2015 Albums of the Year (Numbers 50-41)

It was a much better year for singles this year for me than albums. With that said, the albums that I liked this year, I really liked a lot. Here are my Top 50 albums for 2015:

50. The Chemical Brothers - Born in the Echoes

The Chemical Brothers have hit their new renaissance phase. Continuing where Further left off, Born in the Echoes is the sound of the Chems bursting forward with more fresh, new ideas.

49. Lower Dens - Escape From Evil

This is the album where Lower Dens make the decision to embrace melody and more pop-oriented elements. Their lyrics are still dark and foreboding, but there is less of wall going up, at least sonically speaking.

48. Ciara - Jackie

While she will never be as huge as Beyonce or Rihanna, Ciara puts out as good if not better music, in my opinion. Jackie is a welcome return for her, full of catchy jams and elegant ballads.

47. Viet Cong - Viet Cong

The band formerly known as Viet Cong (external pressures caused them to change their name, which at the moment they have not made) put out the most viscerally intense record this year. Regardless of what they change their name to, it will be exciting to see what they come up with next.

46. Metric - Pagans in Vegas

For me, Emily Haines and Co. have always been more of a singles band than an album band. Pagans in Vegas is their first release that actually sounds like a fully cohesive record. The singles and the deep album cuts are all on the same footing.

45. Kate Boy - One

More brilliant Swedish synthpop. There must be something in the water over there.

44. Neon Indian - VEGA INTL. Night School

Ridiculously clever, everything-but-the-kitchen-sink record from Neon Indian that astonishes with its creative breadth.

43. Twin Shadow - Eclipse

Eclipse is Twin Shadow's attempt at a big "POP RECORD!!!!" from an 80s mold. What could have come across as stunted or as pastiche, Twin Shadow wears his heart on his sleeve throughout and, even better, throws down some killer melodies to boot.

42. Zedd - True Colors

Pretty much the perfect marriage of pop and EDM.

41. Hot Chip - Why Make Sense?

I have never "gotten" Hot Chip. Their records always feeling very flat to me. Live they are brilliant, but they have never put together a cohesive album that made me really take notice. Why Make Sense? finally changes that.

Album Review: Purity Ring - Shrines

Purity Ring
Shrines
Rating: Woof Daddy

Earlier this year I saw Purity Ring open for Neon Indian in a small club and was completely unimpressed by their performance. Granted, the sound was erratic and overpowering, making their setup of sampler and vocals even more limited. Singer Megan James and instrumentalist Corin Roddick relied too heavily on gimmicks rather than letting the power of their music rule the day. Roddick performed behind a table with a strange light installation that also served as a percussive instrument, lighting up when struck. James, wearing hand-sewn clothing, lurked about the stage with a halting presence, seemingly unaware of the audience before her. Based on my initial impressions I was ready to dismiss their debut album outright. When Shrines arrived in my inbox, it was with a heavy sigh that I set out to listen to it, but tried as I might, I couldn't dislike it. In fact, I couldn't stop playing it. What came across as muddled and tinny on the live stage was transformed in the studio; the production a dense, tactile beast of a thing, jumping out of the speakers to wrap you up in its spell.

Shrines is a mix of clattering, slowed down Dirty South beats, atmospheric keyboards, and James' innocent coo, which is manipulated, twisted, and mangled within an inch of its life. To a friend, I likened it to Clams Casino producing for The Knife/Bjork/Liz Fraser. The soundscapes produced by Roddick are never overdone or busy, there is a perfect place for every note, and nothing is squandered. Shrines is simultaneously warm and inviting, dark and foreboding; reveling in the push and pull between the two.

Songs like "Belispeak" pulse and throb with skittering beats and vocal twists and turns, the keyboards sounding like they've been left out in the sun and are melting while the song is playing. The lyrics recount what appears to be a little girl's fears of death, and being watched over by her family: "Grandma, I've been unruly/in my dreams/and with my speech/Drill little holes/into my eyelids/that I might see you."



