Albums of the Year: Part One

We're showing our hand pretty late this year and honestly, there's not that many good reasons. But for now, here's some words from Braden.

Hi there, before I begin, let me explain. Toby figured out some form of algorithm that I found to be really very complicated, but, I trusted him and his unwavering vision of some form of democracy and frankly, the results speak for themselves. They're the reason he's in charge around here; why he's asleep somewhere whilst I'm writing the albums of the year introduction. I could write anything...
This year, Robin Thicke made me lose my faith in the public and Miley Cyrus' press made me lose faith in sanity. Luckily, our team here are better than both and they've outdone themselves this year. We're still a small fish in a big ocean, but this year we put a show on on the underground, we talked to some amazing musicians and got allowed to hang out in some of the most amazing fields. This job's not made worthwhile by the money we earn from it; because we earn none. No, this job's made worthwhile by the fact that we get to listen to music, new music, basically every day. It's made worthwhile by you coming to us and telling us that you liked something we wrote/shot. It's made worthwhile by someone at a gig saying they've read your site. Heck, it's even made worth while by the occasional staff gathering for drinks/burritos/records/gigs.
The only thing that's left to ask really is; what happens when music, which is entirely subjective, gets listened to across a year, by people that you trust to bring it to you?
Answer? A top 50.
Shout at us, praise us, point us in the way of something new. Most of all though, incase I don't get the chance to say it again in 2013, thank you.

Braden Fletcher (Co-Editor)

50. Nai Harvest – Whatever
A key factor in Nai Harvest's force is their clear understanding of the genre they are in, their representation of the other genres that represent them and their unabashed enthusiasm to create something passionate and distinctly their own.  

With a few years under their belt and a chance to settle into themselves comes the release of 'WHATEVER', their album. In truth, this album is the album they were supposed to make.

Elliot H

49. FIDLAR – FIDLAR 

FIDLAR are a four-piece punk outfit from Los Angeles and I use punk in the official sense, not as some kind of fashion campaign by Topshop. They took their name from the skater saying ‘Fuck It Dog, Life’s A Risk’ and although they won’t change the world on this first outing it is evidence that there is still room for a dumb and brutal rock album. This is a venture into feedback and riffery that isn’t particularly vogue at the moment but clearly doesn’t give a shit.

Paul S

48. The Knife – Shaking the Habitual

47.  Lorde – Pure Herione

46. Jessy Lanza – Pull My Hair Back

45. Fuck Buttons – Slow Focus

44. Anamanaguchi - Endless Fantasy

Anamanaguchi also feature in our Label of the Year feature for Alcopop Records!

43. Daughter - If You Leave
If You Leave proves that Daughter have gone from creating music focused on pain, to creating music that encapsulates pain and acts as medicine. Some may call it depressing, I’d argue they’ve not listened hard enough.
Braden F

42. King Krule - 6 Feet Beneath The Moon
The Zookid's come a long way. He's been on Letterman and he's been around the world. Not something you'd expect from an album so sparse and honest. That Archie's still got such a great buzz around his name after years of toying with the idea of putting a record together, is testament to the pure enjoyability of a record built around the sound of a crumbling capital city. King Krule has the capacity in him to create a life out of this record and he's hardly the kind that's going to get carried away by fame.
Braden F


41. And So I Watch You From Afar - All Hail Bright Futures
Cementing their place as one of the UK's most exciting acts both on record and stage, ASIWYFA's third record is a jubilant celebration of post-rock and alternative music as a whole alike. Swelling from it's beginnings, it quickly becomes the kind of record you can soundtrack only the most enjoyable of lives to. In contrast to their second, darker record, AHBF is magnificent.
Braden F



40. Of Montreal - Lousy WIth Sylvianbriar

March 2013: Albums Summary

Better late than never (8th April, sorry!), here's our monthly summary of albums.

Check out what March had to offer:

Reviewed

Suuns - Images Du Futur (8/10)

The Cave Singers - Naomi (7/10)

Shout Out Louds - Optica (8/10)

The 1975 - Music For Cars (6/10)

Low - The Invisible Way (8/10)

Laura Mvula - Sing To The Moon (5/10)

Suede - Bloodsports (8/10)

Deathfix - Deathfix (7/10)

Nai Harvest - Whatever (8/10)
The Strokes - Comedown Machine (6/10)
Kavinsky - Outrun (8/10)
Wavves - Afraid Of Heights (5/10)
Phosphorescent - Muchacho (8/10)

Album of the month 

Daughter - If You Leave (8.5/10)

"Daughter have gone from creating music focused on pain, to creating music that encapsulates pain and acts as medicine. Some may call it depressing, I’d argue they’ve not listened hard enough." Braden Fletcher 

The Rest

Justin Timberlake - The 20/20 Experience (8/10)

What was pencilled in as a return to form, quickly escalated to discussion of a reinvention of the pop album. Although the 20/20 experience is certainly an 'experience', a revelation it isn't. Timberlake's most ambitious effort to date just falls short of iconic, with most songs pressuring the 9 minute mark, it's hard to fault Justin for the concept behind the music showcased and the drive to create something as culturally resonant as his previous two records. Exquisitely crafted pop gems permeate and delight throughout (even if most of them last 2 or 3 minutes too long) with Timberlake's trademark tongue in cheek lyricisms not extending too far from the expected (sex, love, a rather naive foray into drug metaphors on Pusher Love Girl so aloof it's largely hilarious.) Timberland's production is on point with the tried and tested beat-box style instrumentals only sounding a tad dated, and the strength of the choruses Timberlake delivers on the likes of Don't Hold The Wall and Mirrors are amongst the most memorable of his career. Not ground-breaking, but a lot of fun and a refreshing revival of a male pop-star who isn't completely loathsome and punchable. Toby McCarron

