#Albums Of The Year

[newmusickarl]

Top 50 Albums of 2024: #30-21

30. A Dream Is All We Know by The Lemon Twigs

Last year, Everything Harmony from The Lemon Twigs finished at 35 on my year-end countdown. However, since revisiting the D’Addario brothers’ instant classic several times in the last year and it just getting better with every spin - as well as seeing them live for the first time in October - it’s an album that would definitely place higher if I were to redo that list again now. This year though, The Lemon Twigs go five places better with A Dream Is All We Know and this time around, the placing feels right.

While Everything Harmony just edges it still for me, The Lemon Twigs have to be commended for returning a year after that superb album with another excellent, timeless-sounding opus. Named as our Album of the Month once again back in May, it continues everything that was great about its predecessor, with big nods once again to the music of The Beatles and The Beach Boys. From infectious lead single My Golden Years to the charming How Can I Love Her More? and Status Quo-emulating Rock On (Over and Over), it’s a fun and joyous collection of songs that you can’t help but love.

The big question is now – can The Lemon Twigs keep their winning streak going with another album in 2025? I guess we will wait and see!

Best tracks: How Can I Love Her More?, Peppermint Roses, Church Bells

Listen here

29. Clouds In The Sky, They'll Always Be There For Me - Porridge Radio

Although an album I haven’t officially reviewed this year for either the podcast or the blog, I have been absolutely infatuated with this the latest offering from Porridge Radio, the Brighton rock band led by Dana Margolin, ever since its release back in October.

A band I discovered through their great Mercury Prize nominated sophomore effort Every Bad, Porridge Radio just seem to get better with every new release. Their previous effort – the exceptional Waterslide, Diving Board, Ladder To The Sky – may have finished slightly higher, landing in my Top 20 of 2022, but believe me - this latest record edges even its predecessor.

Born out of burnout, lost love and intense bouts of self-loathing, Clouds In The Sky… is understandably a dark and melancholic experience at times, but it is also lifted by some cathartic choruses and soaring instrumentation. From hard break-up number and one of the songs of the year, God of Everything Else, to the soft, spellbinding sounds of Pieces of Heaven and everything else in-between, this is an album that will make you feel something deep in your core at every single turn.

Best tracks: God of Everything Else, Pieces of Heaven, A Hole In The Ground

Listen here

28. Girl With No Face by Allie X

One of the biggest surprises of 2024 - an album I picked for our February podcast simply based on enjoying Allie X’s previous album Cape God back in 2021, Girl With No Face has turned out to be one of the best art-pop records of the whole year.

If you have been enjoying the music of Chappell Roan and Charli XCX in 2024 but have yet to get round to this one, you need to correct that immediately. Billed superbly by Apple Music as New Order and Kraftwerk meets Madonna and Lady Gaga, its pop music built in the electronic music world. This is evident on incredible lead single Black Eye, which is how I imagine Kate Bush would sound if she was performing New Order’s Blue Monday.

It's one standout on an album of many, which also includes the medieval stylings of Off With Her Tits, a genius track focussing on self-acceptance and gender identity, and the Eurovision-esque Galina, which is an ode to a revolutionary eczema cream manufacturer. No, you didn’t misread that – it is indeed what the song is about!

This type of quirkiness runs deep within Girl With No Face and it is what has made this album such a joy to revisit over and over again since it dropped back in early February. The sound of an artist hitting their creative stride!

Best tracks: Black Eye, Off With Her Tits, Girl With No Face

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27. People Who Aren’t There Anymore by Future Islands

One of my most anticipated records of the year and one that did not disappoint. Baltimore synth-pop outfit Future Islands served up their incredible seventh studio album all the way back in January - People Who Aren’t There Anymore - a record that I’m pleased to say delivered on its early promise. Playing out almost like greatest hits record at times, the more I spun it throughout the year the more it quickly became my favourite record of theirs – which given their discography is saying something!

Capped off by seeing them live for the first time at Live at Leeds back in May, here’s what I had to say in my review for Clash back at the start of the year:

“Whilst ‘People Who Aren’t There Anymore’ ultimately isn’t an album that breaks the Future Islands mould, it’s hard to hold that against them. This is their sound, and they prove here they can still do it better than any of their peers. And whilst the sonic evolution from their previous work may only be subtle shifts, the biggest change comes with the band leaning on personal stories this time around rather than more observational lyricism. Most importantly though Future Islands’ fans will find plenty to love with this album, with some of the songs here already instant favourites and others feeling like some of the best, most fully realised of their career thus far.”

Best tracks: King of Sweden, Deep In The Night, Say Goodbye

Listen here

Read my full review for Clash Magazine here

26. In Lieu of Flowers by Aaron West and The Roaring Twenties

The final part of a trilogy that had been a decade in-the-making and the brainchild of The Wonder Years’ frontman Dan Campbell, there were few better alt-rock records in 2024 than In Lieu of Flowers.

Blending all my favourite genres of music into one unique, heartfelt sound, Aaron West and The Roaring Twenties served up an incredible collection of songs that are as sonically satisfying as they are lyrically moving. On this record, you’ll find elements of indie, folk, Midwest-emo and even a dash of pop-punk too, while Campbell spins beautifully written stories of heartbreak, touring life and battles with the American Healthcare system.

Full of passionate vocals, delicate orchestration and anthemic choruses made to be sung full lung, every single song on here can be considered highlight. From the acoustic-angst of Roman Candles, the bluesy waltz of Whiplash and the triumphant burst of horns on the album’s title track, this is another highly acclaimed 2024 record that rightfully deserved all the praise in the world.

A truly captivating third act in what has been a sublime trilogy of albums – here’s hoping there is still more to come!

Best tracks: Paying Bills At the End of the World, In Lieu of Flowers, Alone At St. Luke’s

Listen here

25. Cartoon Darkness by Amyl and the Sniffers

Back in 2021, Aussie punk outfit Amyl and the Sniffers would finish in my Top 10 Albums of the Year thanks to their blistering sophomore record, Comfort To Me. While their new album places a bit further back this time around, the chances are if you loved Comfort To Me like I did, you’ll certainly love Cartoon Darkness as well.

Their latest album is mostly more of the same but in the best way possible, with the band doubling down on their straight-talking, in-your-face lyrics and face-melting guitar solos. Not a single moment is spared as the band shred their way through highlights such as stomping lead single U Should Not Be Doing That, the X-rated Jerkin’ and the impressive full-throttle riffs from Declan Mehrtens on Motorbike Song.

