Lana Del Rey"Doin' Time"Sublime OST (out soon on Universal)If you grew up in California in the early 2000's, it was just about impossible to get in someone's car or go to a party that wasn't playing one of those two Sublime albums. Evidently, the same was true in wherever Read more
Stormzy"Vossi Bop"Digital SingleAfter a little while away, the London kingpin looks to be getting back in the game. "Vossi Bop" is a perfect comeback track because it is such a pure distillation of what makes Stormzy a true-one off. Over a tasty, yet simple beat, Big Mike goes in Read more
Even though we're a solid week into the second quarter, better late than never right? Here's a quick round-up of some of my favorite songs of the last three months. To keep numbers manageable, I didn't include anything from any of my favorite albums list and prioritized songs I Read more
Gah, I can't believe we're already 25% through 2019. That said, Spring is in the air, and we've enjoyed an excellent, diverse crop of music during these first three months. Have a look at some of my favorite LPs of the year so far in no particular order.
Dawn Richard
“New Read more
Chief Keef
"Ain't Gonna Happen"
GloToven (Glo Gang / RBC)
The Chicago stalwart's new project with the legendary Zaytoven is unsurprisingly full of weird and wacky sounds, moving in innumerable unexpected and exciting ways. Its most powerful moment is its starkest, as a heartbroken Keef floats freely over Zay's gorgeous piano.
"Face dried Read more
Disclosure
“Help Me Lose My Mind” (f/ London Grammar) Settle (out now on PMR)
There’s no better way to close out Disclosure Week than with Settle‘s moody closer, “Help Me Lose My Mind.” Enlisting the warm, husky vocals of London Grammar frontwoman Hannah Reid, Guy and Howard Lawrence bid farewell to their debut LP in elegant style. The track details the sweet surrender of falling in love, and it is an intoxicating way to bookend a thoroughly engulfing, utterly brilliant album.
Settle isn’t perfect, but it’s the strongest electronic-focused debut in years* and suggests that Disclosure will more than outlive any ephemeral post-dubstep/future garage/PBR&B micro-genre that detractors have tried to lump them in. Simply put, it’s an absolute triumph from two young men with a hell of a lot to say.
*James Blake’s 2011 self-titled debut is the only recent thing that comes close, though I think Settle will surpass it.
Disclosure
“When A Fire Starts to Burn” Settle (out 06/04 on PMR)
In the next few hours, brothers Guy and Howard Lawrence are going to be unleashing their disgustingly fresh debut LP on the masses. In celebration of Settle, we are going to devote all the Hot Jams of the Day this week to the diverse, devastating LP. After a number of listens over the last week, I am convinced that this is not only the best album I’ve heard this year, but it also has the potential to be better than anything I’ve heard in the last couple.
Let’s start “Disclosure Week” off right, with its explosive lead track. Riding a sample that is reminiscent of a minister or motivational speaker (possibly from inspirational speaker and ex-NFL football player, Eric Thomas), “When a Fire Starts to Burn” harkens back to the Brothers’ roots in house music.
The repetitive sample is kept fresh by an undulating, wonky deep synth line and stays on-track via an unrelenting backbeat. The song’s magic comes from the way that Guy and Howard continue to deftly add new ingredients to the mix without losing its mantric quality. More than anything, it’s just an absolute banger, and you can almost feel the track’s sweat dripping as it builds and swells.
As quickly as it catches fire, it burns out — leaving the listener scrambling to start the track over. It’s a direct, satisfying start to the album that offers very few clues into the melodic, sonic, and emotional depth Settle contains. This one is already burning up dance-floors in the UK and Europe, and should be doing the same in the States.
Julianna Barwick “Forever” Nepenthe (out August 20 on Dead Oceans)
As you’ve probably realized, I’ve been horrifically behind recently, and over the next few weeks, I’m going to make a real push to get caught up. I can’t think of a more beautiful way to start my comeback than the ornate, breathtaking lead single from Julianna Barwick’s fourth LP, Nepenthe. As if she needed a hand in making her music even more dulcet and cinematic, Barwick recorded the album in Iceland alongside Sigur Rós producer, Alex Somers — a man who knows a thing or two about crafting impossibly celestial albums.
Though the album’s lead single doesn’t eschew her signature sound — layered vocals, mantric quality — it feels more collaborative than her previous work, thanks to the subtly stunning guitarwork from múm’s Róbert Sturla Reynisson and Somers’ orchestral filigree. Nepenthe is Barwick’s first time recording an album with others, and though she’s spoken about how strange it was to do, it looks like a masterstroke. “Forever” resolves itself with one of the most crushingly gorgeous climaxes of the year, which hints at what a truly special album Nepenthe looks set to be.
