#Best New Music

[newmusickarl]

Mercury Music Prize 2024: Ranking The Contenders

My favourite time of year has arrived – the season of the Mercury Music Prize. Back in July, the twelve albums nominated for the 2024 prize were revealed and, as ever, served up a highly diverse and eclectic list of some of the best British and Irish music released over the last 12 months. Each of these nominated records is now vying for the prestigious title of Album of the Year, the overriding criteria for which has greatly deviated throughout the award’s history.

In terms of the competition, last year felt like a big watershed moment. With myself and many others previously writing off the jazz nomination as soon as the annual shortlist is announced, Ezra Collective’s pleasantly surprising victory set a new precedence for the prize – any album can win. Not only that, but this year’s Mercury Prize shortlist presents arguably the most open contest for some years, making it almost impossible to predict. But hey – let’s try and predict it anyway!

As I do each year, I’ve now listened to all 12 albums and tried to rank them based on what I think are their chances of winning. To be clear, this is not a “Worst-to-Best” countdown – this ranking is based solely on how likely I think they are to win the overall prize.

To determine this, I’ve considered:

The impact and artistic achievement attained by the album

The popularity of the artist

The level of critical acclaim the album has received

How similar albums have fared over the years

All clear? Good!

Without further ado, here’s my final thoughts and analysis on this year’s nominees.

12. Lives Outgrown by Beth Gibbons

The debut solo album from the Portishead frontwoman is an absorbing work, a heavy listen that can be tricky to love at first but will eventually win you over. It’s certainly won the critics over too, becoming one of the most positively reviewed albums of the year thus far.

So why bottom of the list? Well for me, Beth has several factors working against her. Firstly, she’s a well-established artist who wouldn’t gain much from earning Mercury Prize recognition this late into her career. Secondly, and most importantly, she’s a former Mercury Prize winner, having lifted the trophy with Portishead’s Dummy back in 1995.

There’s only ever been one two-time winner in the prize’s history (PJ Harvey for those wondering) and at this juncture in her career, I personally don’t see Beth becoming the second person to achieve this feat – particularly given the strength of some of the debutants on this year’s shortlist.

11. Bad With Names by Corto.alto

Having already been so familiar with a lot of the records on this year’s shortlist, this debut from Glaswegian multi-instrumentalist Liam Shortall has been my favourite discovery through this year's prize. Recorded in his bedroom, it’s a mesmerising collision of jazz and electronic music that is genuinely unique and pulls you back in for repeated listens.

However, why it is so far down on my list is mainly due to Ezra Collective winning the prize last year. Whilst this album from Corto.alto isn’t solely a jazz project, of all the records on the list it is the one that falls the most into that genre. While Ezra Collective historically bucked the trend last year of jazz records never prevailing and winning the overall prize, another longstanding trend is that Mercury Prize wins rarely come from the same genre in back-to-back years. So, with a jazz record taking home the trophy last year, it makes me think the judges will go in a different direction in 2024.

10. On Purpose, With Purpose by Ghetts

The fourth studio album from the acclaimed, MOBO-award winning rapper, On Purpose, With Purpose is an ambitious project that showcases Ghetts' prowess for strong storytelling and cutting social commentary. It also features a stacked list of collaborators, including Mercury Prize alumni Kano and Sampha.

Now Ghetts is one of the few artists on this year’s shortlist who has been nominated for the Mercury Prize previously, having been shortlisted for the 2021 prize with Conflict of Interest. While recent history would suggest this could work in his favour (Little Simz and Michael Kiwanuka both won on their second and third times of trying), I feel this is a weaker effort compared to Conflict of Interest. Not only that but it seems fans and critics agree, with this album one of the lowest scoring on review aggregate site albumoftheyear.org. With this being the case, this is one I am filing under unlikely to win.

9. Early Twenties by Cat Burns

Talk about sneaking in there – this debut album from British singer-songwriter Cat Burns was released on the 12th of July this year, the final day for eligible entries into the 2024 prize. Obviously the judges would have listened to it before that date though, and they were clearly taken in by the record’s uplifting pop melodies and soul-baring lyricism.

Now, there actually isn’t too much working against Cat Burns when it comes to winning the overall prize. It is a debut album which always fair well and she’s also had good success in recent years with critic-led awards, having come fourth in the BBC Sound of 2023 and earning three Brit Award nominations just last year.

However, with the late release date you do wonder if the album would have had chance to make an impact on the judging panel in the same way as some of the other records on this list. Additionally, the album hasn’t had too long to make an impact culturally on the wider music world either, which leads me to think this is another album that is unlikely to prevail.

8. Who Am I by BERWYN

Like Ghetts, British rapper, producer and songwriter BERWYN is another artist who has been on the shortlist before, having also been nominated in 2021 for his impressively raw mixtape, Demotape/Vega. Now back with what is being billed as his debut studio album, WHO AM I is a powerful force that is as lyrically spellbinding as it is emotionally impactful.

However unlike Ghetts, BERWYN for me actually has a lot pulling for him. Again it’s another debut, he’s a previous nominee and rap records have typically done well in recent years (see wins from Little Simz, Dave and Skepta). So why is it only 8th on the list I hear you ask? Well, I think it simply boils down to there being some stronger records on this list that you can argue are more deserving. Whilst a BERWYN win (or a BER-WIN if you want to be cheesy) is certainly possible, my gut tells me its also improbable given the strength of the field.