There is also at least one moment that suggests progression too with Big Dreams. It’s a more mellow moment with a terrific vocal performance from enigmatic frontwoman Amy Taylor, where she invites the listener into her apathetic internal monologue about being fed up and wanting more out of life.

Overall though, just another fantastic record from the Aussie quartet, one that looks at the state of the modern world and then violently spits it back out in these thirteen brutally honest, no frills punk tracks. A deserving winner of our October Album of the Month title!

Best tracks: U Should Not Be Doing That, Big Dreams, Motorbike Song

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24. Where’s My Utopia? By Yard Act

While I enjoyed The Overload upon release, the Mercury Prize-nominated debut album from Leeds post-punk outfit Yard Act, it was an album I went off quite quickly. So much so, it didn’t even make my year-end list in 2022.

Wrongfully writing them off as a flash in the pan, soon to be lost in the rapid oversaturation of the post-punk genre, I didn’t really have high expectations going into their second album, Where’s My Utopia, back in March. Thankfully, the record marked a noticeable sonic shift for the band and is an improvement on its predecessor in every single way.

With this record maintaining Yard Act’s witty, observational lyrics but musically seeing them be much more explorative and adventurous, Where’s My Utopia has been a delight to experience all year round. Blending elements of pop, soul, disco and funk into their classic post-punk palette, this one is an ambitious and enjoyable rollercoaster ride. From the super catchy We Make Hits, the Pulp-esque The Undertow through to the Katy J Pearson and David Thewlis featuring bop When The Laughter Stops, it is just an absolute blast from start to finish.

Successfully breaking free of their post-punk mould, this album was a big sonic evolution from Yard Act that impressed all of us on the podcast back in March, and has personally left me incredibly intrigued to see where they go next.

In short, it’s Ace! Top! Mint! Boss! Class! Sweet! Deece! Not bad!

Best tracks: Dream Job, When the Laughter Stops, The Undertow

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23. Foxing by Foxing

With Foxing’s last record Draw Down The Moon finishing well within my Top 20 for the year back in 2021, I certainly expected good things from this self-titled record. But even then, I don’t think I was prepared for this colossus of an album from the American post-rock/emo outfit.

Back in September, Foxing delivered easily one of my favourite first spins all year, knocking me for a loop straight away with their much heavier sound and ambitious scope. The record is a natural step forward from Draw Down The Moon, with Foxing finessing the experimentation from that record for an album that feels fully realised and more assured.

From the aggressive stomps, whirring synths and violent screams of Hell 99, through to the dreamy, synth-soaked 8-minute odyssey that is Greyhound, Foxing try their hand at everything here and the result is never anything less than scintillating. This is captured perfectly in album highlight Gratitude, which sees Conor Murphy deliver an outstanding vocal performance amidst a glorious barrage of static instrumentation.

Without a doubt one of my favourite heavy records of the year, Foxing delivered a masterfully crafted and eclectic sonic thrill-ride with this self-titled, which also ranks right up there with their very best work.

Best tracks: Gratitude, Hell 99, Greyhound

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22. Filthy Underneath by Nadine Shah

Whilst everyone was going through their own personal turmoil during the last few years, much revered musician Nadine Shah was going through a particularly tumultuous time. Not long after releasing her 2020 album Kitchen Sink, Nadine would tragically lose her cancer-stricken mother during the height of the COVID-pandemic. Locked in isolation with her grief, Nadine entered a downward spiral that would play out over the next two years, with heavy substance abuse leading to depression, divorce and even an attempt to take her own life in 2022. Thankfully Nadine survived, agreeing to enter rehab where she would get the help and support she desperately needed.

Now out of rehab, substance-free and most importantly finding her happiness again, Nadine thankfully returned with new album Filthy Underneath earlier this year - and it is just an absolute tour de force from beginning to end. Playing out almost like a cathartic exorcism of all the demons that have plagued her the last few years, Filthy Underneath is the sound of Nadine laying everything bare for the listener. Brutally raw, deeply personal and gracefully honest, the heavy lyrical inspiration for each track is carefully balanced with liberating, synth-drenched and  rhythmic instrumentation, with the live-sounding production adding a theatrical touch to proceedings too.

While it’s an album best experienced as a complete work from start to finish, there are a few standout moments here too. None more so than Greatest Dancer, a song where Nadine recalls getting high on her mum’s prescription medicine in front of an episode of Strictly Come Dancing, with pulsating synths reverberating and tribal drums pounding away as she recounts her feelings in that moment. Sad Lads Anonymous is another high point, a poetic spoken word confessional that sees Nadine describe her woes to a work experience kid in an awards show bathroom. Both these tracks present the whole album as a microcosm, filled with sounds that draw you in and make you want to dance, whilst the stories at the core are quite dark and harrowing. It all eventually culminates in the album’s hardest moment, French Exit, an ominously tense track on which Nadine openly confronts her suicide attempt. It’s a truly devastating end to an utterly enthralling record.

It’s no secret that often the darkest times can produce the greatest art. Filthy Underneath is a testament to that, with Nadine bravely and openly sharing her story as both a lesson to others but also, no doubt, her own personal catharsis. Shocking and upsetting at points yet always refreshingly honest and completely captivating, this is without a doubt one of the most powerful albums released all year.

Best tracks: Greatest Dancer, Sad Lads Anonymous, See My Girl

Listen here

21. The New Sound by Geordie Greep

Momentarily going back to my Honourable Mentions blog where I shared the basic criteria I look at when choosing my Albums of the Year, you’ll notice point three: showed ambition or had something unique to offer. Now, if I judged these 2024 albums on that basis alone, there would arguably be one clear winner - this spellbinding solo debut from Black Midi’s Geordie Greep.

Having raised eyebrows with the out-of-the-blue announcement of Black Midi’s demise, the concern quickly turned to rapturous applause as The New Sound instantly became one of the most critically acclaimed records of 2024 – and for good reason too.

Fusing prog-rock with jazz and plenty of theatrical flair, The New Sound makes for a dazzling and dramatic hour-long listen. From the vintage swing of Terra to the Steely Dan-inspired lead single Holy Holy, through to album highlights such as the punky Motorbike, 12-minute epic The Magician and the waltzing finale of If You Are But A Dream, The New Sound is a breathtaking masterclass in inventive genre-fusion.