Vampire Weekend
“Step” Modern Vampires of the City (out now on XL)
In my career as a music writer, I’ve been wrong about plenty of things. I claimed that Fenech-Soler would be “fucking massive,” Delphic had “New Order” potential, and that Justin Vernon should rename his group “Bon Eve-mehr.” Through the years, it’s gotten much easier to admit my eff ups (especially when they are immortalized in pixel form), and leaving Vampire Weekend’s third album off my “Oh My Fucking May” list certainly qualifies as a call I’d like to take back.
Though I always felt they were talented musicians and good songwriters, Vampire Weekend never ever really felt like my band. I was originally put off by the eye-rolling “African influences” of their early work and East Coast prep school image, and I never really developed anything more than a superficial appreciation of their sound. That said, over the last few days, I’ve really fallen into Modern Vampires of the City and love the darker, more sophisticated direction they’ve taken. The record’s brilliance is most evident in this twinkling mid-tempo gemp that sees vocalist Ezra Koenig’s impossibly sweet tenor gliding over Rostam Batmanglij’s cascading, delicious harpsichord line. Lyrically, it’s also top-notch; “Wisdom’s a gift, but you’d trade it for youth.” is about as good as anything I’ve heard this year. This is an early favorite for song of the year.
While the NBA is rolling out their immortal “40 Games in 40 Nights” promo, the music world is doing its own. “16 Potential Classics in 30 Nights” may not be as catchy, but it’s just as ri-goddamn-diculous. I can’t remember a month where this many (SIXTEEN!) exciting, possible top-10 albums have all dropped in a month. It’s especially impressive, considering it succeeded an epic first quarter.
So, here is low-down on the 16 albums out this month that demand your attention — in 16(ish) words or less.
And awayyyy we go!
Dean Blunt, The Redeemer (Hippos in Tanks) When: May 1 Where: London What: The first true official LP from the Hype Williams-frontman Why You Care: It’s the most coherent statement from the esoteric, genre-bending genius to date. An utterly fascinating LP. For Fans of: Everything but the kitchen sink. TP’s Excitement Scale: 9.8/10
Ghostpoet: Some Say I So, I Say Light, (Brownswood) When: May 6 Where: London What: The sophomore LP from the moody, progressive spoken word poet/MC Why You Care: Because his debut, Peanut Butter Blues & Melancholy Jam, was an engulfing, original masterclass of post-Skinner sad-o grime. For fans of: Late night bus rides home, poetic hip-hop. TP’s Excitement Level: 8.8/10
Savages: Silence Yourself (Matador) When: May 7 Where: London What: The rollicking debut LP from the hotly-tipped riot grrrrl quartet Why You Care: The young post-punkers are threatening to lift off with a classic. Angry, uncompromising, utterly brilliant. For Fans of: The Shape of Punk to Come TP’s Excitement Level: 10/10
Kisses: Kids in LA (Cascine) When: May 14 Where: Los Angeles What: The follow-up to their splendid, massively underrated debut, The Heart of the Nightlife Why You Care: As an early investor on this synthy, Balearic-leaning bf-gf duo, it’s hard to be objective, but KILA is a dark step forward from their excellent debut. For Fans of: Rolling the windows down. The 80’s. TP’s Excitement Level: 10/10
Pure X, Crawling Up the Stairs (Acephale) When: May 14 Where: Austin, TX What: The follow-up to the slowcore trio’s excellent debut, Pleasure (2011) Why You Care: Early singles have foreshadowed a less foggy, more melodic second effort. For Fans Of: Expressive, heady guitar music. Downers. TP’s Excitement Scale: 8.5/10
Colleen, The Weighing of the Heart (Second Language) When: May 14 Where: Paris What: The French Joanna Newsom’s ornate, orchestral fifth LP Why You Care: The mercurial, hyper-talented composer/producer crafts beautiful tracks that pair delicate, orchestral arraignments with her breathy, mellifluous vocals. For Fans of: Midday naps, orchestral pop. TP’s Excitement Scale: 8.8/10
Classixx, Hanging Gardens (Innovative Leisure) When: May 14 Where: LA What: The long-awaited debut full-length from the breezy disco duo Why You Care: Because every summer needs a soundtrack, and nobody is currently making better sunshine jams. For Fans Of: Good vibes, day-drinking, DFA. TP’s Excitement Scale: 8.7/10
Dirty Beaches, Drifters/Love Is The Devil (Zoo) When: May 14 Where: Montreal via Taipei What: The shadowy, experimental 2xLP follow-up to 2011’s lo-fi masterclass, Badlands Why You Care: Alex Zhang Hungtai is famously unpredictable, and these albums promise to be harrowing, engulfing rides. For Fans Of: Challenging, uncompromising, occasionally brutal journeys deep into the human psyche. TP’s Excitement Scale: 9.1/10
Jai Paul
“Track 7 (Crush)” Jai Paul (out this year on 4AD)
I can’t remember an artist who has sustained such a massive buzz this long (3 1/2 years) off this little material (2 songs), especially when you consider the fact that he’s done exactly zero recorded interviews, released very few photos, and has seemingly never performed live. That said, Jai Paul shut down the blogosphere last weekend, when a mysterious version of his long-awaited debut album was uploaded to Bandcamp (later, it was found to be leaked). It only takes a few spins to see what all the buzz is about. Simply put, it was probably the most fascinating album I’ve heard this year, even in demo form.