7. Black Rainbows by Corinne Bailey Rae

A record that made my own year-end list back in December finishing an impressive 16th, Black Rainbows is one of the most acclaimed albums on this year’s shortlist. Inspired by an exhibition on Black history by artist Theaster Gates at the Stony Island Arts Bank in Chicago, the album is a mesmerising collage of eclectic sounds that range from soul and R&B to frantic garage rock and sprawling electronica.

Corinne is also a previous nominee, having had her sophomore record The Sea shortlisted for the 2010 prize. Given the love and acclaim Black Rainbows has received too, it wouldn’t be too surprising to see Corinne announced as the winner on the night.

However given the other nominees, my gut instinct says the judges may favour a newer artist, with Corinne almost in the same category as Beth Gibbons as already being too well established at this point. Whilst a Mercury win would certainly be deserving, my instincts are telling me this likely won’t be Corinne’s year.

6. When Will We Land? by Barry Can’t Swim

An album I’m personally a massive fan of and would love to see win tomorrow night. When Will We Land, the debut from Scottish musician and producer Joshua Mainnie AKA Barry Can’t Swim, is a vibrant and joyous experience like no other. Filled with a globe-trotting mix of sonic influences and textures, it is an incredible debut that has cemented Barry Can’t Swim as a household name in the electronic music world over the last year.

Now much like jazz albums, electronic records are good at getting nominated, but rarely do they win. In fact, you have to go all the way back to James Blake’s win in 2013 for Overgrown to find the last triumph from the popular genre. So not only is an electronic record long overdue a win, Barry’s debut has had such an impact in the space, not just for him but for the genre on the whole, it would be a well-received victory.

That said, as much as I would love Barry to walk away the overall prize winner, I think his chances are sadly fewer than some of the others on this year’s shortlist.

5. Silence Is Loud by Nia Archives

We’re into the real contenders now and this debut from record producer, DJ and singer-songwriter Nia Archives is certainly in with a chance. Heralded for its groundbreaking fusion of Jungle and Britpop with sincere lyricism at the heart, it’s an album that is truly unlike any other released in 2024.

With Nia such a trailblazer and pioneer for this Jungle revival that British music is now seeing, not just bringing the genre back to the fore but moving it forward as well, you have to wonder if Nia will get the nod in the same way Skepta won in 2016 for Konnichiwa. While that was arguably not the best record on the shortlist that year, it seemed like the judges were keen to recognise Skepta’s impact on the British rap and grime scene, helping to really bring it to a worldwide audience. I could easily see this reasoning repeated and with Nia’s record a debut too, it’s definitely one of the frontrunners in this very open contest.

Again, the only thing working against a Silence Is Loud win is the impact and quality of the others on the shortlist.

4. Brat by Charli XCX

An album that needs no introduction at this point. Let’s face it, has there been a British record in the last five years – or even decade - that has had as big of a cultural impact, in such a short space of time too, than Charli XCX’s Brat?

Although only released in June, the album has already cemented itself as one of the defining albums of 2024, and indeed the 2020s. From the iconic green artwork that has inspired festival fashion to instantly iconic lyrics entering the internet zeitgeist, to even politicians using the album’s lore in their political campaigns - the last few months have truly been a “brat summer”.

As we look ahead to tomorrow, Brat is currently the bookie’s favourite to take home the prize. In any other year, I would discount Charli simply for being too commercially successful and the judges tending to favour lesser-known artists when it comes to granting the overall prize. While I still ultimately think that will be the case, there is also a part of me that thinks the judges may see the impact of Brat and think it would be crazy to not award it the title of Album of the Year. In addition to this, Brat has received extreme acclaim too from critics, so it would be an incredibly popular win.

Back in 2006, Arctic Monkeys had the fastest-selling debut album ever at that time and as a result, would go on to win the Mercury Prize that year. Commercially successful albums winning when they’ve achieved cultural significance isn’t unheard of throughout the history of the Mercury Prize, so don’t be surprised if Charli walks away with it tomorrow - despite being one of the biggest popstars on the planet right now.

3. Prelude To Ecstasy by The Last Dinner Party

Speaking of fast-selling debuts, upon it’s release back in February, Prelude To Ecstasy became the UK's biggest first week-selling debut album in nine years. Considering the buzz surrounding it, this came as no surprise as there are few bands as vehemently discussed as The Last Dinner Party. Yet in many ways they still feel slightly underappreciated, often criticised for the wrong reasons. When you focus on the musicianship of the record itself, there are few debut albums as anthemic, as dazzling and as accomplished as Prelude To Ecstasy.

Much like Brat, The Last Dinner Party’s debut feels like one of the defining records of the last 12 months and although also commercially successful, you could see the critic darlings crowned the overall winners for that reason. They are also less established than Charli, so may feel like a compromise as they are still technically a “new” artist. However, you also feel the judges may recognise awarding the London quintet the overall prize may sadly have an adverse effect, leaving them prone to more criticism and intense scrutiny from their naysayers.

This again makes me think the judges will ultimately go in a different direction, but personally I think this record deserves all the praise and awards in the world. Without a doubt, one of the year’s finest albums.

2. This Could Be Texas by English Teacher

Into the top two then and now we have arrived at the two albums I think have the best chance of winning the overall prize tomorrow. One is a choice of head, the other is a choice of heart. 