Weird, wonderful and completely unique, The New Sound is no doubt far too out-there for some listeners to stomach. But for those with the patience to fully process the wild musical arrangements they are hearing, Geordie Greep’s music will no doubt leave you astounded.

Best tracks: Holy Holy, As if Waltz, Motorbike

Listen here

The Albums of the Year countdown is nearing its conclusion - up next is the penultimate part, highlighting albums #20-11!

[musickickztoo]

CONTRA2024-19 ALBUMS OF THE YEAR (not ranked)

PLAYLIST: https://www.mixcloud.com/Contraflow/contra2024-19-albums-of-the-year-not-ranked/

PLAYLIST:

Shellac - WSOD

Kim Deal - Nobody loves you more

Kim Gordon - I Don't Miss My Mind

Amyl and the Sniffers - Motorbike Song

Osees - Also The Gorilla...

Meatbodies - They Came Down

MJ Lenderman - Rudolph

Waxahatchee - Evil Spawn

Die Nerven - Ich Will Nicht Mehr Funktionieren

The Courettes - Keep Dancing

Hurray For The Riff Raff - The World Is Dangerous

Jack White - Underground

The Black Crowes - Wilted Rose (feat. Lainey Wilson)

Jessica Pratt - Better Hate

Daniel Romano - State Of Nature

Nick Cave & The Bad Seeds - Long Dark Night

Peter Perrett - Women Gone Bad

The Jesus and Mary Chain - Second Of June

The Smile - Eyes & Mouth

Gut Health - Separate States

Chime School - (I Hate) The Summer Sun

Neutrals - The Iron That Never Swung

Jon Spencer - Fancy Pants

Th' Losin Streaks - Rue De Montreuil

Mdou Moctar - Oh France

Beak> - Secrets

Split System - Hold It

Thee Headshrinkers - Head On

[manysmallhands]

Top Albums of 2024: #8 - 'Alligator Bites Never Heal' by Doechii

I find a lot of rap quite grim and hard to embrace these days, so the appeal of Doechii’s breakout mixtape for me is in the way it references a lot of retro focused Hip Hop and RnB but in a way that still feels relatively fresh. There are some very familiar sounds on here - the menacing sax on "Boiled Peanuts" has a distinct ring of Cyprus Hill about it - but because it never allows itself to get stuck in one mode, Alligator Bites doesn’t end up coming off like a tired retread. Tho the more explicitly 90s focused hip hop is a key element, the floating, modern underground style beats on tracks like "Boom Bap" recall the likes of Westside Gunn or Mike more than any older artists. There’s also a drift thru various styles of RnB, so the woozy "Hide N Seek" feels like a trippier version of Erykah Badu, while "Slide" has a more explicitly up to date vibe that fits in comfortably on daytime radio. 

Doechii has a masterful range of vocal styles in the Doja Cat mode, able to move easily between hard aggressive rhymes and something more charmingly conversational, as well as having a melodic RnB singing voice that she can twist and bend into all sorts of odd permutations. And while there’s plenty of snappier material (as befits an alligator bite), the LP occasionally moves into more experimental areas too, making for dreamlike zones which feel semi-detached from the harder edged tracks. The hazier focus of songs like "Bloom" and "Fireflies" is not so immediately gratifying but these respites work better with repeated listening, forming islands in the sound that let you drift away a little.

Day to day concerns are central to the lyrics throughout: Alligator Bites is primarily diaristic, a record about the hustle of the modern music industry, trying to become a star without losing yr integrity or even just trying to keep a basic grip, as on the hilarious therapyspeak pastiche "Denial Is a River". An idea that returns several times is the frustration of being unable to feel like yr across everything: this is best heard on "Wait", a mix of gorgeously melancholy RnB and pointed, technical rapping where Doechii seems at once resigned to and exasperated by the stuff she’s being forced to let go of. "Profit" and "Boom Bap" look more closely at her place in the rap world, with the latter especially going off hard at people who try to pigeonhole her. It’s as close to a definitional moment as you could get on Alligator Bites, a record that refuses to stay in one place and where that restless energy constantly channels itself into more than the sum of its parts.

[musicmattersmedia]

Before we dive into a whole new year with plenty of new music on the horizon, in this episode, we talk about our favorite albums of 2023. Listen as we discuss our honorable mentions list, and of course, our official top ten picks of the year. Find out who ultimately stole our hearts to take each of our number-one spots of 2023, and stay tuned for our next episode, where we share our unforgettable concert experiences of 2023!

Visit Our Website: MusicMattersMedia.com All Music Matters Media Links: linktr.ee/musicmattersmedia Buy Our Merchandise!: MusicMattersMedia.com/Merch

[tomsmusictaste]

Tom’s Top Ten | ALBUMS OF 2023

It's (belatedly) that time of year again, let's get into it.

10. Hotel Bleu - Broadside

I’ve made peace with the fact that Broadside record is likely to top Old Bones for me but Hotel Bleu is choc full of plenty of upbeat catchy tunes, a refreshing dose of positivity after their more sombre previous record Into The Raging Sea.

Favourite song: Dazed & Confused

9. Past // Present // Future - Meet Me @ The Altar

MM@TA have delivered a very solid debut record. One downside is the lack of easycore-style riffs and breakdowns (one of the main things that drew me to this band’s previous EPs) in favour of a more generic pop-punk sound - that said, all songs are plenty catchy and do a great job of showing off Edith’s vocal range, which is front and centre of this record.

Favourite song/s: Say It (To My Face) / It’s Over For Me

8. Childhood Eyes - Yellowcard

A big year for Yellowcard putting out their first new music since breaking up in 2016, and it delivers. It may just an EP but it's earned it's spot on the list and made me incredibly excited to see what else is on the way from this new era of Yellowcard. Also a collab with Dashboard Confessional? A Spider-Man 2 soundtrack reunion, you love to see it.

Favourite song: Childhood Eyes

7. Slow Burn - Conquer Divide

One of the later albums from the year but I'm glad that I didn't miss this one - Conquer Divide have been something of a 'background band' for me up until now, but this is a record I found myself listening to front to back over and over.

Favourite song: N E W H E A V E N

6. One More Time - Blink-182

I have to confess I have mixed feelings on Blink-182's big comeback album - great to see Tom back in the band and the band back to their classic lineup, lots of great emotion on the title track. Maybe contro but I do think some of the non-single tracks feel a bit pale or watered down compared to the singles, but the singles themselves do have a lot of what I love from that classic Blink sound.