"Fineshrine" has a light, airy melody and rubs up against the strange words sung by James, imploring her lover to "Cut open my sternum and pull/My little ribs around you/through arms, or maybe under, under you."



"Obedear" conjures up images of wintry forests and cold seeping through to your bones, the icy keyboards floating over the minimal beats.



The oppressive and dark "Cartographist" slides James' somnambulistic vocal over a fun house assortment of glitchy, droning keyboard textures, while "Shuck" pairs her wistful vocal, sung as if by a teenage girl drifting off in reverie. The keyboards, in contrast, emulating a funeral march.

Musically, Shrines is never more than impeccably produced, suiting the songs perfectly. "Grandloves" is a hauntingly beautiful slow ballad; choruses of multitracked vocals float in and out of clouds of whispering synths. "Ungirthed"
cheekily uses hiccuped and manipulated vocal samples to propel the track, James' vocals coy and juvenile, sounding like Bjork in her low range.



"Lofticries" slowly builds over moaning synths and stop starting beats, growing darker as the song details the fallout from some violent experience, James' intoning "Let it seep through your sockets and earholes/into your precious, fractured skull."



Shrines is definitely a revelation to me, and it goes to show that you should never discount something outright after one bad experience. Had I relied on that initial impression, it is likely I never would have heard what is one of my favorite albums of the year so far. Shrines is a phenomenal find; one which you should grab immediately.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week/Coachella Edition

It is Coachella Friday, so here is some videos from some of the acts I will be seeing today:



Due to transportation delays I missed them opening up for Radiohead; looking forward to seeing them.



Such an amazing blast of 90s alt-rock.



I was able to catch Neon Indian at a small venue a couple of weeks ago and he puts on a amazing set.



Same with Feed Me, and his set once it gets going is stellar. This track brings the house down.



Death Grips are going to be completely intense.



WU LYF is a must see for me. Their live shows are supposed to be full of energy.



Yes, I am a little tired of this song too, but damn it is just so good.



Another band I have yet to catch live and have missed. Supposed to have an amazing live set.



This band has completely snuck on me and I am thrilled to get to see them.



The Horrors will be amazing.

Coachella 2012 Countdown: 25 Days! Neon Indian - "Polish Girl"

Really looking forward to seeing them; a lot of fun.

Coachella 2012 Countdown: 32 Days! Neon Indian - "Future Sick"

I just won some free tickets to see Neon Indian in Atlanta prior to Coachella. I am really looking forward to that. Love this awesome track off his latest album Era Extrana.

Videos of the Week

My birthday week! Here are the videos this week that blew my candles out:



I'm looking forward to seeing Nero live at Coachella. Here is the latest sci-fi/dystopian future-esque video.



New video from St. Vincent, has her being quite larger than life.



Seizure-inducing video from Japanese dubstep artist Goth Trad.



Hypnotic new track from Scuba.



Punishing electro-rave from UK act Factory Floor.

Bizarre video for Neon Indian's new single, directed by the folks at Adult Swim.



Batshit crazy video from Miike Snow.



There is only one way to describe this video: bootylicious.



I can't admit to being the biggest Coldplay fan, but this is a well-shot video, and it is always a pleasure to see the smoking hot drummer/bear Will Champion.

Coachella 2012 Countdown: 63 Days! Neon Indian - "Polish Girl"

I'm hoping to check out Neon Indian this year at the festival. His new album is a wonderful mix of fractured synthpop.