If I’m going with my head, everything points me in the direction of this debut album from rock quartet, English Teacher. Hugely acclaimed, particularly by the British music press, it’s an album that has captivated due to it’s soaring originality, poetic lyrics and broad eclecticism. In fact, when you look at the genres that typically make up the Mercury Prize shortlist each year – rock, jazz, electronic, pop, soul, R&B, folk, punk and post-punk – This Could Be Texas has a little bit of all of that.

This for me is a record tailor-made to win the Mercury Prize. It is a debut album, from a band that is still up-and-coming, that would benefit massively from the greater exposure, and an album which will surely tick a lot of boxes for the diverse music tastes on the judging panel.

It’s also interesting to note that there is a strong Leeds/Bradford contingent on this year’s shortlist, with a quarter of the artists nominated heralding from the area – which makes me think the winner is likely to come from one of those three albums. So, if you’re a betting person and are still trying to decide where to put your money, my head says English Teacher’s debut is the album to back.

1. Crazymad, For Me by CMAT

But that is what my head says, my heart says something different. While a good part of me thinks English Teacher is the one to prevail tomorrow, the one I am really rooting for is Crazymad For Me by Irish singer-songwriter, Ciara Mary-Alice Thompson – AKA, CMAT.

Having finished as my 12th favourite Album of 2023, it’s a record that I still find myself frequently returning to almost a year later. In fact, if I was to redo that list today, it would be in the Top 5. This is because with each new spin it feels more and more like a modern classic, with songs like California, Rent, Where Are Your Kids Tonight and, of course, Stay For Something, all timeless in nature.

It’s not just me with a great affection for this record either. It’s another album that has seen huge love and acclaim over the last year, even getting nominated for the Irish Choice Prize back in March. Which brings me onto another important point regarding CMAT’s album within wider Mercury Prize folklore, and that is the fact that an Irish artist is still yet to win the overall prize. That’s right, despite plenty of nominations throughout the 30+ years it has been granted, an Irish artist is still yet to take home the coveted Album of the Year title.

So, with a jazz record finally winning in 2023 and bucking the long-standing trend, surely it is time for an Irish artist to be recognised as the overall winner. At a time as well where Irish music is thriving – just look at recent albums from the likes of Fontaines D.C., Kneecap, Sprints, NewDad and The Murder Capital, to name just a few – it feels like the right time. With CMAT’s incredibly infectious and warm personality, as well as her clear love for music, performing and mastering her songcraft, I couldn’t think of a more deserving person and artist to make this little piece of history.

That’s my thoughts anyway ahead of the annual ceremony tomorrow night; I guess we’ll soon find out as always just how close – or not close – I was with my predictions. Best of luck to all the artists and as ever, I look forward to watching!

Watch the 2024 Mercury Prize be presented on BBC Four tomorrow night from 8pm.

[eseomo]

Music recap:

ASSMIX 5000 XTRA / 20 August 2024

ASSMIX 5000 / 08 August 2024

Mokola International (Osai and all their Friends x Begho x Seo) 01 August 2024

Fuck a Degreeee. / 03 July 2024

§eo / 02 April 2024

Alien Zone / 17 March 2024

Butterflies (ZOiD x Seo) / 08 March 2024

Synthetic Fears / 14 February 2024

Time travelers inc. / 01 January 2024

Epic dreamy escapade (Deluxe) - Moonbather / 25 December 2025

Epic dreamy escapade - Moonbather / 01 December 2023

Gargantuan Chest of Ancient Mumbo Jumbo / 17 November 2023

Tea Break VI (Deluxe) / 11 November 2023

Earth Glitch / 31 October 2023

Tea Break VI / 31 October 2024

Moonlit Beach - Moonbather / 3 March 2023

[dansa-i-neon]

Pitchfork awards Carly Rae Jepsen's "Psychedelic Switch" Best New Track!

"The joyous, floor-filling highlight of The Loveliest Time is as transcendent as its subject matter."

pitchfork 2023.07.28

[dzgrizzle]

Favorite New Songs of 2023

“Boys Will Be Girls” by Derek Webb with Flamy Grant

“In Your Love” by Tyler Childers

“Last Train to Nowhere” (Acoustic Version) by Ghost Hounds

“Ghosts Again” by Depeche Mode

“Sweet Sounds of Heaven” by the Rolling Stones with Lady Gaga

I found myself listening to these songs over and over again in 2023 – and watching the videos, all of which are awesome.

[ewanspence]

5. ‘La Vie En Rose’, by Con O’Neill.

It’s a song with countless cover versions that are just as well known as Édith Piaf’s original, so why does this recording figure in my countdown?

The simple answer is Con O’Neill’s voice. He captures the fleeting moments of joy and the hurt wrapped around them, a singing voice fragile and forceful in the same breath.

The longer answer involves a deep dive into ‘Our Flag Means Death’, where the song comes from. La Vie is a song that’s about finding love in difficult circumstances. In the show, O’Neill’s character is in a dark place, pushing away his found family and feelings. As he breaks through and accepts the love around and in himself, he sings ‘La Vie En Rose,’ in drag, to his family.

In that moment, everything is perfect.

More on this and the songs in my yearly favourites can be found at https://tinyurl.com/2023x12.

