Anglophone Albums of the Year 2014
The sheer quantity of quality of albums released in 2014 was truly frightening. The calibre, from bands and artists old and - more importantly - new ensured that the process of whittling the year's releases down to a 'Best Of...' list has proven to be a little bit challenging. Firstly, there were a number of albums that I haven't even gotten around to as yet (and there'll be a small 'mea culpa' featurette where I beg forgiveness from the indie gods) and secondly, there were albums that in any other year would have been a shoe-in for this Year-List (here and here, for example...) And while there is no countdown as such - with humble apologies to those albums that didn't make the list - here are this blog's ten favourite English-language albums of the year...
Highasakite "Silent Treatment"
It is this blog's golden rule to always catch the support act. Opening for London Grammar at the El Rey I was absolutely entranced by Norwegian band Highasakite's rich, complex orchestral compositions and the breathtaking dynamic range and clarity of Ingrid Helene Håvik's stunning voice, so much so that it literally sent shivers down my spine (just what is it about Scandinavian vocalists?)
The first thing that strikes you when listening to "Silent Treatment" is what a misnomer of a title it was. The album was big, bold, rich - orchestral - wildly ambitious. The structure and layering of both instruments and vocals (and I'd argue that Ingrid's voice is very much an instrument) was reminiscent of the style that Groenland successfully created for their GAMIQ award winning album "The Chase". Indeed, "Silent Treatment" was an album chock-full of memorable, anthemic songs, swirling - symphonic - synthesisers and breathtaking, mesmerising vocals that not only live long in the memory but also vividly captures the fabric of this band as they vividly paint every moment of this technicolor album.
The first thing that strikes you when listening to "Silent Treatment" is what a misnomer of a title it was. The album was big, bold, rich - orchestral - wildly ambitious. The structure and layering of both instruments and vocals (and I'd argue that Ingrid's voice is very much an instrument) was reminiscent of the style that Groenland successfully created for their GAMIQ award winning album "The Chase". Indeed, "Silent Treatment" was an album chock-full of memorable, anthemic songs, swirling - symphonic - synthesisers and breathtaking, mesmerising vocals that not only live long in the memory but also vividly captures the fabric of this band as they vividly paint every moment of this technicolor album.
La Sera "Hour of the Dawn"
If you read the somewhat rambling thread to my original review of this album (it kind of got away a bit), I went off at some length as to the importance of Vivian Girls to this ** cough ** middle-aged ** cough ** English emigre to the States, and while the band may no longer be with us, their musical legacy, thankfully, lives on. Cassie Ramone released her utterly distinctive mini-album "The Time Has Come" - a collection of homely and intimate indie-folk songs - which if it had been a couple of minutes longer would have been a shoe-in for this post.
Meanwhile, "Hour of the Dawn", 'kickball' Katy Goodman's third album as La Sera was not only her best to date, it was arguably the most colourful, dynamic and one that from both a songwriting and lyrical perspective was the most expansive of the trio. From the opening bars and howling guitar of the ultimate put-down that is "Losing to the dark" it seems obvious that Katy was making not only a personal statement but a musical one as well. Every song on this album was a nailed-on classic, full of sweeping choruses, glorious harmonies and swirling guitars that was the most exhilarating and heady mix of post-punk, guitar-fueled indie-pop.
A lot of the energy generated by "Hour of the Dawn" has to be laid at the feet (or more accurately, the hands) of 'Totally' Todd Wisenbaker's majestic fret-work and guitar shredding, but the album truly reinforces what an achingly beautiful voice Katy Goodman posses, as if the added pace, texture and depth on display here complements rather than competes.
Meanwhile, "Hour of the Dawn", 'kickball' Katy Goodman's third album as La Sera was not only her best to date, it was arguably the most colourful, dynamic and one that from both a songwriting and lyrical perspective was the most expansive of the trio. From the opening bars and howling guitar of the ultimate put-down that is "Losing to the dark" it seems obvious that Katy was making not only a personal statement but a musical one as well. Every song on this album was a nailed-on classic, full of sweeping choruses, glorious harmonies and swirling guitars that was the most exhilarating and heady mix of post-punk, guitar-fueled indie-pop.
A lot of the energy generated by "Hour of the Dawn" has to be laid at the feet (or more accurately, the hands) of 'Totally' Todd Wisenbaker's majestic fret-work and guitar shredding, but the album truly reinforces what an achingly beautiful voice Katy Goodman posses, as if the added pace, texture and depth on display here complements rather than competes.