Tycho: Dive - Album Review

Tycho
Dive
Rating: Grrrr

Scott Hanson, aka Tycho, is an electronic producer whose obvious touchstones are Boards of Canada, Ulrich Schnauss, and shoegaze artists like Slowdive. His third album Dive is a downtempo gem, full of lush synths, clean beats, and hauntingly atmospheric guitars. Dive is akin to recent releases from M83, Active Child, Neon Indian, and Washed Out, taking the influences of Chillwave and morphing them into some fresh and new. While there is not a lot of dense complexity in these tracks, Hanson keeps the mix perfectly aligned, never stuffing the tracks with extraneous elements, nor making them too minimal. Each track is about the glistening synths and driving rhythm, with no room for dubstep aggression, or IDM moodiness. Dive is the aural equivalent to a blanket on a cool fall evening.

Tracks like "Daydream" start deceptively on a note of pleasantly plucked acoustic guitars and synth tones. Gradually increasing in strength, adding driving bass and crisp beats which slowly morph into almost drum and bass like patterns, never stepping too hard over the line. The way the track drops out and returns is masterful, never allowing the listener to known precisely where the track is headed.



The all-build "Hours" moves along its four-to-the-floor beat picking up several strands of synth tones and guitar textures, knowing when to add more or drop them out. Hanson says just as much with the silences as he does when his melodies.



Hanson's tracks seem very readable at first. The first few bars of title-track "Dive" begin with a simple drum pattern and keyboard melody, adding with it the only time on the record a voice is heard. Over the next 8 minutes, however, the track changes like the tides, flowing in and rushing out, becoming more and more insistent.



"A Walk" moves from drifting ambiance to a fierce, rolling beat and deep bassline with washes of synths crashing overhead.



"Adrift" lives up to its name, losing the listener in a vast sea of clattering percussion and waves upon waves of lush synthesizers.



Things take a funkier turn on the all too short, stuttering "Epigram," losing itself in crisp beats and undulating bass.



"Elegy" tips over the scale slightly to more Windham Hill ambient territory and truly is the only misstep on the album.



Dive is an elegantly produced record that grows and grows upon each new listen. The songs have the quality of being timeless and classic, but don't feel dated in anyway. It is easy to lose yourself in these gorgeous tracks while the passing of time seems to stop. Hanson has simply created one of the best sounding electronic albums of the year.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Future Islands: On The Water - Album Review

Future Islands
On The Water
Rating: Grrrr

Over the course of now three albums, Baltimore via North Carolina synth-pop outfit Future Islands has gradually moved from synth spazz outs on Wave Like Air, to more modulated dance workouts on In Evening Air, and now progress even further with On The Water, taking their synth based template and toning things down, without taking away from what makes them so special. And most of that is due to Samuel T. Herring's vocals and lyrics. Let it be said, that the main entry point to Future Islands is Herring's voice. You will either be completely on board with it, or will want to turn it off immediately. It is grandiose, over-the-top, and steeped in drama; each word positively dripping with meaning and portent. But it is just so fascinating and gripping you can't ignore it, and it is what makes this such a great band to listen to. With On The Water, Herring has scaled things back a little bit, not from wanting to fit within what people want him to sound like, but more because the music and lyrics call for more restraint. This is serious album about disintegrating relationships, and love gone afoul, and the somber tone of the lyrics finds its way into the music, with less dancefloor oriented sounds and more moodier pieces. Although I loved the dancier aspects of In Evening Air, this new approach takes their sound and aesthetic to new levels.

The new mood and feeling comes across loud and clear on opener and title track "On The Water." Soaring synths and a mid-tempo beat hold, but can't restrain Herring's voice that swoops and growls at a potential lover, imploring "can't I be your lover tonight."



While the album is comprised of mostly mid-tempo numbers, there is always room for Future Islands' trademark dance pop. "Before The Bridge" rushes forward on New Orderesque bass lines, whooshing synths, and a rather understated vocal from Herring that gathers in intensity:



"Balance" bears the briskest pace of all the tracks, with a sprightly beat and sparkling keyboards, with another subdued vocal from Herring.



"Close to None" begins as an ambient, drone number but from the clouds of synths come muted beats and those throbbing baselines, erupting into a swirl of synths and Herring's portentous vocals, barely able for him to keep them hemmed in.



