While we’re a-waiting for FKA to drop, I thought I’d share an album that has really got under my skin. sir Was is a dude from a remote Swedish village and this is his 2nd album.
It was this collaboration with Little Dragon on the album that first caught my attention. You might have heard it, 6 Music have been rinsing it, and I put it on that recent comp I posted on here:
So then I checked the album out. First couple of times I listened, I thought – yeah, this is quite cool. But it’s pretty downbeat and quite minor, and maybe I won’t stick with it for long. But I did. I really did. I keep coming back to it and playing it, and it has totally got me.
So here’s the thing – it is one of the most undefinable sounds I think I’ve ever heard. It’s not dance music really, not at all, but it feels like it’s made my someone with those sensibilities. But his voice and the production also sounds like lush 70s West Coast pop. And then there are other really interesting tracks that sound like – yes, really – This Mortal Coil and Cocteau Twins. In fact, this album could easily be on 4AD.
It really is the most beguiling mix of stuff. And the three tracks I’ve posted on here (the only ones on YouTube) are the more obvious end of the album. But I’d be really interested in what you think when you immerse yourself in it. It’s not a long album and it’s very easy and enjoayable listen. But what I love is how it’s opened itself up, the more I’ve listened to it. It had hidden depths. I flipping LOVE it when music is like that.
So there you. An October bonus. Check him out.
So, after a month of for summer hi-jinx – getting married! moving house! raising kids! Listening to music! – we’re back, back, back!
So here’s the long-awaited new offering from a band that are very beloved of this parish. Off the back of a pretty sweltering run of belting singles leading up to the album, the question on everyone’s lips (well, mine anyway): have they finally made an album that can stand up to their masterpiece, THE ENGLISH RIVIERA.
But then it’s never easy with Metronomy, so even answering that question is quite tricky. Joe Mount is such a wilful bastard, and clearly likes doing whatever the fuck he wants, and never more than on this 17 track album that features 6 instrumentals. Chasing the Rock n Roll Hall of Fame is not top of Mount’s aims in life.
The answer is YES and NO at the same time, and because it’s Metronomy, I think you probably know what I mean. It is undeniably the band’s strongest offering in years, and thought Summer 08 had a couple of belting tunes on it, I personally don’t think they’ve made a properly cohesive album since Riviera. For the record, I thought Love Letters was a steaming pile of crap.
Forever has two very very big things going for it. Firstly, it has a really wonderful set of songs on it. From Lately to Salted Caramel Ice Cream to Insecurity to The Light to Sex Emoji (yes, even Sex Emoji), this is an album overflowing with funky, fresh ideas and the kind of Metronomy songs you long for – the kind you’d end up adding to a Best of Spotify compilation.
The second thing I love about this album is that it really does feel like a complete piece of work. Songs flow into each other, and even some of the instrumentals, which I initially found indulgent and overly-long, really start to come alive (a work trip with a lot of walking around London with my headphones changed my view on these). You can hear Morodor and early Daft Punk and even some kind of freak folk influences on some of these, and I think it’s quite brave of Mount to go for it, when you could have just have made a very tight 9 track belter.
However, let’s not kid ourselves. Any 17 track album has superfluous filler. Hell, even The White Album’s got Bungalow Bill and Wild Honey Pie. The second half of the album is perhaps lighter on the really strongest stuff, and it starts to sag a little. And there are moments when Mount’s use of repetition – which he uses SO cleverly in his songs – is just too self-indulged. Mount himself jokingly said the album was pretentious and too long when he was asked about it. Or maybe he wasn’t joking. Who knows?
So sure, in time I’ll probably flick past the odd track or two. And there are moments that are a lot less than necessary. But mostly, it feels vital and fresh and 20 times more interesting than anything most artists are doing, let alone after nearly two decades (yup!) of making music.
Metronomy Forever? You betcha.
Welcome to ‘Oh My God’ by Kevin Morby. This apparently is his 5th album. Described by some as a secular Gospel Rock album. I’d never heard of Mr Morby until I googled best albums of the year 2019 (so far) and he kept popping up on everyone’s lists. I was going to Barcelona for a week with work and I like to take new albums on trips like that. If the albums work for you then they always remind you of the place and time which I love. I always take new tracks / albums on holidays for this reason too.