Fear of Men "Loom"
There were some fantastic album releases from the other (my home) side of The Pond this year - many of which I haven't gotten around to yet - but two albums that particularly grabbed my attention where Cosines' "Oscillations" and Fear of Men's "Loom".
Both albums were most definitely from the Brit school of Indie-pop in both their sound and feel, and while the former transported me back to the post-punk pop of Dolly Mixture and The Chefs, Fear of Men created the most stupendous celebration of contemporary UK indie-pop, full of jangly guitars and exquisitely multi-layered indie-pop songs that play disjointedly with bitter-sweet and often forlorn, melancholy lyrics (in interviews Jessica Weiss admits to being influenced by the writings of Anaïs Nin and Sylvia Plath). The overall effect is to evoke a shoegazy post-C86, Twee feel (if Twee ever wore steel toecaps...) and which is perfectly complemented by Jessica's flawlessly-pitched vocals.
Both albums were most definitely from the Brit school of Indie-pop in both their sound and feel, and while the former transported me back to the post-punk pop of Dolly Mixture and The Chefs, Fear of Men created the most stupendous celebration of contemporary UK indie-pop, full of jangly guitars and exquisitely multi-layered indie-pop songs that play disjointedly with bitter-sweet and often forlorn, melancholy lyrics (in interviews Jessica Weiss admits to being influenced by the writings of Anaïs Nin and Sylvia Plath). The overall effect is to evoke a shoegazy post-C86, Twee feel (if Twee ever wore steel toecaps...) and which is perfectly complemented by Jessica's flawlessly-pitched vocals.
Secret Sun "Cold Coast"
I've always been a sucker for looping synths and staccato drum machines and by far the best English-language exponent of this particular genre I heard all year was that by the Montréal duo of Anne-Marie Campbell and Simon Landry, who are better known as Secret Sun. While perhaps not as well known as Chvrches, London Grammar or fellow Canadians, Toronto's Austra, with their debut album "Cold Coast", Secret Sun demonstrated that their compositions easily stood comparison with their more illustrious peers.
Mixing dreamy synth-pop with stark, pounding, industrial synth-rock and a touch of Euro-disco, "Cold Coast" was an album that demonstrated a band who weren't afraid to experiment and who were comfortable and confident enough to mix genres - often within the the same song, "Don't behave" and the majestic "NHNT" being obvious cases in point. In an album full of outstanding compositions, the haunting "Passing cars" and "Feather" - an effortless homage to 80's electro-pop - that can also be seamlessly striped-back to basics, as the melancholy-tinged acoustic version of their radio session demonstrated - stood out.
Apparently Anne-Marie and Simon met while both worked at Ubisoft's Montréal design centre... it's safe to say "Cold Coast" illustrates that the computer industry's loss is most definitely our gain...
Mixing dreamy synth-pop with stark, pounding, industrial synth-rock and a touch of Euro-disco, "Cold Coast" was an album that demonstrated a band who weren't afraid to experiment and who were comfortable and confident enough to mix genres - often within the the same song, "Don't behave" and the majestic "NHNT" being obvious cases in point. In an album full of outstanding compositions, the haunting "Passing cars" and "Feather" - an effortless homage to 80's electro-pop - that can also be seamlessly striped-back to basics, as the melancholy-tinged acoustic version of their radio session demonstrated - stood out.
Apparently Anne-Marie and Simon met while both worked at Ubisoft's Montréal design centre... it's safe to say "Cold Coast" illustrates that the computer industry's loss is most definitely our gain...
Angel Olsen "Burn Your Fire For No Witness"
I was hooked on this album from the first moment I heard the gorgeous crescendo that is the fuzzed-up, distorted guitar that is "Forgiven/forgotten" alongside the banshee wail of spat-out lyrics...
And it's this vocal intensity that made "Burn Your Fire For No Witness" so compelling - Angel's voice ranged from jagged and angry, to pleading and plaintive - that and the awesome quality of songs... The shimmering beauty of "Dance slow decades"; the uncanny resemblance to Patsy Cline that is the poignant "Enemy"; "Hi-five", a song that could have been recorded by Roy Orbison - down to the same vocal inflection and trademark guitar echo.
"Burn Your Fire For No Witness" is an album that immediately connects with the listener; chock-full of emotion - melancholy, betrayal, hurt, loneliness and vulnerability, but also inner strength - it challenges you to remain dispassionate. It's an album that taps at the rich seam of history that is 'Americana' - but is most definitely not your parents' country album...