[ruinedholograms]

favorite albums | twenty twenty-three

Gia Margaret • Romantic Piano

Julie Byrne • The Greater Wings

Caterina Barbieri • Myuthafoo

Jessy Lanza • Love Hallucination

Decisive Pink • Ticket To Fame

Khotin • Release Spirit

Marina Herlop • Nekkuja

Tzusing • 绿帽 Green Hat

Tirzah • trip9love...

Sam Miller • Super Metroid (OST Recreated)

Rezzett • Meant Like This

Fever Ray • Radical Romantics

Yaeji • With A Hammer

Forest Swords • Bolted

Romance & Dean Hurley • River Of Dreams

Actress • LXXXVIII

Trent Reznor & Atticus Ross • Mutant Mayhem

Nabihah Iqbal • Dreamer

[luuurien]

George Clanton - Ooh Rap I Ya

(Synthpop, Chillwave, Hypnagogic Pop)

Loosening the screws and letting his throwback synthpop melt into itself, George Clanton’s brilliant new album exists halfway between his dreamy hypnagogic pop and his early vaporwave work. Ooh Rap I Ya’s surreal, liquid production centers itself on powerful choruses and the most gorgeous soundscaping in his discography thus far, a powerful and one-of-a-kind pop experience.

☆☆☆☆☆

George Clanton’s music is at once 80’s stadium pop and nostalgic vaporwave, his position as an innovator within the independent electronic space coexisting with his music’s innate desire to call back to the music of his youth. There are times he sways heavily towards one direction - his work as ESPRIT 空想 and Mirror Kisses are fully submerged in chillwave, while his 2020 collaboration with 311 frontman Nick Hexum lives in the more traditional synthpop and trip hop realm - but Clanton knows what he wants his music to sounds like and how to achieve that sound, his masterful 2018 release Slide delivering the best pop songs he’d ever written alongside production that split the difference between ‘90s breakbeat and futuristic electronica. After five years of relative silence for his solo output, his latest album Ooh Rap I Ya works with all the same parts that made Slide such a success, but melts them into one big pool of neon, smeary synths and bouncy alt-dance grooves to soundtrack Clanton’s darker frame of mind, dramatic pop anthems colored in vibrant blue and orange hues. The saturation is heavy and the beats are slow, and it works to Clanton’s advantage in every moment: at just 38 minutes of runtime, Ooh Rap I Ya is an album you could float in for hours, hypnotic chillwave beats where Clanton’s voice is used more as an instrumental texture à la dream pop more than ever before. Somewhere between his dreamy hypnagogic pop and early vaporwave work, Ooh Rap I Ya seeks to consume your entire world.

Of its three singles, only one truly shows off how the album’s thick and fluid production bolsters its sound. Not to say I Been Young and Justify Your Life aren’t fantastic songs in their own right, the former’s hands-in-the-air chorus and the latter’s grungy atmosphere making for catchy and atmospheric synthpop, but it’s the split piece Vapor King / Subreal that most expertly brings his vision to the forefront. The first half pulls from ‘90s trip hop, but lends it a warmer hue, a slow and sturdy breakbeat rhythm situation around Clanton’s vocal embellishments and sloshing synth pads to settle you into his new psychedelic realm before Subreal kicks into gear with pure progressive breaks magic, utilizing a relatively untouched Funky Drummer sample to open up the atmosphere and play some other clever production tricks - echoing synth pulses and spacious pads a breath of fresh air in one of the densest albums this year. The rest of the album isn’t all so different from these singles and Clanton may not stray far from Slide’s anthemic chillwave, but it’s the subtleties working to his advantage here: the lurching trip hot centerpiece You Hold the Key and I Found It is a blurry and slow five minutes, but functions as both a necessary comedown from the opening four tracks and an introduction to the more directly psychedelic second half; a rework of his 2021 single Fucking Up My Life adds extra layers of ethereal synths and lightens up on the distortion for a sweeter but still intense listen. Ooh Rap I Ya is the same George Clanton experience at its core, and by liquidating his many influences into one big pool of dreamy synthpop he continually strikes at the core of what makes his sound so distinctive and addicting.

Clanton’s debt to the past here is fused to his pop songcraft more than ever - while 2015’s 100% Electronica brought a direct mix of vaporwave and blended pop songcraft into it, Ooh Rap I Ya does the inverse, expertly crafted pop where all the colors splashed atop it serve to enhance Clanton’s gorgeous pop. Punching Down’s angst-riddled songwriting gets a shot of thumping synths and rich, heavy chord swells, taking his signature sound and dialing it to 11, and the shoegaze/vapor fusion For You, I Will builds and builds and builds with pitched-down voice samples and detuned synths and a slow ambient burn to finish, Clanton not straying from his roots but weaving them into music that carries more weight in its center.. It’s a perfect balance where he doesn’t have to sacrifice the heft of his production or the hooks he pulls you in with, Ooh Rap I Ya as fun to listen to for its sticky melodies and groovy beats as it is for the detail he puts into every little corner of the mix. Clanton anchors his sound in familiar places, but lets all the colors bleed until those same sticky melodies are merely another wonderful texture in a song filled with hundreds of others.

The magic of Ooh Rap I Ya is one of a kind, Clanton’s curated mix of vaporwave and shoegaze and ‘80s pop and trip hop and virtually anything else he can mine for atmosphere cut up and stitched together into a whole new beast. Functioning dually as a return to his experimental roots and a greater embrace of pop song structuring, Clanton’s music has doubled in its impact, replacing slow builds and big cathartic climaxes with songs that smack you down from the start and only keep on piling. Rarely does Ooh Rap I Ya give your ears a moment to rest, and not a moment goes by where you’d ever want it to. It may be harder to pin down, but floating on Ooh Rap I Ya’s dreamy beats is a wonder to behold no matter how deep you’ve sunken in.