Favourite song: Dance With Me

5. Postcard From A Living Hell - RedHook

RedHook were a new discovery for me this year, and a welcome one at that. This is one of those albums that soon as it came out I had on constant repeat, just banger after banger, not to mention a collab with Mik from Yours Truly; that gets a hell yeah from me.

Favourite song: Inarticulate ft. THE FAIM

4. Join The Club - As December Falls

One of my hottest anticipated releases of the year, As December Falls have come soaring this year, with this their third album and constantly selling out their tours (before i can get a ticket >:( ). Every single song on the tracklist is single worthy and the record makes no shortage of showing off Bethany's vocals, in particular on the emotionally driven 'Home.'

Favourite song: Mayday

3. A Call To The Void - Hot Milk

After knocking out of the park time after time with their EPs, Hot Milk finally released their debut full-length and brought everything that's good about them to the table. From the very first listen I knew this was gonna be a strong contender for AOTY, and indeed was only beaten out by two others.

Favourite song: Alice Cooper's Pool House

2. The Surface - Beartooth

It should be no surprise to my followers seeing Toof pop up on the list, there truly never has been a Beartooth album that hasn't made my top ten and The Surface is no exception. Going against the grain of their MO up until now and releasing an entire metalcore album full of love and positivity was an incredible move, and wonderful to see Caleb find himself in a place where he can write this kind of lyrical content and celebrate his own journey overcoming mental health struggles. The Surface is a welcome addition to the Beartooth catalogue.

Favourite song: I Was Alive

Before we get to the Number One, I'd like to shoutout some honourable mentions that didn't quite make the cut - those being 'Til The Wheels Fall Off - WSTR, Tear Me To Pieces - Story Of The Year, Power To Play - McFly, Untitled Mixtape - Carousel Kings and Linkin Park's 20th Anniverary Edition of Meteora

Also a special shoutout to Sum 41, Neck Deep and Green Day, for their singles off albums that will be released in '24. Good stuff.

With that all out of the way, let's get into my NUMBER ONE ALBUM OF 2023...

1. So Much (For) Stardust - Fall Out Boy

It was tough to crack down on the order of the top three here, but ultimately the number one album couldn't be anything else. I've made no secret that I'm not the biggest fan of the three FOB records prior to this, but here the boys return with a bang combining all that's good about both their pre-hiatus and post-hiatus sounds, resulting in an incredible record that has been definitive for my 2023. What more can I say? Fold Out Bed bloody did it.

Favourite song: Love From The Other Side

And there you have it! Those are my top albums of 2023. We're already a fair way into '24 at the time I'm posting this and this year too is shaping up to have some strong contenders... bring it on.

[strangledeggs]

The Best Albums Of 2018

If you want to see a full review of any specific album on this list, or are wondering why a particular album did or didn’t make the top 10, or are wondering why an album you like from the year in question isn’t on this list at all, send me an ask about it and I’ll try and respond!

The Top 10

Room 25 by Noname

Invasion Of Privacy by Cardi B

A Laughing Death In Meatspace by Tropical Fuck Storm

Wide Awake! by Parquet Courts

Whack World by Tierra Whack

Superorganism by Superorganism

Transangelic Exodus by Ezra Furman

Be The Cowboy by Mitski

Oil Of Every Pearl’s Un-Insides by SOPHIE

Três by Thiago Nassif

The Rest

Care For Me by Saba

Conexão EP by Amber Mark

DAYTONA by Pusha T

Dirty Computer by Janelle Monae

Ephorize by CupcakKe

Foreign Ororo by Riton + Kah-Lo

Guatemaya by Doctor Nativo

Hive Mind by The Internet

I Can Feel You Creep Into My Private Life by tUnE-yArDs

Interstate Gospels by The Pistol Annies

Queen by Nicki Minaj

Quite A Life by Lyrics Born

Record by Tracey Thorn

Snares Like A Haircut by No Age

Streams Of Thought Vol. 1 by Black Thought

Tantabara by Tal National

Temet by Imarhan

The Terror End Of Beauty by Harriet Tubman

DROGAS WAVE by Lupe Fiasco

There’s A Riot Going On by Yo La Tengo

Things Have Changed by Bettye LaVette

Twerp Verse by Speedy Ortiz

Twin Fantasy by Car Seat Headrest

Un Autre Blanc by Salif Keita

What A Time To Be Alive by Superchunk

What Happens When I Try To Relax by Open Mike Eagle

Your Queen Is A Reptile by Sons Of Kemet

Coming off of a previous year I described as lackluster, this is more like it. 38 albums in total, but more importantly, I had a particularly difficult time picking the top 10 for this year. The top 3-4 proved especially difficult – I was pretty certain after a while that Noname’s “Room 25”, perhaps the peak of what one can accomplish with the “personal is political” mantra, was going to take the top spot, but was I prepared to admit that Cardi B’s pop triumph “Invasion Of Privacy” was better than Parquet Courts’ best album yet? And so, apparently, was Tropical Fuck Storm’s unrelenting “A Laughing Death In Meatspace”? It hurt me to rank some of these things the way I did, but because of this, I’m fairly confident that you could pull any of the top 10 albums at random and have a great time regardless. Just make sure to watch the videos for Tierra Whack’s album, too, since they’re a whole work of art in themselves (it’s 15 minutes of your life for one of the most creative hip-hop visual spectacles of the century so far, come on, just do it).

What’s more, typing out the rest of the list made me realize what an awesome year this was simply by how many I realized I was sad to have to leave out of the top 10. Let me tell you, in any number of weaker years (like the last, or perhaps the next one, as you’ll see), contributions by Speedy Ortiz, Superchunk, Open Mike Eagle, Harriet Tubman, No Age, The Pistol Annies, Saba, Amber Mark and more would have made it into that upper tier. It’s a true testament to the strength of this year’s releases that they didn’t; I would strongly recommend checking out much of the second-tier list as well if you’re looking for the outstanding accomplishments in hip-hop, country, indie rock, desert rock and believe it or not, avant-garde jazz (Sons Of Kemet deserve a shout-out here, too, for their unique brass band approach).

One strange quirk I’ve noticed about this year is that it features several artists who seem either to have peaked here, releasing a lesser follow-up in the next few years, or who have yet to release a follow-up at all. Parquet Courts, No Age, Noname, Nicki Minaj, Pusha T, The Internet, Cardi B, Tierra Whack, Mitski, Superorganism and sadly even Tropical Fuck Storm and the aforementioned Sons Of Kemet all fall into these categories to varying extents. Hopefully I’ll be proven wrong in some way on at least a few of those soon, but even if they don’t bounce back, many of those artists can rest easy knowing they’ve created at least one masterpiece, which is more than most can say.