Peace - In Love (7/10)

When Peace first broke through with their glorious EP last year; it was already apparent to many that to keep up a level of quality across a full length record would be a feat in itself. Not phased with this level of pressure, the Birmingham group released Wraith and featured the hugely infectious Lovesick on the record. Whilst at times you feel like the album lacks in the cutting edge (ie. Waste of Paint through to Sugarstone), the re-workings of Follow Baby and album closer California Daze more than make up for it. Definitely one to catch this summer, if you can fit in the tent. Braden Fletcher

Chvrches - Recover (7/10)

If you were to write a brief history of Chvrches it would probably run something like this: Glaswegian indie band members decide they’re sick of selling three records to guys with beards and decide to do something shamelessly commercial. Actually, this summary is slightly unfair - vocalist Lauren Mayberry was keyboardist and co-vocalist in Blue Sky Archives, whilst Martin Doherty was a live member of miserable post-punks The Twilight Sad - but it’s true that as musical projects go Chvrches have attracted a hell of a lot more attention than these past ventures ever did for their shiny but slightly fussy electro-pop.

Channelling early eighties new wave group OMD lead single ‘Recover’ is a huge sounding tune, led by pulsating synths and Mayberry’s elfin vocals which bring to mind Emily Haines of Metric. Even if it doesn’t quite match up to the excellent ‘The Mother We Share’ single that the trio released last year it’s an electro pop anthem in the mould of Passion Pit’s ‘Sleepyhead’. If anything it’s actually improved by the remix courtesy of Cid Rim that closes this four-track EP when, unshackled from the need to appeal to both rock and dance crowds, some of Chvrches’ restraint is stripped away and it’s transformed into a full on dance floor workout.

Martin Doherty takes centre stage for the first time on ‘ZVVL’, a relatively lightweight track redeemed by its startling lyrics, ‘a flash of blood’, that draw your gaze away from the discotheque and down some darker pathways. Though their USP is bounding, keyboard-led pop, darker strains of electronic music both old (Depeche Mode) and new (The Knife) have played their role in shaping Chvrches so it’s interesting to see the trio explore some murkier corners. ‘There is so much I want to tell you’ croons Lauren on ‘Now is Not the Time’. For Chvrches the world is listening with open ears. Max Sefton

Bastille - Bad Blood (6/10)

When a pop act breaks through with the dedication that Bastille have, you have to admire it. The likes of Flaws push through to the almost anthemic sounds of Pompeii and its from this point onwards that you have to give appreciation to a a record that; whilst half full of tracks that will never light up the world will most definitely be part of most people’s summers. It may be cheesy and in parts it may not be the most musically adept; it also lacks in complete consistency but it’s the border of indie and pop that Dan Smith crosses that makes Bad Blood an enjoyable listen if one that won’t make it past the Autumn. Braden Fletcher

Daughter - If You Leave

It seems to have been quite a long time since Elena Tonra first delicately touched our ears and hearts with the His Young Heart EP and the Wild Youth EP. It’s hard to think that it’s been 18 months since the latter was released. This is surprising for two reasons; the first being that the EPs sound as familiar to this writer as the first records he remembers hearing. Second is that they still sound as fresh as the opening track of Daughter’s debut record If You Leave, Winter.

With indie-titans 4AD releasing it and recorded in an array of spaces before being mastered at Abbey Roads, If You Leave is as well crafted as it is cared for and produced. The lead single Smother is painstakingly beautiful and demonstrates first hand the work that’s gone into this record for almost a year. The reworked version of Youth leaves negative amounts to be desired as its swell fills the listener with a series of emotions that are somehow both delicate and powerful whilst following it with newest single Still reminds you of how Tonra’s lyrics can cut straight to the core. 

At times you just have to take a moment to exhale during If You Leave. As personal as it is to the band, it’s in some ways relateable even if it didn’t have lyrics. As tomorrow kicks in half way through, Daughter unleash the rich tapestry they’re truly capable of; adding and taking away the muscle of their sound with total control and on Human, you see the breadth of music they’re capable of making as the beating backline of the track could be somewhere between Sigur Ros’ Med Sud I Eyrum Vid Spilum Endalaust and Bombay Bicycle Club.
The overall sound of the record creates an inescapable atmosphere; conflicted, ambivalent, painful in a good way. In some ways, pain is the one thing that keeps us human so to feel something that doesn’t so much perpetuate but alleviate pain whilst tapping into the deepest emotions you posses  that’s something to revel in. Whilst there’s an eleven minute Shallows at the end of the record that leaves a heck of a lot to be desired of a closing track of its length, If You Leave proves that Daughter have gone from creating music focused on pain, to creating music that encapsulates pain and acts as medicine. Some may call it depressing, I’d argue they’ve not listened hard enough.

8.5

Braden Fletcher