[blastikmusik]

Most Interesting Mixtapes 2023 - Week 45 - Tape 02/02

Web Web x Max Herre Feat. Carlos Niño - Ólobo Softmax - Longing Kevin Abstract - When The Rope Post 2 Break Thomas Roussel feat. Jamilah Barry - No Artificial Light Protoje, Zion I Kings - Weed & Tings Laibach - Final Countdown (12" Mark Stent Alternate Mix) 070 Shake ft. Ken Carson - Natural Habitat Sam Akpro - Death By Entertainment Sofia Portanet - Ballon

[thegothicarchitecture]

Track Reviews (Aug 22 -> 29)

Best

Armand Hammer, billy woods, E L U C I D, JPEGMAFIA - Woke Up and Asked Siri How I'm Gonna Die

As somebody who enjoys JPEGMAFIA's production immensely this song is an absolute treat. JPEGMAFIA handles production while E L U C I D and billy woods take the center stage with lyrics and delivery.

The highlight here is billy woods' verse, which has some clever wordplay involving steak and raw meat and some equally inventive rhyme-schemes (e.g. "brain fog" and "chainsaw"). However, billy's verse is as descriptive and immersive as it is technically advanced (reminiscent of his work on Maps earlier this year), and this alone sets him apart from other rappers who only focus on technical ability. Good shit.

Meh

Earl Sweatshirt, MIKE - Sentry

Earl Sweatshirt comes back with a pretty standard song aping the minimalist charm of Some Rap Songs and Feet of Clay. The Alchemist beat contains a stripped down, repetitive loop not dissimilar to that on Shattered Dreams, but Earl's pen game leaves a lot of room for improvement.

I say this as a fervent Earl Sweatshirt defender, who loved every album and EP up through Feet of Clay, but his underwhelming return with SICK! left a bad taste in my mouth. Maybe I began noticing the cracks in his facade, as his esoteric style of rapping and the symbolism in his lyrics started to feel more lazy than despondent and reflective.

MIKE's verse felt more substantive upon the first few listens, but between the two rappers there are very few quotables or memorable moments on this cut. The full project has been released as an NFT, which also isn't the best look in 2023. Still I'll save my judgement until I hear the project in its entirety.

Jake the Underdog, Glitch Gum - FRIEND REQUEST

Glitch Gum's style of hyperpop infused pop punk is beginning to sound less novel and cutting edge and more like a rehash of 2000s pop punk. This song would fit snugly on an early Wonder Years record, as the synth lead and power chord guitar riffs are as saccharine as anything you'd hear off of Get Stoked on It!

If Glitch Gum wants to work within the confines of the genre that's not a bad idea on paper, I absolutely adore the Get Up Kids and Motion City Soundtrack and they have somewhat similar styles. The distinction for me is that Justin Pierre and Matt Pryor are much better lyricists. The nasal vocal affectation used and the cheeky lyrics consisting solely of video game references do absolutely nothing for me on this song. Maybe it'll do more for you.

Worst

N/A

[cheapsweets]

CheapSweets Pick 'n' Mix - Best of 2022

What is it?

Remnants of the Vessel, first full album from Los Angeles experimental doomsters Faetooth (Jenna - Bass and vocals, Ash - Guitar and vocals, Ari - Guitar and vocals, Rah - Drums, plus guest cellist Ari Bone).

What is it like?

Fairy Doom Metal. What does that mean? It's an album that is by turns etherial, moody, and absolutely crushing. The guitars and bass have a great sludgy, fuzzy tone, the drumming (much like the album as a whole) ranges from subtle to brutal as the songs demand, and there is a real mix of vocal styles that work fantastically well together. Oh, and there's some great cello on some of the tracks. More cello in doom metal, please :)

It draws from myth and folklore, it's fae, witchy, and deeply melancholic, and it's easily one of my favourite albums of 2022.

You might like this if you are a fan of:

Thou, Sleep, My Dying Bride, Messa, Mrs. Piss...

Lyrics such as:

Futile is the work of men

Metal, stone, and words will all bend

On thy knees now

We fall with what we build

Don't just take my word for it:

Spin magazine ranked it their (joint) best album of 2022!

Also highly rated by A Spooky Mansion from Toilet Ov Hell

Standout tracks:

Echolalia, La Sorciere, Saturn Devouring His Son

Where can I find it?

Youtube;

Bandcamp;

Physical releases from DuneAltar;

And, Spotify;

And of course, if you are in the LA area you might get to see them live (in which case, colour me jealous :D )

[culturedarm]

Natalie Merchant and Abena Koomson-Davis implore the goddess Aphrodite, caustic collaborators JPEGMAFIA and Danny Brown reference the TikTok bodybuilder leanbeefpatty, as Hourloupe the duo of Frank Menchaca and Anar Badalov trek the Wawayanda, while redolent of Objects for an Ideal Home by Opiate, the South London artist JQ finds frolic in a seam of cultural detritus, like the aisles of a Quick Save on a Monday or the taste of an ice rink Slush Puppie as the tongue clicks in the roof of the mouth from brain freeze. Plus tracks by Sofia Kourtesis, Peter Zummo, Vladislav Delay, Teen Prime, and Kedr Livanskiy with Flaty as Kosaya Gora. 

https://culturedarm.com/tracks-of-the-week-18-03-23/

[newmusickarl]

5-9’s Album of the Month Podcast – latest episode out now!