Once I found out it was a leak, I decided not to write about it or listen to it much, not wanting to spoil its proper release on 4AD later this year. However, I made an exception for this devastating cover of late 90’s jam “Crush” by Jennifer Page. I have a particular affinity for this track — due to the original’s prominent placement on a mixtape made for me by my first girlfriend (cool story, bro) — but the Rayners Lane-based vocalist/producer takes it to unfathomably dope levels, pillowtalking all Prince-ish over delicious satin sheets of synth. It’s the only track I’m letting myself listen to, apart from the previously released gems “BTSTU” and “Jasmine,” mostly because I know I’ll never get sick of it. FUH-KING BRILLIANT.
And just because it’s magic, here’s Jennifer Page’s original video.
Postiljonen “Supreme” Digital Single (out now on Hybris)
While the Air France comparisons are premature and frankly unfair, you can see where they come from. The dreamy trio effortlessly glides in their legendary countrymen’s Balearic jetstream, with the same celestial melodies, elegiac vocals, and youthful, nostalgic spirit. Many may have missed their brilliant 2012 singles (namely, the sweeping We Raise Our Hearts), but as long as the mercurial Swedes continues to weave these kind of wind-in-your-hair classics, the blogosphere is going to have take notice. Stunning.
In case you missed it, 2013 has had a breathtaking first quarter. In the last ninety or so days, I’ve counted no less than 25 very good albums and 13 potential classics.
In case you missed any of them, I’ll be rounding them up over the next few days.
Up next, we’ve got Dawn Richard’s devastating second LP.
Dawn Richard Goldenheart January 15th, Our Dawn
Fresh off two brilliant genre-bending EPs last year, the ex-Dannity Kane leader could have been forgiven for putting her 4-inch stilettos up for 2013, but barely two weeks into the new year, the New Orleanian unleashed her herculean, 16-track break-up opus on the unsuspecting public. The result is startling sonic experience, that sees the 29 year-old offer an honest take on loss, while fearlessly bringing the listener into her headspace.
Richard refuses to let Goldenheart‘s heavy subject matter weigh her down and brilliantly interjects lightness and humor in all the right places. Musically, it touches on everything from mystical future R&B to full-on Broadway balladeering (see: the show-stopping title track). The album it reminds me most of is 1977, The-Dream’s headfuck of a break-up album. Though I’ve been listening to it for nearly two months, it continues to open up in new ways to me. It’s a stunning achievement from an artist with a fascinating past and a wide-open future.
Hottest Jams: “Tug of War,” “Ode To You,” “Goldenheart”
BenZel
“Semi-Detached” (f/ Cass Lowe & Chance The Rapper)
Digital Single
It’s starting to really feel like this NYC-via-Japan teenage duo is on to something special. Though members Umi Takahashi and Yoko Watanabe have kept their faces hidden, they are building quite the identity, thanks to their impeccably crafted brand of sensual dance music that is simultaneously timeless and 100% á la mode. Their new single shows that the group is capable of doing more than making infectious party jams. “Semi-Detached” is an emotive, sparse next-wave ballad about being with someone while thinking about someone else.
Over a pitch-shifted vocal sample, British songwriter Cass Lowe delivers a delicately forceful vocal over stabbed piano chords. It is slightly bogged down by a forgettable verse from blogosphere fave, Chance the Rapper, but it is saved by a surprisingly affective hair metal-reminiscent guitar solo. Though we are still getting to know Takahashi and Watanabe, it’s hard not to feel that we will be hearing for them for years to come.
Ciara
“Body Party” One Woman Army (out in June on Epic Records)
Today’s hot jam comes with a few extra T’s. If John Mayer is right and Jessica Simpson is “sexual napalm,” then Ciara is “sexual nuclear drone strike.” The lead single from her potentially career-defining new album turns the heat up a few hundred more degrees from her blazing Basic Instinct (2010), and sees the Atlanta native getting all Janet over a customarily sultry Mike Will Made It beat. While the in-demand producer has nabbed his fair share of the plaudits, Ms. Future is the unquestioned star here, unleashing a slithering, alluring vocal line with absolute coital perfection. If the 27 year-old is going to shed her unwanted, nearly-star status, One Woman Army needs to be a legitimate smash, and if “Body Party” is any indication, she might finally get her close-up.
Disclosure
