hells, and The Sister are
my personal favourites). July has
something that transcends, though. In the past she’s always been capable of
writing a flawless song, but with July,
her consistency to do just that is a tribute to a polished craft. It’s
wholesomely stunning. It's a great moment for Nadler and a great moment for
those who hold an ear to July.
Favourite Tracks: Drive, Firecrackers, Dead City Emily, Was it a Dream, I've Got Your Name.
6.
Artist: Millie & Andrea
Album: Drop the Vowels
Label: Modern Love
Artist: Millie & Andrea
Album: Drop the Vowels
Label: Modern Love
Miles Whittaker and Manchester native, Andy Stott, knock heads and
deliver what I consider to be the electronic
album of 2014, with Drop the Vowels.
In no, way, shape or form is there a weak link amongst this eight track opus.
It's a tour de-force which demonstrates a purity of tech-house. The beats are
harsh and provide a foil which is enveloped in darkness. Yes, this is a ominous
record. No question.
‘Temper Tantrum’ pulsates with quick beats then transforms into this
slow wave of ambience. ‘Spectral Source’ is an elusive skinny dance floor romp.
The title track is purely menacing. Dark, but heavy dark. Just when you thought it couldn't get any more
brooding, 'Back Down' hedges all bets. Shredding bass and beats that make your
heart explode from your ribcage.
'Quay' leaves us to pick up the pieces from the preceding rumbling
of brooding brilliance. A dominating and reflective piece, 'Quay' is a synth-laden
apocalyptic hymn, which concludes Drop the
Vowels just perfectly.
Reiterating, for an electronic record, Drop the Vowels is heavy. It's also unyielding. If Drop the Vowels gets you in its ire, it
will penetrate almost to the point of no return. Most will probably jot this down
as one of the most underrated electronic albums of the year. Not in these
climes. Whittaker and Stott have nailed it.
Favourite Tracks: Temper Tantrum, Spectral Source, Drop the Vowels, Back Down, Quay.
5.
Artist: Ryan Adams
Album: Ryan Adams
Label: PAX AM
Ryan Adams has always been one of my favourite artists. We all have a handful of favourites whom we forgive for a bum album or two. A subjective stance, but yes, I forgive you for Cardiology, Ryan.
Artist: Ryan Adams
Album: Ryan Adams
Label: PAX AM
Ryan Adams has always been one of my favourite artists. We all have a handful of favourites whom we forgive for a bum album or two. A subjective stance, but yes, I forgive you for Cardiology, Ryan.
Ryan
Adams is not a return to form. I believe Ashes on Fire holds that honour in the
Adams patchwork. Ryan Adams is much
more than some sort of bridge album towards a higher point. It is that higher point. It’s his best
album since Cold Roses, without a
shadow of a doubt.
‘Gimme Something Good’ is about as good as
its title suggests and is the perfect way to begin the album. ‘Trouble’ is
Adams on top form, with tones that are very reminiscent of the Love is Hell era. ‘My Wrecking Ball’ comes off as a little
cheesy at first, but it’s the one song on Ryan
Adams that reveals itself more and more as each listen passes. ‘Feels like
Fire’ has a beautiful chorus and equally chic piano and synth, while and ‘I
Just Might’ pulls you in the opposite direction with electric fervour and Adams
growling “Don’t wanna lose control, I just might.”
The production of Ryan Adams is perfect. It’s crisp without a hint of sounding over produced. You can feel how comfortable he is amongst his surroundings at PAX AM studios. So close to home, these minor details can sometimes prove more of a hindrance than help. This, coupled with an apparent common ground and organic partnership between Adams and his new band, has culminated in this album being as good as it is.
Favourite Tracks: Gimme Something Good, Trouble, My Wrecking Ball, Feels Like Fire, I Just Might.
The production of Ryan Adams is perfect. It’s crisp without a hint of sounding over produced. You can feel how comfortable he is amongst his surroundings at PAX AM studios. So close to home, these minor details can sometimes prove more of a hindrance than help. This, coupled with an apparent common ground and organic partnership between Adams and his new band, has culminated in this album being as good as it is.
Favourite Tracks: Gimme Something Good, Trouble, My Wrecking Ball, Feels Like Fire, I Just Might.
4.
Artist: Sleaford Mods
Album: Divide and Exit
Label: Harbinger Sound
Think oi! punk. Think Mark E. Smith. Think about mod sub-culture. Think about locality. Think about anti-culture. Think about brashness, witticisms, lyrical venom. These notions comprise of the Sleaford Mods. No one’s safe. And nor should they be. You can feel the North of Great Britain resonate throughout the quips of Jason Williamson; the brain’s trust behind what is – in my opinion - the most innovative music (or anti-music) to come out of Britain in years. Like listening to Burial whilst traipsing the streets of London and feeling the music grapple you, Divide and Exit is the same soundtrack, only for the North. It resonates with a vivid knowledge.