This is not to say that the less beat driven tracks are any less enjoyable. Where Future Islands in the past tended to go full throttle, it is nice to see them pare things back and allow breaks from the beats. "Where I Found You" is a lovely ballad, with a melancholic sense of loss and regret, as Herring mourns the loss of a lover, hauntingly singing over and over "I loved you, and I still do," desperately trying to hold on to the past.



Likewise, the following song continues in that vein, "Give Us The Wind" floats along on pillows of synths, with Herring's melodramatic voice imploring and wishing for something to propel his failing relationship.



But probably the one song that truly takes you by surprise is the practically acapella track "Tybee Island," with Herring's voice stripped of artiface and laid bare with emotion. Singing almost in a whisper, his reticence draws you in so you can hear him. It is quietly devastating.



With Young Galaxy, Hooray For Earth, and Neon Indian, Future Islands is helping to bring synthpop into the 21st century, making it more adult and less campy. The focus here is on the songwriting and delivery and making sure the music heightens the mood and expression of the songs. Although Herring's vocals might be off putting, their distinctiveness, in my opinion, is the draw for this type of music. On The Water is a fascinating album that I can't stop listening to, and I hope this is just a foreshadowing of things to come from this band.

Rating Guide:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Neon Indian: Era Extrana - Album Review

Neon Indian
Era Extrana
Rating: Grrrr

Hopefully this will be the last review where I type the word chillwave, as it is a very short-lived genre that a lot of slightly similar acts were lumped into, ostensibly because they didn't fit anywhere else. Most of the artists that were thrown into the chillwave bag (Toro Y Moi, Washed Out, Memory Tapes) have since moved on to different sounds, seemingly in an effort to distance themselves from what is perceived as a negative connotation with the genre. Initially, Neon Indian (led by Alan Palomo) was one of the leading bands of the chillwave movement. His first album Psychic Chasms was on many best of lists, but for me, I felt its neo-psychedelica overshadowed the songwriting and made for a disjointed listening experience. When Era Extrana came out, I was reluctant to give it a try, based on my aversion to the first album. Of course, curiosity got the best of me, and now I really can't seem to stop playing it. This album is much more structured than Psychic Chasms, which is likely to the detriment of fans of that record. Apparently this is a concept record about a breakup, which I assume is tied in with a futuristic theme. The music on the record echoes this theme of a breakup, with most of the sounds played on analog synths that feel like they were picked up in an electronics graveyard, each note fighting through decay. Another interesting side note, as I reviewed the new M83 record yesterday, this album actually sounds more like what the new M83 record should have been. The music, though slightly decayed sounding, is warm, funky and inviting; with none of the chilliness and roteness of the M83 record.

The album is basically broken down into 3 parts with short instrumental breaks in-between, taking the listener on a journey through a breakup as it is occurring. Lead single "Polish Girl" (fitted with a stylish video) is a gorgeous slab of funky synth pop, with bleeping 8 bit electronics flooding the mix, Palomo wondering of his ex "Do I still cross your mind. Your face still distorts the time."



"The Blindside Kiss" borrows from Jesus and Mary Chain's fuzzed out guitar bliss, creating a gritty, dream pop classic.

Neon Indian - Blindside Kiss by neonindianiilove

"Hex Girlfriend" makes heavy use of whooshing synths and warm analog buzzing, sounding like a poppier New Order.



Two great later tracks really show how Palomo is stretching his sound and also working harder on his songwriting. Where Psychic Chasms felt more like it was all about the bizarre keyboards and sounds, this album is definitely his attempts at making a great pop record, albeit a very odd pop record.

"Future Sick" is what Prince would sound like if crossed with Kraftwerk.

Neon Indian - Album: Era Extraña by neonindianiilove

"Arcade Blues," aside from some abrasive vocal percussive effects, is probably the most radio friendly track on the album. I love the intense hook in the chorus.

