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newmusickarl · 1 year ago

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Top 50 Albums of 2023: #30-21

30. Everything Is Alive by Slowdive

I’ll be the first to admit that despite the heavy praise from the amazing Music Twitter community (I’m not calling it X, sorry Elon), before this year I had never completely bought into the Slowdive hype. Although I enjoy their 2017 self-titled comeback record, I had never taken to the shoegaze legends in the same way that I know a lot of my fellow music fans do. But I’m pleased to say with Everything Is Alive, I’ve been well and truly won over.

Their first album in six years, singles like kisses, skin in the game and the slab spiral into fascinating sonic territory and make you want to stay locked there forever. It was an album that completely blew me away on first listen, offering a completely immersive audio experience. One of those records where you just want to stick your headphones on and get lost in all these interesting textures being strung together.

Outside of the singles, shanty and chained to a cloud deliver mesmerising synths, big walls of guitars and the ghostly vocals of Rachel Goswell and Neil Halstead. Alife (or Alfie as I’ve been frequently calling it!) is another standout, whilst Andalucia Plays is just hauntingly melancholic. So not just one of the year’s best records, but a record that proves why I continue to trust Music Twitter’s recommendations - they never seem to steer me wrong.

Best tracks: alife, kisses, the slab

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29. This Is Why by Paramore

When immensely popular American rockers Paramore announced Bloc Party were the primary influence for their sixth studio album, This Is Why, my interest was naturally piqued. Where Silent Alarm offered a vital soundtrack for the post-9/11 youth back in the mid-00s, Paramore have now done the same for an apathetic generation of kids dealing with COVID lockdowns and ever-growing social and political divide. And whilst it isn’t quite Silent Alarm, this is unquestionably a brilliant indie rock record.

Firstly, the opening title track remains one of my favourite tracks of the last twelve months. With all the catchy, stuttering chords of prime Foals, along with some ever-impressive vocal acrobatics from enigmatic frontwoman Hayley Williams, the mid-song breakdown that ends with Williams’ cries of “I’m floating like a cannonball” is so gloriously cathartic, you can’t help but get won over. Big Man, Little Dignity is another strong favourite, which sees the trio take shots at powerful men not held to account for their deplorable actions (“smooth operator in a shit-stained suit”). Liar, arguably the album’s most subdued moment, is similarly awe-inspiring too thanks to some twinkly guitars and Williams’ graceful falsetto vocals.

At a concise 36 minutes there’s not a second spared, as the band channel their message through the sounds from indie rock’s past, breathing fresh new life into the scene and helping it to resonate with a newer, younger mainstream audience. So, if you are sat there wondering why Paramore are one of the biggest rock bands in the world right now – This Is Why.

Best tracks: This Is Why, Liar, Big Man Little Dignity

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28. Blondshell by Blondshell

An incredible self-titled debut that has lit me up in the last year is this amazing record from LA-based rockstar-in-the-making, Sabrina Teitelbaum – AKA Blondshell. Hugely accomplished for her first outing, it’s a sharp 32-minute listen packed with big choruses and some truly epic guitar work. Here’s what 5-9 editor Andrew Belt had to say in his brilliant review earlier this year which sums it perfectly:

“The nine tracks on her debut album capture uncomplicated rock tracks which could have been recorded live. Uncomplicated does not mean not compelling, however. Fusing influences from the likes of Nirvana, The Cranberries and Anna Burch, Teitelbaum wears her heart on her sleeve as she chronicles a difficult couple of years which spawned Blondshell. The self-titled record bursts to life with ‘Veronica Mars’ – a two-minute, verse/chorus/guitar solo blast with the TV show referred to in the title causing Teitelbaum to reflect on its impact on her when watching at an early age. Singing ‘Logan’s a dick, I’m learning that’s hot’, Teitelbaum laments the mixed messaging the show could provide to young minds, with the rock track melting away at the end via a red-hot unhinged, high-pitched guitar solo. The sound throughout is cohesive with Yves Tumor-producer, Yves Rothman, teasing out something quite impressive from Teitelbaum as Blondshell. Confessional, edgy, compelling, Blondshell is an accomplished offering belying its debut album status.”

Best tracks: Salad, Sepsis, Dangerous

Read Andrew Belt’s full review on 5-9 here

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27. Dream Big by Soda Blonde

Back in 2021, Irish indie-pop outfit Soda Blonde emerged out of the ashes of the excellent Little Green Cars, with the four remaining members of that band releasing their debut album under the new Soda Blonde guise. That Soda Blonde debut, titled Small Talk, would finish in my Top 30 Albums of 2021 and even receive a nomination for the Irish Choice Prize (the Irish equivalent of the Mercury Prize). Now with this sophomore outing, they have made the Top 30 again.

This is a phenomenal record from start to finish and if you haven’t heard of Soda Blonde before, now is the time to get yourself acquainted.