Last year’s Austerity Dogs had all the makings of something far greater. Divide and Exit is just that. “The smell of piss is so strong it smells like decent bacon,” (‘Tied Up in Nottz’) and “England, Weetabix, fucking shredded wheat Kellogg's cunts” (from the same track). These are two of the many gems in which Williamson renders with his Nottingham via Grantham, Lincolnshire drawl. Spoken word disorder with minimal beats from Andrew Fearn. It’s a deconstruction of hip hop and oi! punk jammed into a realm that breathes locality and dare I say it, civic pride. Civic fucking pride! And I thought it was lost to the evils of mass culture! And just on locality, listen carefully to ‘Liveable Shit’. Some may say that ‘Tied up in Nottz’ is the seminal moment of Divide and Exit. ‘Liveable Shit’ is certainly its closest rival.
It might not be everyone’s things, but it should be! The message is poignant. Perhaps the sharpest out of anything released this year. With Divide and Exit, Jason Williamson has put his hand up as the new social commentator for Northern Britain. These polemic rants are unmatched. Yes, this is real. Very real. Thank you, Sleaford Mods.
Favourite Tracks: Tied Up in Nottz, The Corgi, Liveable Shit, Tiswas, Smithy.
3.
Artist: Cloud Nothings
Album: Here and Nowhere Else
Label: Carpark Records
Cloud Nothings emerged in 2012 to increased fervour with Attack on Memory. The fact Steve Albini assumed the role behind the recording glass may have had a lot to do with their meteoric rise, but still, there was something there to suggest that Cloud Nothings were here to stay for a while. It is confirmed with their follow-up, Here and Nowhere Else. The jaw dropping ode to anything resembling a guitar.
The rollicking fist pumping opener in ‘Now Here In’ has frontman, Dylan Baldi, singing “I can’t feel your pain and I feel alright by this.” He’s the kind of frontman who seems to require validation by going through an extensive amount of emotional pain.
Amongst the masses, ‘Quieter Today’ might not gain the plaudits as a stand out track on this album but for me it’s does. The chorus is obliterating chords-to-the-sky malevolence that has an instant presence. Most songs on Here and Nowhere Else have that instant presence.
2.
Artist: Afghan Whigs
Album: Do to the Beast
Label: Sub Pop
Greg Duli is the King of the slow burner. Whether it be with the Afghan Whigs, the Twilight Singers, or the Gutter Twins, his music has always taken its time to reach that maximum level. Do to the Beast, the Afghan Whigs’ comeback album is no different. It meanders, it ducks, it weaves, then after about the sixth listen, it grapples you. That’s vintage Duli. Those soul boy howls he has made a living from; well, they remain evident. Those ethereal guitars. Again, ever-present. The addition of David Rosser has enhanced the band’s ability to riff it up and deliver cutting edge melody.
Favourite Tracks: Parked Outside, Algiers, Lost in the Woods, The Lottery, Cana Rova, Royal Cream.
1.
Artist: The War On Drugs
Album: Lost in the Dream
Label: Secretly Canadian
What a year it’s been for The War On Drugs. Despite the general consensus that rock music has stagnated over the past 10 years, there’s always someone willing to carry the can so to speak. Adam Granduciel’s project seems to be that something. Granduciel himself. That someone.
Top 30 Recap:
30. Jessica Lea Mayfield - Make My Head Sing
29. New Bums - Voices In a Rented Room
28. Fennesz – Becs
27. Julie Byrne - Rooms with Walls and Windows
26. The Rural Alberta Advantage - Mended With Gold
25. Total Control - Typical System
24. Nothing - Guilty of Everything
23. Steve Gunn – Way Out Weather
22. The Phantom Band - Strange Friend
21. Willis Earl Beal - Experiments in Time
20. The Bug - Angels & Devils
19. Pallbearer - Foundations of Burden
18. Dope Body - Lifer
17. New Madrid – Sunswimmer
16. Andy Stott - Faith in Strangers
15. Wild Beasts - Present Tense
14. Mogwai - Rave Tapes
13. Iceage - Ploughing Into the Field of Love
12. Ought – Today More Than Any Other Day
11. ...And You Will Know Us By The Trail Of Dead – IX
10. Watter - This World
9. Earth - Primitive and Deadly
8. Woven Hand - Refractory Obdurate
7. Marissa Nadler - July
6. Millie & Andrea - Drop the Vowels
5. Ryan Adams - Ryan Adams
4. Sleaford Mods – Divide and Exit
3. Cloud Nothings - Here and Nowhere Else
2. Afghan Whigs – Do to the Beast
1. The War On Drugs - Lost In The Dream
By Simon K.