Neon Indian - Album: Era Extraña by neonindianiilove

There are only a few hints of Palomo's chillwave past. The dreamy, lazy grooves of "Fallout" are pure chillwave bliss, as are the future pop-isms of "Halogen (I Could Be A Shadow)" with its lush analog bed of synths and breathy vocals.

Neon Indian - Album: Era Extraña by neonindianiilove

Era Extrana is a confident step forward for Neon Indian, moving away from chillwave and focusing on more pure songcraft rather than just interesting sounds. It's a dense record, bursting at the seams with really great ideas. While many fans of Psychic Chasms will bemoan the fact this record is not as distinctive and quirky, there is a lot to love here, and is well worth the investment.


Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Oldie but goodie from the late lamented Mclusky. Kick ass song.



I will admit I hated Neon Indian's first album, but the new one is such a massive improvement I am willing to give him a second chance. Love this song and the futuristic video that accompianies it.



One of the standout tracks off of Zonoscope gets an in-vogue post-apocalyptic video mashed with Planet of the Apes.



Love this beautiful R&B midtempo number from OFWGKTA associate Frank Ocean.

Frank Ocean - Thinking About You (music video) from High5Collective on Vimeo.

Another video from Frank Ocean with one of the strangest videos that really has nothing whatsoever to do with the song. Pretty song though.

SALEM - KING NIGHT from Theo Wenner on Vimeo.

Ominous video to a typically ominous track from witch house purveyors Salem.



Slightly, and by slightly I mean bat-shit-crazy, weird video from Animal Collective's Avey Tare.

Videos of the Week

Here are the latest videos that are wetting my whistle:

Hooray For Earth - "Sails" from Dovecote Records on Vimeo.

Amazing track from Hooray For Earth gets a great video treatment.



Another soon to be classic video from The Beastie Boys.

Pure X - "Easy" from Malcolm Elijah on Vimeo.

Dreamy song and video from Pure X.

NEON INDIAN - HEART : DECAY from gorillavsbear.net on Vimeo.

Wonky first song from the new Neon Indian album.



Although I am not a fan of the album, this single from Washed Out is one of the better tracks.

Flaming Lips and Neon Indian: "Is David Bowie Dead?"

Disco Naivete is streaming a collaboration from Flaming Lips and Neon Indian entitled "Is David Bowie Dead?" which can be listened to here. It's a very psychedelic, slightly atonal, chillwavish sounding record; about what you would expect from combining the two artists. The 12" is out now, albeit in very limited quantities (apparently it is only available right not from Guestroom records in Oklahoma City, and Good Records in Dallas).

Here is the tracklist for the 12":

01 Is David Bowie Dead?
02 Alan's Theremin
03 You Don't Respond
04 Do You Want New Wave or Do You Want the Truth Part 2

Videos of the Week

Here are the latest videos that are putting treats in my Christmas stocking:



Crystal Castles showed up on the Jimmy Kimmel show to perform "Baptism."  Their live show is very confrontational, with almost unbearably bright strobes and lights, and Alice Adams scream/singing the words to their songs.  Based on this video, it looks like Kimmel's audience has no idea what to think of them.



Gorgeous shoegaze meets Mazzy Star dream pop from New Zealand band Tamaryn.



Fun song from UK producer Gold Panda.  The beat just makes you want to jump.



Trippy video from electronic artist Neon Indian.



The song is not much, just your average Moroder pastiche, but the video is a strikingly edited montage of Japanese divers in a line diving over and over again, seemingly about to hit one another.  By the end of the video you are almost too afraid to look.



Awesome song from the new Belle and Sebastian record.   I can't believe it took me so long to get into this album.



Rather lame follow up to the amazing song "Innocence."  If this is the direction their upcoming album is headed in, I am in for a big disappointment.



Another album I wish I had given more of chance earlier on.  It has been a very strong last quarter performer.



A recommendation from my friend Matthew, and a great one at that as I have been unable to stop listening to this song.