The latest episode of the 5-9 Album of the Month Podcast is here and it’s a big clash of rock giants both old and new! As ever, I take a seat alongside 5-9 Editor Andrew Belt and Mama Mañana Records’ Kiley Larsen to review five high profile album releases from the past month in music, ultimately naming one as our Album of the Month at the end of the discussion.

For our July 2024 episode, it was Hot Chip’s Joe Goddard who took home the coveted Album of the Month title, wowing us with his feature-heavy second solo album, Harmonics. For our latest episode, we look back at five big releases from August and the albums vying for recognition this time around are:

Romance by Fontaines D.C.

Champion by Pom Poko

Aghori Mhori Mei by The Smashing Pumpkins

Infinite Health by Tycho (Poll winner, thanks for voting!)

Midas by Wunderhorse

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and YouTube for more news and polls relating to the podcast.

Listen on Spotify here

Watch, like and subscribe to our YouTube channel here

Album & EP Recommendations

Ness by Hayden Thorpe

“When going on a sonic journey into the wild, who better to chaperone than former Wild Beasts frontman, Hayden Thorpe. Six years after the disbandment of the acclaimed art-rock quartet, the singer-songwriter and multi-instrumentalist has since firmly established himself as a solo artist, thanks to the stark balladry of ‘Diviner’ and the synth-soaked majesty of ‘Moondust For My Diamond’. Now back with his third solo album Ness, an adaptation of author Robert Macfarlane’s book of the same name, Hayden has successfully crafted his most magical and ambitious project yet. Hayden Thorpe’s Ness ends up being more than just another album. Where Macfarlane’s book was part-novella, part-prose and part-poem, Hayden too has crafted a piece of art that blurs the lines between music, audiobook, spoken-word and classical composition. It’s simply a one-of-a-kind auditory experience, one that whisks you away to a place full of historical dread and natural wonder, which feels all too relevant for today’s world. Through Hayden, Ness Speaks – and it’s quite unlike anything else you’ll hear all year.”

Listen to the album here

Read the full 9/10 album review for Clash here

Watch or listen to our exclusive interview with Hayden on the making of the record here

Someday, Now by Katy J Pearson

The evolution of British singer-songwriter Katy J Pearson has been quite something to witness. From her solid debut Return back in 2020 to her ultra-impressive follow-up Sound of the Morning in 2022, Katy has taken sizeable steps forward and matured her songwriting with each new release. So, it is no surprise then that not only is ‘Someday, Now’ her best record to date, but it’s also one of the year’s best too.

Filled wall-to-wall with soaring, string-tinged indie-pop anthems, this is without a doubt her boldest collection yet, where the production throughout is exquisite and the vocal performances remain as sublime as ever. The orchestrated delights of Save Me and It’s Mine Now dazzle early doors, before the jittering riffs of Grand Final and the stripped-back majesty of Someday light-up the back half. However, Pearson arguably saves the two best songs for last, from the melancholic sway of Siren Song to the triumphant, bluegrass finale, Sky.

Overall, this is another all killer, no filler release from Pearson, one that perfectly fits the Autumnal weather, to the point that I can’t seem to stop playing it. A magnificent record that sees Pearson continue to go from strength-to-strength.

Listen here

Cascade by Floating Points

We have been spoilt for incredible electronic records in 2024, but this new one from Samuel Shepherd, AKA Floating Points, is right up there with the year’s best.

After his much-acclaimed collab album with Pharoah Sanders (a record I personally found quite underwhelming) I’m pleased to say Shepherd has returned to the club for his latest album. ‘Cascade’ is a fitting title too as listeners are treated to an avalanche of sonic splendour, beginning with the dizzying Vocoder club mix and pulsating Key103, before the vibrant euphoria of Fast Forward and throbbing, distorted beats of tracks like Afflecks Palace and Tilt Shift. That said, the pick of the bunch is the enchanting, near 9-minute sonic journey Ocotillo, which begins as an understated dash of ambient electronica before morphing into a racing barrage of static synths.

All in all, one of the year’s best from the genre and an incredible listening experience that will pull you back in for repeat spins.

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Dance, No-One’s Watching by Ezra Collective

When your last album not only wins the Mercury Music Prize but also makes history by being the first jazz record to do so, you better believe there’s going to be some pressure on the follow-up. However seemingly not phased at all, the quintet that make up Ezra Collective have returned a year to the month with their joyous third album ‘Dance, No-One’s Watching’, which I’m pleased to say is every bit as dazzling as its award-winning predecessor.

A celebration of music that makes you dance inspired by their triumphant 2023 world tour, the mosaic of global influences is condensed into this incredibly satisfying, groove-tastic concept album, set around a liberating night out. From the West African rhythms of Palm Wine, the gospel guided duo of Hear Me Cry and Everybody, to the cherry on top features from the likes of Olivia Dean, Yazmin Lacey and Moonchild Sanelly, it’s another captivating work from Ezra Collective that will just put the biggest smile on your face.