My route into this album was relatively easy. I always like Dylan’s gospel phase … and I’ve grown to … at least respect Leonard Cohen, through the good work of my wife Stacey. The influences on this album are obvious but for me never over powering and Kevin (hee hee) always makes it sound like his own (there’s even a little Father John Misty and Lou Reed in there too).
This album has some of the best writing I’ve heard in a while. Each track is a memorable tune. Some more than others naturally but I love this album from start to finish and could find a place in many different types of mix tapes for all the tracks. Lyrically I find this album strong as an ox. I think the sequence of tracks is close to perfect … and the instrumentation is right up my street. Bongo’s and Congos? Tick. Church Organ? Tick tick tick. Listen to Hail Mary – best organ use since Rolling Stone by Dylan? Layers of brass? Oh yes. Harps? Yes. It’s mostly guitar and piano driven but the above instruments make this sound rich and demanding of a closer listen.
I have no idea how you guys will receive this … but Oh My God. I love it.
I must admit, I fell across JS Ondara by a mistake. Well the internet said I should give him a go. It’s worth looking into the story how JS Ondara got to where he is today. In short he’s a guy from Kenya that fell in love with American music and decided to move to America to make what he loved from the country that the music continues to use as a muse. He moved to Minneapolis because that’s where Bob Dylan came from. A bit unexpected but it seems to have done the trick.
This name of this album is very apt. Not because he lives in America and he’s telling stories (though that is exactly what it is), but because in my opinion he’s a perfect example of a singer songwriter from North America that depicts the continent and what it offers. One that has taken so many influences from across the genres and cultures, boiled them in a pot, added some of himself and (ping) he’s done….. JS Ondara presents his Tales of America.
This album started off as a Sunday afternoon album I played whilst making lunch and moved to a go to for me the more I listen to it. I encourage you to take some time to dig into the lyrics. He covers allot. Love, life, and even social media. Peoples day to day struggles and victories. I get the Dylan influence. He’s a story teller. I like how there are hints of his accent; though the only track it really stands out on is his letter to his current home on ‘God Bless America’.
I’ll tell you why I like him and this album. It’s wholesome. It gives me what early Neil Young and Ryan Adams albums have. He’s got soul, his lyrics are solid and the boy can sing.
I had the pleasure of seeing him in Manchester in the spring. I highly encourage you to see him if you get a chance. He’s the real deal. I see him as a guy that will build a following through his live show.
America is (mostly) a country of immigrants. A country of a million stories. A million songs. Everything needs fresh eyes, and in this case a folksinger from Kenya that has taken a screen shot of the America he lives in. Is this album a classic? Perhaps not now. It may be one day. I’d say it’s a first chapter in what could be an interesting story.
Well, well, well. What a little belter this is.
Little Simz AKA Simbiatu “Simbi” Abisola Abiola Ajikawo (can see why she went for the shortened nickname) has been knocking around for a few years. I heard a couple of tracks that I really liked without falling in love with. She did stand out from her peers by seeming less interested in the beats of grime and more the classic beats of old skool hip hop.
So I admit it – I initially dismissed her a bit as a promising UK hip hop like a million before her that was full of promise but hadn’t quite delivered THAT track.
And then I heard OFFENCE. Jesus H Christ. What a ridiculous beast of a track that is. It became a genuine crossover that was being played on 6Music AND Radio 1 AND Capital (which I know, thanks to my kids).
Still, I approached this album expecting 10 tracks of more of the same. What I wasn’t expecting was such a rich, inventive brew, so full of creativity and painted on such a wide canvas.
Influences? Oh man, where to start? The nu-soul meets hip hop of Anderson .Paak and K-Os (of old!) on tracks like WOUNDS. SELFISH is basically a gorgeous RnB pop song but with a rap holding it together. VENOM’s flow feels like a grime style and BOSS is a great track 2 choice, smacking you right in the face. FLOWERS could be a collaboration with Cinematic Orchestra, and obvs Michael Kiwanuka is always a seal of quality.