Best tracks: My First Name, Boys, Going Out

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26. When Will We Land? By Barry Can’t Swim

If you’ve listened to the October episode of the 5-9 Album of the Month podcast, you know this debut from rising electronic superstar Barry Can’t Swim was one of my standout records in what was a month full of incredible new music. Taking elements from all my favourite electronic releases of recent years, Barry crafts a vibrant collage that binds together cohesively for an essential and astonishing listening experience. Describing this album better than I ever could, here is what friend of the blog Kiley Larsen had to say in his review for Check This Out:

“When Will We Land? is everything you want from an electronic album and more. It may pull from all of Barry Can’t Swim’s influences and serve them in eleven distinct ways, but Mannie’s vision is clear and never wanders from the bigger picture. While the record should be taken in as a whole when possible, each song is so distinct and fully executed that each is tailor-made for playlists (or mixtapes, if you��re keeping them alive). ….When Will We Land? finds Barry Can’t Swim doing what he’s done best over the past few years by harnessing the energy of that big night out while colouring it with organic instrumentation and a much-needed reminder of the universality of the human experience. For music writers, the year is full of anticipated albums. Sometimes, they match the internal hype, while often, they fall short. When Will We Land? was unquestionably at the top of my list, defying expectations and more. Barry Can’t Swim proved a true talent with his EPs, but this debut album is a colossal next step. Even if you’re not typically into electronic music, this is still worth diving into, as there are few albums this year that successfully convey a complete vision with what should be universal appeal.”

Best tracks: Sunsleeper, Woman, I Won’t Let You Down

Read Kiley’s full review on Check This Out here

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25. Did You Know That There’s A Tunnel Under Ocean Blvd by Lana Del Rey

A woman who needs no introduction at this point, one of the most hotly anticipated releases of the year was Lana Del Rey’s eighth studio album released back in March – Did you know that there’s a tunnel under Ocean Blvd (which we can all agree is a peak Lana type of album title).

Having delivered her undisputed magnum opus Norman Fucking Rockwell (NFR) back in 2019, Miss Lizzy Grant has not rested on her laurels since, quickly following up with two more albums in 2021 – Chemtrails Over The Country Club and Blue Banisters. Whilst both records had their moments, the former more so, neither quite came close enough to the theatre, majesty and sheer perfection of NFR. However now back with her fourth album in as many years, Lana once again hit some career best highs.

Opener The Grants welcomes the listener with some gorgeous gospel vocal harmonies, before Lana herself takes over with her inimitable vocals, exquisitely sharing memories of her family. The title track is then even better and already one of my favourite Lana tracks, with its stirring strings, anguished vocals and heartbreaking lyrics of self-loathing (“Open me up, tell me you like me, Fuck me to death, love me until I love myself”). As Lana is joined by a choir for the swelling “Don’t Forget Me” refrain in the song’s outro, you’d have to be cold hearted to not be greatly moved.

An album that is definitely in the top half of her discography, and the first half of this record in particular is as good as anything she has ever done. I also admire the work ethic and frequency at which Lana is delivering new music and I’m not going to complain too much about having a mountain of music from her over the last few years. The fact she’s been so productive and still served up some of the very best work of her career, really it can only be admired.

Best tracks: Did You Know That There’s A Tunnel Under Ocean Blvd, A&W, The Grants

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24. Javelin by Sufjan Stevens

Another of the year’s biggest releases came in early October - the tenth studio album from highly acclaimed singer-songwriter, Sufjan Stevens. In the days following its release, Sufjan dedicated Javelin to his “beloved partner and best friend Evans Richardson” who sadly died in April of this year. With that added context, it made an album that already felt emotionally shattering hit that much harder.

From the moment the cymbals crash and the synths reverberate around Sufjan’s cries of “You know I love you” on opener Goodbye Evergreen, you know you are in for something quite special yet also heartbreaking. Over the next run of tracks Sufjan continues to astound with his unceremonious yet majestic songcraft, as the uplifting instrumentation twinkles around Sufjan’s devastating penmanship on tracks like A Running Start, Genuflecting Ghost and Will Anybody Ever Love Me?

However as great as the first half is, it is the back stretch that left my jaw firmly on the floor. My Red Little Fox is a heartfelt, flute-laden hymnal whilst lead single So You Are Tired is a brutally beautiful, piano-led, string-drenched lament. Shit Talk is then without a doubt one of the songs of the year, a near 9-minute masterpiece centred around a strikingly simple assembly of raw acoustic instrumentation, resonant human emotions, gorgeous choral harmonies and refrains of “I will always love you…I don’t wanna fight at all.” Utterly breathtaking in every single way.

Best tracks: Shit Talk, So You Are Tired, Will Anybody Ever Love Me?