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HOPECORE by Rahim C Redcar

You may not recognise the name Rahim C Redcar, but you may be familiar with his former musical pseudonym, Christine & The Queens. Now officially releasing music under his chosen name, ‘HOPECORE’ is a debut album of sorts for this new identity, after it was first introduced on Christine & The Queens’ projects, Redcar les adorables étoiles (prologue) and Paranoïa, Angels, True Love.

Sonically this new release isn’t a million miles away from those projects, boasting a hypnotic collection of synth-soaked sonnets enriched by theatrical, live-sounding production. This rawness of the production is the big fascination point, helping to supercharge these songs so that the impassioned vocal performances and aching lyrics pour out of each bar.

Like it was on Paranoïa, Angels, True Love, at times it also sounds like Rahim Redcar just riffing in the studio, giving these tracks a magical, improvised nature. None more so than on the album’s phenomenal 20-minute centrepiece, OPERA – I UNDERSTAND, which will certainly test the patience of some, but also blow the minds of others. Add in other sensual sensations like ELEVATE, DEEP HOLES and RED BIRDMAN EMERGENCY, and what you have is another towering work of art from one of alt-pop’s true visionaries.

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Stream of Life by Maxïmo Park

For more than 20 years, Geordie heroes Maxïmo Park have been one of the UK’s best manufacturers of certified indie bops and, as a result, one of my sentimental favourites. While not all their records have completely hit the mark, their output has generally been solid over that period and their last outing, Nature Always Wins, was one of their best yet.

Now back with their eighth studio album ‘Stream of Life’, the band are looking to build on their creative purple patch with a new record that digs into the complexities of the modern world and human existence. Now, what was special about listening to this record for the first time is that I got to experience it first in a live setting, as the band played the new album in full at their recent show at Metronome, here in Nottingham.

It was a revelation, making me wish more bands would do a pre-release album launch show, rather than a post-release album launch show (although I appreciate this helps more with the chart battles). So rather than reviewing the album here (which in short, is fantastic!), I thought I would share my review of that night at Metronome and experiencing the album for the first time.

Read my review of the Stream of Life album launch show here

Listen to the album here

A Modern Day Distraction by Jake Bugg

“After his revelatory self-titled debut made Bugg a star, earning him a Mercury Prize nomination, critical acclaim and legions of fans the world over in the process, his subsequent efforts have admittedly been more of a mixed bag. While each of his four albums since have had their fair share of moments, none have had the consistency of his brilliant first outing. Seemingly recognising this, Bugg has gone back to basics on his new album ‘A Modern Day Distraction’, abandoning the more pop-influenced sounds of his previous outing ‘Saturday Night, Sunday Morning’, to instead return to the blues-inspired indie rock & roll that brought him to the dance. While it may ultimately be a solid rather than sensational listen, this is an enjoyable sixth outing from Jake Bugg that marks a reasonable return to form, while also providing more than a few strong highlights. By getting back to what he does best, this is a sizeable step in the right direction, with ‘A Modern Day Distraction’ easily his most well-rounded project since his beloved debut.”

Listen here

Read the full review for Clash here

Idiot EP by Bored Marsh

“Bored Marsh, made up of Joe Need (Vocals), Brad Westby (Guitar & backing vocals), Jade Bowman (Bass guitar) and Paul Mason-Smith (Drums), formed during the height of lockdown. At a time when the music industry was facing an uncertain future, these four friends were sharing demos and bonding over a shared love of Oasis’ ‘Be Here Now’. While it may have started out as just a hobby, once Bored Marsh were able to get out and start playing their music live in front of crowds in late-2022, their popularity in their home city of Nottingham quickly blossomed. Fast-forward to today and their reach is now expanding well beyond the NG postcode, playing industry showcases in different cities, festivals further afield and getting their name on national lists of the country’s best unsigned bands. Now with this their debut EP, they are ready to officially make their introduction to rock fans across the UK and beyond. Everything that has gotten Bored Marsh attention so far is laid out tightly on this EP. From Joe Need’s passionate vocals to the dynamic and stylistically varied guitars, the appeal of Bored Marsh’s sound is evidently clear from this first collection. Reflected in Broadmarsh’s recent rejuvenation, Bored Marsh have ascended from the bleakness of lockdown to present the confident and assured band found playing on this EP. While the music itself often remains dwelling in the darkness, the hopefulness is carried in their massive, soon to be realised, potential.”

Listen here

Read the full review for Clash here

Also well worth checking out:

Manning Fireworks by MJ Lenderman

Same Mistake Twice by The Howl & The Hum

The Greatest Love by London Grammar

Ten days by Fred Again…

WOOF. by Fat Dog

Hysterical Strength by DEADLETTER

Gary by Blossoms

INTRO by Kaeto

Emita Ox by Hello Mary

It's Nothing by Dolores Forever

Song Recommendations

Alone by The Cure

Autumn has arrived and after 16 long years, the gothic kings are back with new music. Their much-anticipated new record ‘Songs Of A Lost World’ drops on the 1st of November and our first taste is the album’s near 7-minute opener. Typically dreamy yet aching with melancholia, it’s an outstanding return from one of music’s true greats.

Listen here

The Lighthouse by Stevie Nicks

Speaking of musical greats with new music, rock icon Steve Nicks has also recently returned with her important new single, The Lighthouse. Written in the wake of Roe v. Wade being overturned, it’s a hopeful and inspirational track centred on women’s rights. Powerful and hard-hitting in every sense, it shows Stevie still has the gift of shaking the earth when needed.