Speaking specifically to a few trends I noticed from the previous year, I will acknowledge that “mainstream”-leaning pop remains under-represented here, though I think this may just be my general bias as a critic to ignore most of it or even to recognize that the stuff that makes it on to my radar as interesting enough to write about is still too inconsistent to make a year-end list in terms of quality. Then again, I put Cardi B, breakout pop-star of the year, at #2, so you can’t complain too much there. Second, I should clarify that while I said in the previous year’s essay that I was ready to re-listen to Mount Eerie’s follow-up grieving-process album “Now Only”, I ultimately felt that it couldn’t hold its own against the other albums I selected for this year’s list. Which, again, is just an indication of how good 2018 was; nothing against “Now Only”, it’s still a very good album and you should listen to it if you...enjoyed(?) “A Crow Looked At Me”.

Finally, I’m glad to see a bit more music from outside the “western” pop sphere sneaking onto this year’s list as well. Thiago Nassif’s Tom Zé-like “Três” made the very end of the top 10, but you’ll find Guatemala’s Doctor Nativo, Nigeria’s Kah-Lo, Niger’s Tal National, Algeria’s Imarhan and Mali’s Salif Keita elsewhere on the list, each of which is worth checking out and each of which brings their own unique sound to the table. And on a sadder note, it’s still hard for me to believe SOPHIE is no longer with us after releasing such a final masterwork as “Oil Of Every Pearl’s Un-Insides”. We truly lost a once-in-a-generation talent with her.

[emilyaxtell]

Here are my albums of the year, printed onto old filofax note paper using a Canon Starwriter 30 computerised typewriter. Aly & AJ would have taken top spot if not for the release of Javelin, and they did win the Spotify wrapped war.

[joemuggs]

Albums of 2023 part 3

And - continued from part 2 - some more! This one does what it says on the tin. Levon Vincent knows the old chestnut "dancing about architecture" is accidentally profound: this is 11 pieces of holy four dimensional architecture exquisitely designed for your body to move through.

It's been a great year for old school BRAINDANCE, in no small part thanks to Mighty Force records releasing thick and fast, and this from Kams, straight out of Beckenham, is the best - just warm-hearted, melodic, acidic, danceable, classic electronica.

My old mucker Culshaw is a scholar, a gent, an adventurer, and on the sly a great musician. This comeback to the studio is MAGIC - global and spiritual and incidentally Balearic in a Jose Padilla sense - but its connections are based on highest common factors, never dully fusioneering.

Just fries my mind that Boris seem to get creatively hungrier and angrier with every passing year. This collab brings in all sorts - goth, thrash, synthwave - but what I really love is the unironic POWER METAL energy. Music to be struck by lightning to.

It's been an incredible year for electropop - and this album from producer turned singer songwriter Avalon Emerson is the *sweetest* of the crop, lighter than air, a gentle digital dream, but with surreptitious emotional heft. Reminds me a little bit of millennium era Morr Music, Tarwater etc? Must listen as a whole: it draws you in and in....

Even heavier than the Boris, and the record that made me fall in love with grindcore all over again - had to order the vinyl even given transatlantic premium. Nepalese band in New York Chepang TAKE. NO. PRISONERS. HUURUUUURURRGGHGHHH.

I was NOT expecting this from Anhoni - but I'm a sucker for Muscle Shoals style country-soul grooves, and though they risk getting "a bit Jools Holland", here they're delivered with total assurance plus the bleakness of the lyrics, fierceness of delivery and a few noises moments all adds some serious edge.

More electropop - this one from Jessy Lanza is not a million miles from the Avalon Emerson in its pristine futurist sound, but it's a bit spikier, eerier, like she is setting puzzles for you.

My most played record of the year. Like the Culshaw, a bit Cafe Del Mar in the most urbane possible sense - Sissoko & co's blend of jazz, classical, W African & European folk is done with unbelievable poise and emotion and is completely addictive.

This has been all-conquering this year and rightly so. It's not just the fearsome doom bits, it's the straightforward folk that's great: Lankum remind us of dreadful, beautiful paradoxes of being human that don't really change through the centuries.

Paul Simon says this was written in dreams, and it really sounds like it. Genuinely transporting, surreal, gorgeous and - I have to say it - roughly 10,000,000 times more interesting than anything Bob Dylan has done this century.

Completely UN-deconstructed trance... the way Romy taps into the melancholy of the most globe-conquering of 90s pop dance is something quite special and will serve as a real cynicism test... go on, let it twang your heartstrings!

I've kind of idly admired King Krule's music from a distance previously but that changed last year - he really is something special eh? Way more than the sum of influences, and a proper world-builder.

One of many where I missed the promo at the time (sorry PRs) but then discovered it via my sp****y recommends. Just beautiful post-classical, post-ambient musing music from Audrey Carmes that sounds like austere but lovely perfumes and crisp clean cotton.

Of course death is at the heart of Depeche Mode's music so how tragic but appropriate that it took Fletch's death to turbocharge them creatively. This is like a telescoping together of their whole history - but also still in love with new sounds...

More death, more darkness, with Amy Winehouse serving as a dark angel muse drawing together and crystallising the ambient, abstract and dream cabaret influences Kevin Martin has been incubating in his solo KRM albums since 2019. Crushingly sad and great.

Espec after seeing him rock it in the morning at We Out Here, I do feel like Joshua Idehen is in danger of becoming a late-blooming star, you know. Explicitly connecting David Byrne, Mike Skinner, Maxi Jazz and a finger-jabbing Nigerian preacher, he ROCKS.

Yes, Yussef Dayes really is all that and a packed of Pickled Onion Space Raiders. Brit jazz just seems to have been in a consistent triumphant state these last five years or so and there's no sign of it stopping being that way with albums like this still coming.

Ben Howard is an artist who'd completely passed me by despite being really quite big - but again the sp****y algorithm brought me this and it's really amazing, thought provoking, grown up pop. I *instantly* guessed it was Bullion on production too, no lie. ❤️

I've said for a long time that "mumble rap" has deep atavistic echoes of the blues and psychedelia - and here's the mumbler in chief Lil Yachty joining the dots back through the decades. Funkadelic, Hendrix, Beck, Outkast, BUTTHOLE SURFERS? Yeah it's all here. Not saying it's one those levels, but it's great and

Holy shit is Dot Allison on a roll or what? This is effectively 2021's Heart Shaped Scars growing in all directions: bigger, grander, more cosmic, even more beautiful. The partnership with Hannah Peel as arranger is front and centre and works incredibly.