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23. Struggler by Genesis Owusu

When it comes to an album, two things I tend to look for more than any other - an eclectic mix of sounds and a strong thematic concept to hold it all together. Very few artists achieve both elements these days, but when you do find an album like that, it’s like finding the musical equivalent of the holy grail. Enter Struggler from Ghanian-Australian artist Genesis Owusu, which made history back in August by becoming the first album to gain the coveted maximum 15 points on the 5-9 Album of the Month podcast.

Struggler is an album that takes you on a journey, both through the lyrics and sonically too. At the heart of it, you’ve got a narrative arc that tells the story of “The Roach vs The Old Man”, a conflict which acts as a metaphor for humanity vs uncontrollable higher powers, both natural and political. Then musically, this record has a little bit of everything - punk rock, hip-hop, funk, soul, all wonderfully blended together to forge a vibrant mesh of sounds.

In terms of favourite tracks, Leaving The Light and The Roach are both propelled by these great synth lines that bounce off thrashes of guitars. Tied Up is then possibly one of the catchiest songs of the year, a track which sucks you into its groove and refuses to let you leave. Stuck To The Fan closes the record perfectly too, offering a really sombre, bluesy send off.

More carefully curated and refined than his debut outing, Genesis Owusu proved himself to be a very special talent to me in 2023, delivering a record that works as a collective whole but doesn’t stay in a single lane either.

Best tracks: The Roach, Tied Up, Stuck To The Fan

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22. ROACH by Miya Folick

It seems there was something with Roaches in 2023 as we had another incredible album artistically indebted to those pesky insects. This year, American singer-songwriter Miya Folick made the difficult second album look easy with this hugely impressive record, titled ROACH.

Essentially an extension of her previously released 2007 EP, ROACH further builds out the narrative with a deeper dive into her relationship with God, her mother and her own self-esteem. Featuring some of the best songs of her young career, highlights include the hedonistic indie-pop of Bad Thing, brutal break-up anthem Get Out of My House and the tussle with adulthood on the falsetto-kissed 2007.

That said, make sure you stick around for the second half of the album as that’s where Miya Folick’s exceptional songwriting really starts to shine for me. Tetherball is a real stop-you-in-your-tracks moment, with some wonderful ambient electronics backing Folick’s soft vocals to create a gorgeous sound reminiscent of Natasha Khan of Bats For Lashes. These synths then shift into the uplifting pop of So Clear, before Shortstop offers an utterly stunning piano-led finale that you’ll just want to hear again and again.

A fantastic second album that has been on repeat ever since it dropped in the first half of the year.

Best tracks: Tetherball, Shortstop, Get Out Of My House

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21. PRAYERS & PARANOIA by SIPHO

Just missing out on the Top 20 then, we arrive at an outstanding debut album that I may have missed altogether if it wasn’t for friend of the blog, Andrew Belt. The 5-9 Album of the Month podcast has been my musical highlight of 2023, introducing me to a ton of great new music this year. So I just want to take a moment to give kudos to both Andrew and Kiley for steering me in the right direction over the last 12 months with their fantastic taste in music – cheers lads!

Now Birmingham-based R&B star SIPHO was Andrew’s pick for the podcast back in October and it turned out to be a mightily ambitious first outing that stormed to victory in our most tightly contested Album of the Month battle yet.

With each track anchored by his incredibly powerful vocals, SIPHO remains the star of the show amdist a gorgeous sonic world built on funk, soul, R&B and even a bit of rock on tracks like GLUE. Much like the Genesis record, it is an album that takes an eclectic listening experience and majestically morphs it into a cohesive single piece of work. Listening front-to-back, every song segues seamlessly into the next one, with the track list so intricately stitched together its quite astounding. For SIPHO to craft a record as accomplished as this at the first time of asking is even more remarkable.

The songs have a timelessness quality too, Elevation pulls you in straight away whilst Chemicals boasts spacey synths, bluesy guitars and SIPHO’s incredible falsetto. However it’s all about the final stretch of songs starting with Run For Your Life, which sees just SIPHO and Shae Universe’s voices take centre stage over a minimal piano backing for a track that is just hauntingly beautiful and goosebump-inducing.

An album that I went in to with no real expectations, there was few records that managed to blow me away in 2023 quite like Prayers & Paranoia.

Best tracks: Run For Your Life, Glue, Prayers

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This weekend, we enter the final Top 20 of the countdown!

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newmusickarl · 1 year ago

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5-9’s Album of the Month Podcast – Episode 8 Out Now!

The August review episode of the 5-9 Album of the Month Podcast is here and as ever I will take a seat alongside 5-9 Editor Andrew Belt and Check This Out’s Kiley Larsen to review five high profile album releases from the past month in music, and ultimately name one as our Album of the Month at the end of the discussion.