And it's this vocal intensity that made "Burn Your Fire For No Witness" so compelling - Angel's voice ranged from jagged and angry, to pleading and plaintive - that and the awesome quality of songs... The shimmering beauty of "Dance slow decades"; the uncanny resemblance to Patsy Cline that is the poignant "Enemy"; "Hi-five", a song that could have been recorded by Roy Orbison - down to the same vocal inflection and trademark guitar echo.
"Burn Your Fire For No Witness" is an album that immediately connects with the listener; chock-full of emotion - melancholy, betrayal, hurt, loneliness and vulnerability, but also inner strength - it challenges you to remain dispassionate. It's an album that taps at the rich seam of history that is 'Americana' - but is most definitely not your parents' country album...
Warpaint "Warpaint"
For this, their eponymous second album, Warpaint confirmed that once again - in the macho, cock-rock preening, world that is 'Rawk and Roll' - how few of their male peers can hold a candle to this quartet's innovation and musicianship.
Indeed, it's the blown count-in on the aptly titled "Intro" that neatly defines this band's ethos. Whether the blown start was an accident or not is purely immaterial. I suspect is that the band didn’t care. And that’s the whole point of the album – Warpaint are a band more than confident enough to strike out however they want...
It's this skill, coupled with their uncanny ability to create total hypnotic and intense melodies that ensured that this was one of my most anticipated releases of the year. From the intoxicating "Love is to die", arguably the band's most radio-friendly song since "Undertow"; the rib-cage crushing bass of Biggy" and the fragile and haunting beauty of "Son", this an album that deserves to be in any discerning record collection.
And then there was the statement piece that is "Disco//very". A song that jarred - deliberately so. A pulsating dance anthem resplendent with hypnotic, swirling bass and guitar, vocals on edge. Provocative and challenging, the song sounded like no other Warpaint song. In short the kind of brilliant musical masterpiece that you expect the band to surprise you with...
Indeed, it's the blown count-in on the aptly titled "Intro" that neatly defines this band's ethos. Whether the blown start was an accident or not is purely immaterial. I suspect is that the band didn’t care. And that’s the whole point of the album – Warpaint are a band more than confident enough to strike out however they want...
It's this skill, coupled with their uncanny ability to create total hypnotic and intense melodies that ensured that this was one of my most anticipated releases of the year. From the intoxicating "Love is to die", arguably the band's most radio-friendly song since "Undertow"; the rib-cage crushing bass of Biggy" and the fragile and haunting beauty of "Son", this an album that deserves to be in any discerning record collection.
And then there was the statement piece that is "Disco//very". A song that jarred - deliberately so. A pulsating dance anthem resplendent with hypnotic, swirling bass and guitar, vocals on edge. Provocative and challenging, the song sounded like no other Warpaint song. In short the kind of brilliant musical masterpiece that you expect the band to surprise you with...
Globelamp "Star Dust (Full Length)"
It does seem that Olympia, Washington State, is a bit of a hotbed of innovative, psychedelic and folk-tinged indie-pop. Hot on the heels of Oh, Rose - who released a whole slew of captivating EPs and singles - came Elizabeth Le Fey, who records as "Globelamp" and undoubtedly released this years' most beguiling album in "Star Dust" - a collection of the most thoughtful, intelligent and mightily distinctive songs (she also happens to have released a stunning Covers album that is also highly recommended).
The album was part lo-fi (I loved the touches of tape hiss), part indie with generous measures of psychedelia and folk - all lovingly wrapped in a real punk ethos. In many respects the album's opener "Breathing ritual" perfectly encapsulated the album - from the deliberate tape, the song evolved into a beautiful, lilting, West Coast psychedelic-tinged tune. However, by the time you recognised this, you've already realised that ultimately everything was about Elizabeth's shimmering - yet crystalline - vocals. A voice - married to ethereal, dreamy lyrics that combined to paint a surreal aural landscape - that I'd walk barefoot over hot coals to listen to. Most of all though, "Star Dust" refused to allow you to be lulled into a false sense of expectation...