Alright it's not as unique as Bad Bunny's 2022 masterpiece Un Verano Sin Ti - this is more trap, less overtly "Latin" - but it's really, really good. Sometimes not knowing the language can emphasise the emotion in the sound: the blues in the trap, the Spanish derived "tristeza"...

My fave Villalobos moments are often him working his wonky magic on "real" instruments and songs (see his Tony Allen / ECM reworks) so a whole album of him tweaking A Mountain Of One's Balearic soft rock is a real treat. Gets progressively "more Ricardo" as it goes on.

I love how Young Fathers have become such a beacon of what a "big festival band" CAN be when it broadens its influences out and grooves a bit. This album is such a big step up for them, and I really hope they keep this momentum because it's BIG FUN.

And talking of Scots "big festival bands" with diverse influences pushing the envelope and having fun with loading in more pop, dance, rap etc, The Djangos really went to town on this one and I was surprised not to see it getting more hype. A proper weird and wonderful party of an album.

Okayyyyyyyy last part is here, get stuck in!

[blouson-noir]

My Albums of 2023

Nico is my heroine of the year, along with PJ Harvey.

[junkshop-disco]

Albums of the year, 2023 edition.

Tagged ages ago by @queenoftherodeoo and I finally had time. So, in no particular order:

Bille Marten - Drop Cherries / Baby Queen - Quarter Life Crisis / Arlo Parks - My Soft Machine / Say She She - Silver / Olivia Dean - Messy / The Aces - I've Loved You For So Long / Maisie Peters - The Good Witch / Carly Rae Jepson - The Lovliest Time / Cleo Sol - Gold / Cleo Sol - Heaven / Jessie Ware - That Feels Good / Birdy - Portraits

[psychedelicstardust-gvf]

thank you for tagging me @jake-whatthefisgoingon-kiszka

My Albums of the Year (In no particular order):

Unreal Unearth - Hozier

FOUR - One Direction

The Battle at Garden’s Gate - Greta Van Fleet

Stick Season (We’ll All Be Here Forever) - Noah Kahan

Sunburn - Dominic Fike

Starcatcher - Greta Van Fleet

AUSTIN - Post Malone

INSIDE (DELUXE) - Bo Burnham

five seconds flat - Lizzy McAlpine

i’m tagging @pavartijanuswrites @spark-my-nature @vanfleeter @theweightofakiteofdreamsingold @gretavangroupie @jakekiszkasbuttsweat

[newmusickarl]

Top 100 Songs of 2024

Thanks to everyone who has followed the 2024 round-up so far, hopefully you’ve discovered something new along the way. If you’re only joining in now, then you’ve arrived at the best time. For the next part of my annual year-end collections, it’s time to share with you my favourite songs of the last 12 months, in the form of one mammoth playlist. Unlike my albums list this one is unranked and it isn’t necessarily what I think are the “best” songs of the year, but more the songs that have ultimately come to soundtrack and define my 2024 in some way.

As ever, in this year’s playlist are plenty of lesser-known gems from some of my favourite new discoveries, the year’s best album cuts, my favourite collaborations, big festival anthems, a few guilty pleasures and, of course, some of 2024’s biggest singles.

As always, for the sake of diversity, I’ve kept it to strictly one song per artist (excluding those who are also included on other tracks as features). This a rule I really wanted to break this year as there were several tracks from Fontaines and Lola Young in particular that should be on here. However, I stuck with my rules and only included one from each, to ensure I could spotlight as many different great artists as possible.

As a bonus for Apple Music users, I’ve also included my mega Best Songs: 2015-2024 playlist, which contains all my annual year-end playlists from the last decade.

So, dive in on your platform of choice, hit the shuffle button and you never know - you might find some inspiration for your own New Year’s Eve mix or your new favourite song. Enjoy!

Listen to the Top 100 Songs of 2024 Playlist:

On Spotify here

On Apple Music here

Listen to the Best of 2015-2024 playlist:

On Apple Music here

My Top 100 Songs of 2024 (in alphabetical order by artist):