Artist: Sleaford Mods
Album: Divide and Exit
Label: Harbinger Sound
Think oi! punk. Think Mark E. Smith. Think about mod sub-culture. Think about locality. Think about anti-culture. Think about brashness, witticisms, lyrical venom. These notions comprise of the Sleaford Mods. No one’s safe. And nor should they be. You can feel the North of Great Britain resonate throughout the quips of Jason Williamson; the brain’s trust behind what is – in my opinion - the most innovative music (or anti-music) to come out of Britain in years. Like listening to Burial whilst traipsing the streets of London and feeling the music grapple you, Divide and Exit is the same soundtrack, only for the North. It resonates with a vivid knowledge.
Last year’s Austerity Dogs had all the makings of something far greater. Divide and Exit is just that. “The smell of piss is so strong it smells like decent bacon,” (‘Tied Up in Nottz’) and “England, Weetabix, fucking shredded wheat Kellogg's cunts” (from the same track). These are two of the many gems in which Williamson renders with his Nottingham via Grantham, Lincolnshire drawl. Spoken word disorder with minimal beats from Andrew Fearn. It’s a deconstruction of hip hop and oi! punk jammed into a realm that breathes locality and dare I say it, civic pride. Civic fucking pride! And I thought it was lost to the evils of mass culture! And just on locality, listen carefully to ‘Liveable Shit’. Some may say that ‘Tied up in Nottz’ is the seminal moment of Divide and Exit. ‘Liveable Shit’ is certainly its closest rival.
It might not be everyone’s things, but it should be! The message is poignant. Perhaps the sharpest out of anything released this year. With Divide and Exit, Jason Williamson has put his hand up as the new social commentator for Northern Britain. These polemic rants are unmatched. Yes, this is real. Very real. Thank you, Sleaford Mods.
Favourite Tracks: Tied Up in Nottz, The Corgi, Liveable Shit, Tiswas, Smithy.
3.
Artist: Cloud Nothings
Album: Here and Nowhere Else
Label: Carpark Records
Cloud Nothings emerged in 2012 to increased fervour with Attack on Memory. The fact Steve Albini assumed the role behind the recording glass may have had a lot to do with their meteoric rise, but still, there was something there to suggest that Cloud Nothings were here to stay for a while. It is confirmed with their follow-up, Here and Nowhere Else. The jaw dropping ode to anything resembling a guitar.
The rollicking fist pumping opener in ‘Now Here In’ has frontman, Dylan Baldi, singing “I can’t feel your pain and I feel alright by this.” He’s the kind of frontman who seems to require validation by going through an extensive amount of emotional pain.
Amongst the masses, ‘Quieter Today’ might not gain the plaudits as a stand out track on this album but for me it’s does. The chorus is obliterating chords-to-the-sky malevolence that has an instant presence. Most songs on Here and Nowhere Else have that instant presence.
‘Psychic Trauma’ is almost a homage to Husker Du’s New Day Rising. ‘Giving into Seeing’ is a nod to the likes of Squirrel Bait and Bitch Magnet. In terms of epic, ‘Pattern Walks’ is the closest thing to Attack on Memory’s ‘Wasted Days'. In fact, for mine, it’s better! ‘I’m Not Part of Me’ once again sees Baldi throwing out interesting lyrical juxtapositions, revelling in a post-hardcore realm.
Here and Nowhere Else stacks up well. Although most won't agree, for me it betters Attack on Memory and by some distance. It's a smash and grab record that attests to ear-splitting balls to the wall rock music circa 2014. Its spirit is fierce. Dylan Baldi could well be a modern day Bob Mould. Their intensity bares an uncanny resemblance. Only time will tell.
Favourite Tracks: Now Here In, Quieter Today, Giving into Seeing, Pattern Walks, I'm Not Part of Me.Here and Nowhere Else stacks up well. Although most won't agree, for me it betters Attack on Memory and by some distance. It's a smash and grab record that attests to ear-splitting balls to the wall rock music circa 2014. Its spirit is fierce. Dylan Baldi could well be a modern day Bob Mould. Their intensity bares an uncanny resemblance. Only time will tell.
2.