"Star Dust" was an incredibly theatrical experience. There was the anarchic structure and alternate-cabaret of "Witch house"; the sombre piano on "Sunrise" to the bluesy tub-thumper of "Daddy's gone", but ultimately listening to the album was akin to getting lost in a maze and realising that the enjoyment was found in not so much reaching the end, but getting lost amongst the labyrinth of musical twists and turns. The whole experience was - because for all the experimentation, Elizabeth never lost the feel of the composition - simply magical...
The album was part lo-fi (I loved the touches of tape hiss), part indie with generous measures of psychedelia and folk - all lovingly wrapped in a real punk ethos. In many respects the album's opener "Breathing ritual" perfectly encapsulated the album - from the deliberate tape, the song evolved into a beautiful, lilting, West Coast psychedelic-tinged tune. However, by the time you recognised this, you've already realised that ultimately everything was about Elizabeth's shimmering - yet crystalline - vocals. A voice - married to ethereal, dreamy lyrics that combined to paint a surreal aural landscape - that I'd walk barefoot over hot coals to listen to. Most of all though, "Star Dust" refused to allow you to be lulled into a false sense of expectation...
"Star Dust" was an incredibly theatrical experience. There was the anarchic structure and alternate-cabaret of "Witch house"; the sombre piano on "Sunrise" to the bluesy tub-thumper of "Daddy's gone", but ultimately listening to the album was akin to getting lost in a maze and realising that the enjoyment was found in not so much reaching the end, but getting lost amongst the labyrinth of musical twists and turns. The whole experience was - because for all the experimentation, Elizabeth never lost the feel of the composition - simply magical...
Ex Cops "Daggers"
And here is yet another reason why when you go to a gig, you owe it to yourself to catch the support act. I have to say that alongside the aforementioned Highasakite and LP, I don't think I've been blown away by a support act as I was by the duo of Brian Harding and Amalie Bruun (and looking at the rapt attention of assorted Dum Dum Girls, I wasn't alone).
"Daggers" confirmed the magnetism that band's stage presence conveyed as well as the dynamism of Amalie's bewitching voice (it's a Scandinavian thing that was apparent from their live performance). There was an immediate freshness to every song, with each managing to include at least one memorable hook and every verse and chorus sounding like it was going to launch into yet another gorgeous refrain, each trying to out do the one before it (these guys know how to compose!) Pounding, dynamic alt-rock numbers such as "Black soap", "White noise" and the subversively poppy "Pretty shitty", sat cheek-by-jowl with the too-beautiful-to-describe "Tragically alright", the melancholically-tinged "Wanna be" (featuring as it does, the aforementioned LP), the Euro-disco infused "Teenagers" - all repetitive drum-beats and loops - and the Abba-esque chorus of "Modern World".
"Daggers" was a stunning - unashamedly poppy - album from some new favourites that I certainly intend to see again.
"Daggers" confirmed the magnetism that band's stage presence conveyed as well as the dynamism of Amalie's bewitching voice (it's a Scandinavian thing that was apparent from their live performance). There was an immediate freshness to every song, with each managing to include at least one memorable hook and every verse and chorus sounding like it was going to launch into yet another gorgeous refrain, each trying to out do the one before it (these guys know how to compose!) Pounding, dynamic alt-rock numbers such as "Black soap", "White noise" and the subversively poppy "Pretty shitty", sat cheek-by-jowl with the too-beautiful-to-describe "Tragically alright", the melancholically-tinged "Wanna be" (featuring as it does, the aforementioned LP), the Euro-disco infused "Teenagers" - all repetitive drum-beats and loops - and the Abba-esque chorus of "Modern World".
"Daggers" was a stunning - unashamedly poppy - album from some new favourites that I certainly intend to see again.
Alvvays "Alvvays"
Toronto-based Alvvays' eponymous debut album was not only the best indie-pop album of 2014 by a country mile, it's arguably one of the best indie-pop album of the past 30-odd years. This is the album that will - should you have ever fallen out of love with music - immediately makes you fall in love all over again. This is an album that to all intents and purposes managed to condense all my favourite tracks from all my favourite indie-pop album from the past thirty-odd years to create one glorious compilation of inspired indie-pop full of jangly guitars, inspired melodies, hooks so catchy that they ought to carry a government health warning and - yes - all wrapped up by Molly Rankin's harmonious and crystalline vocals.
From the thumping percussion and reverbed guitar of "Adult diversion"; the indie-pop anthem that is the wryly-observed "Archie, marry me"; the uplifting refrains and chorus of "Next of kin"- the wailing guitar, swirling keys and joyously uplifting refrain of "Party police" - if it was possible to overdose on an indie sugar-rush then with repeated listening to this album (on loud naturellement) I run the risk of being diagnosed with type 2 diabetes.