Listen here

SPEYSIDE by Bon Iver

Announcing a new EP for mid-October, Justin Vernon and Co. have also returned with this utterly stunning new single. As beautifully moving as even their best work, SPEYSIDE marks a return to the understated and stripped-back sound that made their early work so special, with Vernon’s vocal performance as goosebump-inducing as ever.

Listen here

Living A Lie by The Amazons

Watching Reading-based trio The Amazons grow from promising indie upstarts to one of the best rock bands in the country has been one of my biggest musical pleasures over the last decade. Now back with a seismic new single that marks the start of their new era, Living A Lie may be their most accomplished track to date. With outstanding guest vocals from Ella McRobb, a rumble of stomping drums and typically scintillating / jaw-dropping guitar work from Chris Alderton, it’s just an absolute triumph.

Listen here

The Silence That Remains by The Horrors

After ending their last album with Something To Remember Me By and then giving us nothing but radio silence for the past eight years, I had come to terms with the fact that psych-rock outfit The Horrors may be no more. So you can imagine my joy this week when the band finally returned with news of a new album, ‘Night Life’, due for release in March next year. This first taste is vintage The Horrors too, showing that despite the time away and changes in the line-up, they can still deliver the goods that fans expect.

Listen here

Otherside by Maribou State & Holly Walker

A group that has been away almost as long as The Horrors, electronic duo Maribou State also finally made their return this week. With Chris Davids thankfully recovering from the brain surgery that forced shows to be cancelled and their new album to be postponed, the vibrant and joyous rhythms of Otherside are an early sign that new record ‘Hallucinating Love’ will be well worth the wait, as regular collaborator Holly Walker also once again lends her sweet vocals to the track.

Listen here

Oh Boy by Oscar & The Wolf

With his new album ‘TASTE’ only a few weeks away, Belgian superstar Oscar & The Wolf has been ramping up the single releases in the build-up to the 25th October. The standout has been Oh Boy, the devastating closing track on the album which, based on the singles so far, seems to deal with a tough break-up from a toxic relationship. This song is only made more impactful by the striking music video that accompanies it, featuring home footage of singer Max Colombie in a stirring dedication to his mother.

Watch the video here

Human Frailty by One True Pairing

Another artist continuing the build to his new album is Tom Fleming, former member of Wild Beasts and the genius behind One True Pairing. This latest single continues the sonic shift from the soaring stadium rock that made up his solo debut to a more stripped-back and folk-inspired sound. This latest single is one of the best yet of the pre-released singles, featuring stirring acoustics and a tender, self-aware message of acceptance.

Listen here

All My Freaks by Divorce

For folks of Nottingham like myself, one of the most exciting album announcements of recent times. In March next year, fast-rising local quartet Divorce will finally release their debut album, ‘Drive to Goldenhammer’. The first track to be revealed from the debut is All My Freaks, with the country-inspired indie-pop track representing everything that is so wonderfully captivating about this band. Get ready for a Nottingham takeover of UK Music in 2025!

Listen here

Nightcall by Kavinsky, Angèle & Phoenix

And finally this month, while I don’t have a cover for you all this time around, I do have a fun reimagining of a classic. You may know French producer Kavinsky’s iconic single from either Nicolas Winding Refn’s film Drive, or possibly London Grammar’s atmospheric cover. Well now, as first heard at the Paris Olympics back in the summer, the new version with the addition of French indie rockers Phoenix has officially been released, bringing a fun new spin to this old favourite.

Listen here

Also worth checking out:

Eusexua by FKA Twigs

A Hole In The Ground by Porridge Radio

Love Second Music First by Self Esteem

In My Dreams by Four Tet & Ellie Goulding

Timeless by The Weeknd & Playboi Carti

Still Riding by Barry Can’t Swim

Can’t Pretend To Know by The Murder Capital

Mistake / Better Man by Katie Keddie

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the Best of 2024 playlist to your library here

[maraskolnikova]

100% certified banger

[alephalpha333]

⚜️ ALEPH ALPHA - Sigma  🏴‍☠️

This is my new tune...

Alternative Rock with lyrics in French / paroles en Français

🎸⏯🎵🔥 Check out your local Spotify, Apple Music etc. to stream & download all my music! ⚡️🎹🎤🇨🇦

[nottobeadickoranything]

Love when my friends drop BANGERS!!!

[ewanspence]

12. ‘Queen of Kings’, by Alessandra.

There are some songs that I latch onto before I finish the first listen. ‘Queen of Kings’ is one of those songs. One of the 21 entries to Norway’s Melodi Grand Prix it stood out straight away, ticking all my boxes.

I think it was the subtle pirate sea shanty hiding in the bass line that grabbed me on that first listen. Above that were lyrics that demanded to be shouted out—even if I have a habit of replacing the vocal slam into the chorus with her “Her name is Ed” because is there anything more pirate-y than ‘Our Flag Means Death‘ in 2023? Wrap that up with shifting verse and chorus structure, and a vocal-powered bridge, and you have a gem of a song that has kept me smiling through the year.

Norway is getting to be a dab hand in getting these highly structured pop songs to the Eurovision Song Contest. They might not pick up as much critical acclaim as others, but you can never go wrong with Disco Pirates.

More on this and the songs in my yearly favourites can be found at https://tinyurl.com/2023x12.