Artist: Afghan Whigs
Album: Do to the Beast
Label: Sub Pop
Greg Duli is the King of the slow burner. Whether it be with the Afghan Whigs, the Twilight Singers, or the Gutter Twins, his music has always taken its time to reach that maximum level. Do to the Beast, the Afghan Whigs’ comeback album is no different. It meanders, it ducks, it weaves, then after about the sixth listen, it grapples you. That’s vintage Duli. Those soul boy howls he has made a living from; well, they remain evident. Those ethereal guitars. Again, ever-present. The addition of David Rosser has enhanced the band’s ability to riff it up and deliver cutting edge melody.
Do to
the Beast is a celebration of sorts. It holds all
the components as to why longstanding Afghan Whigs aficionados grew to adore
the band in the first place. The brooding start that is ‘Parked Outside. Duli’s
urgent vocal and low-end chord structures. The acoustic sprawl of lead single,
‘Algiers’, again, a slow burner that tends to make sense after about half a
dozen listens. Then there’s ‘Lost in the Woods’. The pinnacle track, and just
when you think it couldn’t get any better, ‘The Lottery’ just crushes you, with one
of the best melodies and choruses made this year. ‘Can Rova’ matches it in
equal measure for quality, albeit with a more wraithlike framework.
Afghan Whigs have always been driven by
lust. A love band, they’re certainly not. There’s too many of those moments to touch upon. Some may
see Do to the Beast as passé. In fact
I’m sure many will, given people’s listening habits, circa 2014. The Afghan
Whigs have always been a collective that require your undivided attention. If
you give this album enough time, the results are undeniably fantastic. Favourite Tracks: Parked Outside, Algiers, Lost in the Woods, The Lottery, Cana Rova, Royal Cream.
1.
Artist: The War On Drugs
Album: Lost in the Dream
Label: Secretly Canadian
What a year it’s been for The War On Drugs. Despite the general consensus that rock music has stagnated over the past 10 years, there’s always someone willing to carry the can so to speak. Adam Granduciel’s project seems to be that something. Granduciel himself. That someone.
Slave
Ambient drew my plaudits in receiving this very
honour two years ago. Lost in the Dream
deservedly receives that same honour. Where Slave
Ambient appeared to carve out a
niche of listeners, Lost in the Dream
is the venue filling break out opus. 10 tracks of rock ‘n’ roll dream-scapes. ‘Under
the Pressure’ begins the journey with an alluring piano line that sets the tone
for what’s to come. First single, ‘Red Eyes’, is more of an upbeat moment, with
Granduciel displaying his riff-o-rama amongst the atmospheric synth which tumbles
through the album like a thick fog.
‘Suffering’ is a slower number which
introduces saxophone for the first time. Its beauty is only outdone by the
incredible ‘Eyes to the Wind’; Granduciel’s greatest accomplishment. Musically,
lyrically (“there’s just a stranger, living in me”). If he ever comes write a
better song, then rock ‘n’ roll as we know it will be in an able position.
Does the traction The War On Drugs have
gained through mass culture reduce the greatness of Lost in the Dream? Does it hell! Sure, they’re no longer the niche
collective most of us were drawn to during the era of Wagonwheel Blues. They’re fast becoming a behemoth. That's
evolution. Lost in the Dream talks to
its listeners. People from various cuts of woodwork seem to understand it at
some level. They gain comfort from Granduciel's message. There’s a
transparency. That's why Lost in the
Dream stands out from the rest.
Favourite Tracks: Under the Pressure, Red Eyes, Eyes to the Wind, Burning, In Reverse.Top 30 Recap:
29. New Bums - Voices In a Rented Room
28. Fennesz – Becs
27. Julie Byrne - Rooms with Walls and Windows
26. The Rural Alberta Advantage - Mended With Gold
25. Total Control - Typical System
24. Nothing - Guilty of Everything
23. Steve Gunn – Way Out Weather
22. The Phantom Band - Strange Friend
21. Willis Earl Beal - Experiments in Time
20. The Bug - Angels & Devils
19. Pallbearer - Foundations of Burden
18. Dope Body - Lifer
17. New Madrid – Sunswimmer
16. Andy Stott - Faith in Strangers
15. Wild Beasts - Present Tense
14. Mogwai - Rave Tapes
13. Iceage - Ploughing Into the Field of Love
12. Ought – Today More Than Any Other Day
11. ...And You Will Know Us By The Trail Of Dead – IX
10. Watter - This World
9. Earth - Primitive and Deadly
8. Woven Hand - Refractory Obdurate
7. Marissa Nadler - July
6. Millie & Andrea - Drop the Vowels
5. Ryan Adams - Ryan Adams
4. Sleaford Mods – Divide and Exit
3. Cloud Nothings - Here and Nowhere Else
2. Afghan Whigs – Do to the Beast
1. The War On Drugs - Lost In The Dream
By Simon K.
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