So much to love on here – the live band and instrumentation gives it a blaxploitation film score vibe. Everywhere there are surprises – fresh samples, unusual arrangements. This is a really ambitious album made to aim high, and it nearly completely delivers.
Finally – oh joy of joy – it’s got NO SKITS and it’s a tight, punch 35 minutes long. How many hip hop albums could learn from this?
I notice she right at the top of the bill of one of the Coachella stages. She’s that good. Not surprised the US is noticing.
Any criticisms? Maybe her delivery and flow is a little bit monotonous at times, but lyrically it’s bloody brilliant – and she works around that by making each song such a uniquely constructed entity.
So yeah. I LOVE this album and I’m sure it’ll end up in my top 10 at the end of the year. How about you, Brothers?
I can’t pretend that I had even heard of Julia Jacklin until a month ago but Crushing makes me feel like I know her intimately. I often pick an album from Metacritic’s highest scored new albums and commit to spending some real time with it. This year, I have found 3 albums in this way that I adore and considered for AOTM. I have decided to go with Crushing by Julia Jacklin as I find it the most emotionally connecting of the three. The instrumentation, production and arrangements take a back seat to hauntingly powerful yet understated lyrics. There are more upbeat moments on the album than the opening track that I’ve linked above but they are still melancholy and moody in their atmosphere.
This is the kind of album that makes me reconsider actions, words and relationships from my past. I find it rare that an album makes me feel as much as this album does and I love it for this.
The opening track is called ‘Body’ and is a beautifully written remembering of a difficult relationship captured in a 5 minute track of simplistic beauty. The story telling is compelling and affecting and paints pictures that you connect with instantly (or at least I do). Following this track the word ‘body’ appears in more than half of the remaining tracks and marks and openness and intimacy that makes me feel like I might just love Julia.
I don’t want to say much more than I have other than that I hope you connect with this in the same way that I have.
So, I wasn’t really sure what I’d do for January AOTM. It’s been stressful and difficult few months and my best intentions of getting January finished by early new year came up short of nothing more than inspiration. I just didn’t see much interesting around, and I wasn’t listening to much new stuff either: even 6 Music wasn’t on much any more. The travails of a young family, brutal work and no downtime left me delving back into the past (Eno, mostly) trying to find some tranquility in the modern noise.
But then this arrived, almost serendipitously, out of the mist. And of course, James Blake was both a great option and an album that would server as a hopeful antidote to the current messy modern world. It’s only a bonus that I’ve been a big fan of his, but the question I wondered was: could another album of his songs do anything new? Perhaps it didn’t have to. His music was mostly only even in a genre of its own that – while he gained many imitators – he seemed to have his very own dubby, falsetto, reverb-heavy, then four-four slices of music that was both rich and warm then desolate and icy.
So what did I expect of this? Nothing, as I’d had no advance warning or visibility, and that’s sometimes no bad thing. In my first few listens here – a week or rotation has already been hugely enjoyable if embryonic in my opinions of this as a review at arm’s length – I’ve enjoyed much of what I’ve heard. For a songwriter and sonic experimentalist that has carved out such strange spaces over his previous albums, he’s also managed to take in emotional lyrics, albeit some that so feel wrapped up in his musical ambition that that skill is lost.
Some of his previous work is staggering – Digital Lion, Overgrown, Radio Silence – tracks that only get better with time, and so this has a high standard to follow. I’m not sure all of the LP hits those heights. Some of it is pretty cold, perhaps it’ll warm up over time, but there are some gems. It seems obvious but Where’s The Catch (above) with Andre 3000 at last breaks some of the constrictions of its companions that sometimes feels too forced and deliberately restrained. When beats are as crisp, and warmth flecks the darkness, you do wonder why he doesn’t want to break free as much elsewhere. I’d love to see more of that. However, the title track is wonderful, and while I am not part of the auto-tune crowd, Blake’s collaborations are inventive and interesting.
In short, it’s a work in progress, but I’m hugely enjoying having new James Blake in my life, and it’s just the sort of music to shut out the noise, the angst, the anger, the stress and the discord. I can, at least, salute that.