1. Paying Bills At The End of The World by Aaron West and The Roaring Twenties

2. Sadness As A Gift by Adrianne Lenker

3. Black Eye by Allie X

4. My Drummer’s Girlfriend by ALT BLK ERA

5. Living A Lie by The Amazons

6. U Should Not Be Doing That by Amyl and The Sniffers

7. I Never Had Control by Another Sky

8. Curse by Architects

9. Kimbara by Barry Can’t Swim

10. Release Myself by Bess Atwell

11. Into The Blue by Best Youth

12. TEXAS HOLD ‘EM by Beyoncé

13. Call Me After Midnight by Bleachers

14. Hunger Games by Bob Vylan

15. Better Now by Bombay Bicycle Club featuring Rae Morris

16. S P E Y S I D E by Bon Iver

17. Alright, Ok! by Bored Marsh

18. Kool-Aid by Bring Me The Horizon

19. Clams Casino by Cassandra Jenkins

20. 360 by Charli XCX

21. Aw, Shoot! By CMAT

22. Hourglass by Cold Cave

23. 3AM (LA LA LA) by Confidence Man

24. Next To You by Deco

25. Little Birds by DIIV

26. Gears by Divorce

27. Split Lip by Dolores Forever

28. Perfect by Du Blonde

29. Houdini by Dua Lipa

30. Balu by Elbow

31. The World’s Biggest Paving Slab by English Teacher

32. Enter The Mirror by Everything Everything

33. Screamland by Father John Misty

34. City Glitter by Fazerdaze

35. Mother by Fiona-Lee

36. Starburster by Fontaines D.C.

37. Gratitude by Foxing

38. Ceasefire by Frank Turner

39. Say Goodbye by Future Islands

40. Blue Jeans & White T-Shirts by The Gaslight Anthem

41. Van Halen by Geographer

42. Holy, Holy by Geordie Greep

43. Gleams by George FitzGerald

44. Living In The ‘20s by Green Day

45. Cover Up the Cover Up by Gruff Rhys

46. Lonely Is The Muse by Halsey

47. V. by Hayden Thorpe

48. Dive by Holly Humberstone

49. 1995 by Holly Macve

50. Uptight by Home Counties

51. Dirt by The Howl & The Hum

52. Buffalo by Hurray For The Riff Raff

53. Gift Horse by IDLES

54. Zombieland by Jake Bugg

55. All You Children by Jamie xx featuring The Avalanches

56. New World (Flow) by Joe Goddard & Fiorious

57. Red Sky by Kaliko

58. G.O.A.T by Kasabian

59. Love You Got by Kelly Lee Owens

60. Not Like Us by Kendrick Lamar

61. I’m Flush by Kneecap

62. Portrait Of A Dead Girl by The Last Dinner Party

63. Merry Old England by The Libertines

64. Love Song by Lime Garden

65. The Emptiness Machine by LINKIN PARK

66. Messy by Lola Young

67. Santa Fe by London Grammar

68. Feast of Tongues by Los Campesinos!

69. Bounce by LYVIA

70. Loud Bark by Mannequin Pussy

71. Hanging by Marika Hackman

72. The End Can Be As Good As The Start by Maxïmo Park

73. Crying Over U by Medium Build

74. Bubblegum Dog by MGMT

75. Greatest Dancer by Nadine Shah

76. Conversion by Nick Cave & The Bad Seeds

77. No One’s Watching Me by Olivia Dean & Ezra Collective

78. Doubt by One True Pairing

79. You & The Packhorse Blues by Orlando Weeks

80. Somebody Without U by Oscar and the Wolf

81. A Reckoning by Owen

82. Lobster Telephone by Peggy Gou

83. God of Everything Else by Porridge Radio

84. Never Need Me by Rachel Chinouriri

85. Soup by Remi Wolf

86. Adored by Royel Otis

87. People Watching by Sam Fender

88. Deer Teeth by Sega Bodega

89. Everything and Nothing by SOFT PLAY

90. 10,000 Hours by Spielmann

91. Literary Mind by SPRINTS

92. Broken Man by St. Vincent

93. Robin by Swim Deep

94. Drone:Nodrone by The Cure

95. How Can I Love Her More? By The Lemon Twigs

96. Right Back To It by Waxahatchee featuring MJ Lenderman

97. Silver by Wunderhorse

98. Clementine by Yannis & The Yaw

99. Dream Job by Yard Act

100. Elephant by 070 Shake

Thanks for listening! Still to come over the festive period – my favourite EPs & Gigs of 2024!

[musickickztoo]

CONTRA2023 - 18

(some of the) ALBUMS OF THE YEAR - Not ranked

TRACKLIST:

Young Fathers - Sink Or Swim

Snõõper - Defect

Lewsberg - An Ear To The Chest

House Of All - Turning Of The Years

Sleaford Mods - UK GRIM

Melenas - Promesas

En Attendant Ana - The Cut Off

Spllit - Cloaking

Glyders - Geneva Strangemod

Protomartyr - For Tomorrow

Osees - Stunner

Ghost Woman - Highly Unlikely

Creation Rebel - Swiftly (The Right One)

Tinariwen - Kek Alghalm

Black Mekon - Kung Future

Upchuck - NYAG

Flat Worms - Orion's Belt

Sufjan Stevens - A Running Start

PJ Harvey - I Inside The Old Year Dying

R.M.F.C. - Harmless Activity

Tee Vee Repairmann - Checkout Queue

Young Francis Hi Fi - Dance If You Wanna

Civic - Time Girl

Dion Lunadon - Shockwave

Wreckless Eric - Standing Water

PLAY: https://www.mixcloud.com/Contraflow/contra2023-18-some-of-the-albums-of-the-year-not-ranked/

[manysmallhands]

My Albums Of 2022 - Second Tier (pt. 2)

As previously explained, I've had to split these albums up into two posts because tumblr won't let me put more than ten links into one. This carries on where the previous one left off, recounting the second tier of my favourite albums of 2022 from July onwards. On we go!

July 

While Conway The Machine’s major label debut, God Don't Make Mistakes, got the better reception when it was released back in February, his collaboration with Big Ghost Ltd, What Has Been Blessed Cannot Be Cursed, was much more consistently enjoyable for me, if a little dense at times. There’s a gruesome feel that runs throughout the record and makes it heavy going to begin with, but Conway’s smart, edgy lyrics tend to lighten the mood and memorable tracks like "YBCM" and the Method Man guest spot "Scared To Death" meant that there were few albums more addictive released this year.

August

Trading in a kind of trippy soft-soul rumble, Mach-Hommy and The God Fahim's Dollar Menu 4 had a wonderfully dreamy sound, where the MCs who floated in and out of earshot were never quite as dominant vibes-wise as Fahim’s strange and hypnotic loops. But that's not to downgrade their contributions, as Mach and his guests' musings on food and hip-hop were always high quality, with beef of various kinds coming to the fore.

Your Old Droog (who also pops up memorably on Dollar Menu 4) released no less than six (count em!) EP/mini-albums this year and the quality rarely fell below excellent, increasingly placing him as one of my favourite underground MCs. Brooding funk beats, tenuous concepts and strikingly unusual reference points (what?!) were in full effect across every release, but the edgy bounce of Yodney Dangerfield was perhaps the best in a strong field.

September

If my first idea of Marina Allen was a kind of Shakin’ Judee Sill, the impression didn’t last long after hearing her excellent Centrifics album. While her voice has as much warmth and careworn experience as the 70s legends that she found herself compared to, there’s something unusual about the arrangements, especially the way they hang back and evolve rather than take the obvious route, which makes this album a slow burner and something worth returning to.

Rina Sawayama’s Hold The Girl spans genres effortlessly, shifting from pop-rock to club beats to wailing musical numbers and back again and then tying everything together in a bow of extreme melodrama. While there's a bit of deadwood in the middle, enough of it works (especially terrific single “This Hell") for it be worth sticking with for the long haul, as repeated plays bring ever more to the surface.

October

Armani Caesar is another fine talent from the Griselda stable and her fifth album The Liz 2 arrived late in the year with a wealth of diamond shimmer. Combining hard rhyming and opulent beats with a torrent of absolute filth in the lyrics, it was both hugely entertaining and offered a rare female angle on the bricks and hustle Griselda house style that made for an enlightening perspective shift.