This is such an intoxicating album that I was seriously considering suicide when I thought that I'd blown the opportunity to see the band's Echo gig... Oh yeah - this is a band you have to see live.
From the thumping percussion and reverbed guitar of "Adult diversion"; the indie-pop anthem that is the wryly-observed "Archie, marry me"; the uplifting refrains and chorus of "Next of kin"- the wailing guitar, swirling keys and joyously uplifting refrain of "Party police" - if it was possible to overdose on an indie sugar-rush then with repeated listening to this album (on loud naturellement) I run the risk of being diagnosed with type 2 diabetes.
This is such an intoxicating album that I was seriously considering suicide when I thought that I'd blown the opportunity to see the band's Echo gig... Oh yeah - this is a band you have to see live.
Dum Dum Girls "Too True"
There are very few bands that I'd undertake a 400 mile round-trip to go and see, which is probably more ammunition for those who would say that this is my favourite album of the year only because I'm a huge, huge admirer of Dee Dee Penny. While this is partly true (guilty as charged, M'lud), as I have written on several occasions, I consider myself fortunate enough to have followed her musical carrier from the raw, garage-band sound of "I Will Be" through the reflective, thoughtful indie-rock of "Only in Dreams" and "End of Daze" - the melodic wall of noise that is Haunted Hearts (side project with hubby and Crocodiles frontman, Brandon Welchez) - to this, the incredibly mature and multi-textural sound that is Dum Dum Girls' third album "Too True."
I had an idea as to the quality of this album when the single "Lost boys and girls club" was teased at the backend of last year. Here was pedal to the metal guitar in all its glorious reverbed fuzziness, married to a delicious subversive that strongly suggested that the journey was far more important than arriving. However, when the album dropped, the full awesomeness and breathtaking quality was revealed. The most obvious statement was how much of a focus there was on Dee Dee as a singer - a vocalist. Her beautiful harmonious tones were front and centre here. It's easy to overlook - as you allow the the wonder ours indie-rock melodies engulf you, as your ear starts to pick out all the delightful nuances (Sandra Vu's pulsating stick-work, Malia James' locked-in bass grooves) - what a great and emotive voice Dee Dee has. And it was arguably featured no where better than (spoiler alert) on my Anglophone song of the year, the utterly heartfelt ballad that is "Are you ok?"
But what makes "Too True" the outstanding album of this year is the fact that Dee Dee and the band believed in this album to such a degree that they took it on the road and played it live - from top to bottom, in chronological order - from the pounding drums on "Cult of love" to the harmonious multi-tracked vocals of "Trouble is my name". It was a bold statement, but if a band truly believes in their work, what greater endorsement can there be? The fact that the incredible reception the album received from crowds across the States is not only a testament to both the quality and consistency of the songs - not to mention the band - Sandra, Jules, Malia and Andrew...
"Too True" deserves to be the Anglophone Album of the Year 2014.
I had an idea as to the quality of this album when the single "Lost boys and girls club" was teased at the backend of last year. Here was pedal to the metal guitar in all its glorious reverbed fuzziness, married to a delicious subversive that strongly suggested that the journey was far more important than arriving. However, when the album dropped, the full awesomeness and breathtaking quality was revealed. The most obvious statement was how much of a focus there was on Dee Dee as a singer - a vocalist. Her beautiful harmonious tones were front and centre here. It's easy to overlook - as you allow the the wonder ours indie-rock melodies engulf you, as your ear starts to pick out all the delightful nuances (Sandra Vu's pulsating stick-work, Malia James' locked-in bass grooves) - what a great and emotive voice Dee Dee has. And it was arguably featured no where better than (spoiler alert) on my Anglophone song of the year, the utterly heartfelt ballad that is "Are you ok?"
But what makes "Too True" the outstanding album of this year is the fact that Dee Dee and the band believed in this album to such a degree that they took it on the road and played it live - from top to bottom, in chronological order - from the pounding drums on "Cult of love" to the harmonious multi-tracked vocals of "Trouble is my name". It was a bold statement, but if a band truly believes in their work, what greater endorsement can there be? The fact that the incredible reception the album received from crowds across the States is not only a testament to both the quality and consistency of the songs - not to mention the band - Sandra, Jules, Malia and Andrew...
Comments
Post a Comment