Following on from 2019's slightly woolly Close It Quietly, Inner World Peace saw Frankie Cosmos return to the sweet but snappy guitar pop which made their name. While some of the more twisting elements of its predecessor remained, the immediacy of their best work was back to the fore, while Greta Klein’s bittersweet musings were as heartbreaking as ever

And that's it! More or less no one will read any of these posts, but it kept me occupied for a couple of weeks and that's what counts. I'd also be surprised if anyone actually listens to any of these records either (i only ever click on these things to see how many of the same albums I've got myself), but it would be nice to think otherwise I guess. They're all pretty good though: you really should do it, rare and unusual reader!

[cheapsweets]

CheapSweets Pick 'n' Mix - Best of 2022

What is it?

Call Down the Sun, second full album from Danish blackened death doom band Konvent (that's Konvent with a K, thanks).

Konvent is;

Rikke Emilie List - Vocals Sara Helena Nørregaard - Guitars Heidi Withington Brink - Bass Julie Simonsen - Drums

What is it like?

Having a wall fall on you. But in audio. And in a good way. I think ;)

This band has a truly massive sound, skirting the edges of epic funeral doom, but they are very much their own thing. The bass and drums are uncompromising throughout, but there's also an underlying groove to the bass and guitar that means it's more than just a (glorious) wall of noise.

As for the vocals, Rikke List is one of my new favourite vocalists; it's deep and fierce and powerful, and listening to her reminds me of the first time I ever heard Angela Gossow.

Finally, some of the tracks (particularly Harena, the album's closing track) have that certain something that gives me a shiver when I listen to it.

Also, guest cello (and violin) by Feliz Havstad (more doom + cello? I'm starting to think I have a taste :D )

You might like this if you are a fan of:

Ahab, Bolt Thrower, Cult of Luna, Yob

Lyrics such as:

The will is just a grain of dust The will is just a grain of dust But I find that when whirlpools replace the grasp of desert storms Then each grain of sand is just as clear as day, how it forms! Eyes on the horizon, I stand right where I fell And here she comes, the shining orb I know so well

Don't just take my word for it:

Carcharadon from Angry Metal Guy thinks highly of the album;

Toilet ov Hell has an interview, and thought the album was great;

Revolver magazine talk with the band about some of their influences;

Standout tracks:

Pipe Dreams, Never Rest, Grains, Harena

Where can I find it?

Youtube;

Bandcamp;

Napalm Records;

And, Spotify;

[strangledeggs]

The Best Albums Of 2017

(A note that extends to all of these lists which I will attach to the top of each: if you want to see a full review of any specific album on this list, or are wondering why a particular album did or didn’t make the top 10, or are wondering why an album you like from the year in question isn’t on this list at all, send me an ask about it and I’ll try and respond!)

The Top 10

DAMN by Kendrick Lamar

Brick Body Kids Still Daydream by Open Mike Eagle

Describes Things As They Are by Beauty Pill

Antisocialites by Alvvays

A Crow Looked At Me by Mount Eerie

4:44 by Jay-Z

Oversleepers International by Emperor X

who told you to think??!!?!?!?! by milo

Talk Tight by Rolling Blackouts Coastal Fever

Sleep Well Beast by The National

The Rest

Whiteout Conditions by The New Pornographers

Out In The Storm by Waxahatchee

Playboi Carti by Playboi Carti

Triple Fat Lice by Aesop Rock & Homeboy Sandman

The Underside Of Power by Algiers

République Amazone by Les Amazones d’Afrique

Resolution by The Perceptionists

The Official Body by Shopping

Drool by Nnamdi Ogbonnaya

Fin by SYD

Harry Styles by Harry Styles

Laila’s Wisdom by Rapsody

Life Will See You Now by Jens Lekman

Life Without Sound by Cloud Nothings

American Teen by Khalid

Dakhla Sahara Session by Cheveu And Group Doueh

Big Fish Theory by Vince Staples

1992 Deluxe by Princess Nokia

Veins by Homeboy Sandman

A somewhat weak year, if my (still-forming) shortlists for the years to follow are any indication – only 29 albums made the cut here. Some of the top 10 were surefire picks: “DAMN”, though not my favourite Kendrick (which remains To Pimp A Butterfly), has grown on me a lot to the point that I now see it as one of the year’s greatest achievements – a surprisingly coherent collection of solid-to-excellent songs with only the loosest of threads connecting them all in some kind of “concept”; “Antisocialites” is a beautifully-produced nonstop hook-fest of an indie rock album; “Describes Things As They Are” deserves a special mention for bringing one of the year’s most unique sounds to the table, even as it traces its clear influences back to artists as diverse as The Dismemberment Plan and Arto Lindsay (great “Prize” cover in there). Others I had to think harder on, and I switched out “Sleep Well Beast” for “Whiteout Conditions” at the last minute here, my main justification being that on revisiting each, it seemed to me that The National had never sounded better than on their moody, murmuring 2017 album, while The New Pornographers, despite delivering another worthy entry to their now-formidable discography, had.

In retrospect, this was an interesting year for hip-hop (though when isn’t it these days?) beyond “DAMN”: it marks the breakthrough success of Open Mike Eagle, the triumphant return of Jay-Z (but hold the antisemitism next time, OK?), the introduction of the chaotic Playboi Carti and the album that might stand as Princess Nokia’s most definitive statement so far. It also saw the final entry of Aesop Rock & Homeboy Sandman’s enjoyable “Lice” trilogy of EPs, a fascinating experimental effort by Nnamdi that still stands as one of the most distinct-sounding (if not necessarily consistent) hip-hop albums I’ve heard in recent memory, and the first albums by Rapsody and Vince Staples to truly impress me.

Though it might be hard to say exactly when “poptimism” broke critical establishment mainstream at this point (and I’ll probably write more on that later), this year also strikes me as notable for not including a whole lot of representative entries that would appeal to that crowd’s sensibilities – at least not on my list, meaning I didn’t see many capital-P Pop albums worth mentioning here. That being said, the top 40 stuff gets a couple victories here in the form of the two depressive-leaning albums by Harry Styles and Khalid (Khalid’s is the better one, if you’re curious).

Speaking of depressive (though the word actually feels inadequate to describe this one), “A Crow Looked At Me” gets a last word in here for being the most anomalous album on this list – I didn’t think I’d even like it until I tried it, upon which I found less of an album than a powerful, personal meditation on death and loss that somehow achieved poetry by constantly trying to avoid it. After listening to it the first time, I thought I’d never want to hear anything like it again – that is until I heard its follow-up from the next year.