For this latest episode, the five albums we discuss are:

WEEDKILLER by Ashnikko

Death Is Nothing To Us by Fiddlehead

STRUGGLER by Genesis Owusu

The Death of Randy Fitzsimmons by The Hives

No Joy by Spanish Love Songs

If you want to listen to the August episode or any previous episodes on Spotify simply click the link below, but also be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the August 2023 episode here

Album & EP Recommendations

For That Beautiful Feeling by The Chemical Brothers

It’s time we gave The Chemical Brothers their flowers – like properly.

For the past three decades, the duo of Tom Rowlands and Ed Simons have been a constant - delivering iconic, instantly recognisable dance tracks and some of the best electronic music the world has ever seen. Whilst some guitar bands are often put on a pedestal beyond their worth, The Chemical Brothers by comparison don’t always get the recognition they deserve for their longevity and consistently excellent output. Now 10 albums into their career, the Brothers are aging like fine wine, with this latest opus - titled For That Beautiful Feeling - right up there with their very best work.

As ever, the Brothers have crafted this record as a mesmerising sonic journey, with each track able to stand alone as a magnificent piece of art whilst also seamlessly segueing together to form one mind-altering experience too. It’s a balance that only the best can muster and it seems like the duo have taken the best parts of their 30 year career to forge the inspiration for this new effort. The Weight plays out like Block Rockin’ Beats Version 2.0, a hypnotic blend of hip-hop and pulsating electronica. Skipping Like A Stone is then their latest collaboration with Beck, with it’s choral-like beat ensuring it hits every bit as hard as their previous classic together, Wide Open.

Those two tracks would be enough to recommend this one, but honestly this album is littered with incredible moments. Singles Live Again, No Reason and The Darkness That You Fear sound even better in the context of the whole, with the latter having been reworked to better fit the mould. Feels Like I Am Dreaming is then a heady 7-minute colossus, transporting you across several new dimensions during the song’s duration. Goodbye is then my pick of the whole record, with a gorgeous soul sample immersed wonderfully within transcendent beams of synths at every turn.

This is without a doubt one of the records of the year so far, with the duo building on 2019’s No Geography to deliver yet another late career highlight. Not only are The Chemical Brothers one of the UK’s best live acts, but after this album we should recognise them for what they are – one of our most enduring artists, period.

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Dream Big by Soda Blonde

Full of confidence, Soda Blonde are sounding more assured in their new skin, with Dream Big presenting a stunning collection of songs full of breathtaking musical variety and killer hooks. The opening run of Midnight Show, Bad Machine, Boys and the title track is particularly mesmerising, as the band guide you through glorious arrangements full of strings, rhythmic guitars and clusters of memorable moments. That’s not to say the back half doesn’t deliver too though as the gorgeous An Accident strips things back for a beautiful moment of vulnerability. After that, My First Name sees frontwoman Faye O’Rourke’s majestic vocals stand out amongst a magnificent collage of strings, bluesy guitars and stomping drums for one of the record’s biggest highlights. Going Out then gives the album the grandstand finish it richly deserves, a towering 7-minute epic that sees every member of the band operating at the highest possible level.

This is a phenomenal record from start to finish and another effort that goes straight towards the top of the pile for 2023 so far. So if you haven’t heard of Soda Blonde before, now is the time to get yourself acquainted.

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All Those Things I Thought I Knew by Emzae

When it comes to up-and-coming pop musicians, there are few that I have come across that are as inspiring as Derby-based singer-songwriter, Emzae. Not just because of the vibrant, synth-soaked personal tales that make up her dazzling debut album, but also the grit, determination and DIY-attitude that went into getting it made.

Diagnosed with M.E. in her teens and having left school at 14, a career in music would simply have been left as a pipedream for anyone else. The fact Emzae’s debut album is now out in the world, is a testament to her unrivalled passion and fortitude. The culmination of 6+ years of graft, her life savings and nothing more than sheer will, it’s even more incredible when you realise the entirety of the record is all entirely of her own making. That’s right, everything was written, recorded, performed, produced – and even promoted – all by Emzae herself. So to have this album at all is a complete triumph, but for it to be this excellent is damn near a miracle.

For fans of CHVRCHES, Lorde and Let’s Eat Grandma, Emzae’s brand of pop is both warmly familiar yet carrying her own unique stamp. The contemplative Overrated is a sublime welcome to Emzae’s world, before the stuttering groove of As This Day Fades To Another and soulful melancholy of New Construction show the diversity of her sound. Around the midway point the album then hits its peak, with the atmospheric heartache of Another Lesson Learnt, the catchy chorus of Some Kind of Cliché and bluesy ambience of Lucid Dreaming three of the album’s finest moments.

That said, the final stretch of the record also packs in the audio splendour too. I Guess, Anyway is a near six-minute mini-epic, with Emzae’s self-motivation and confidence beaming out of the lyrics as the music increasingly swells around her. It’s All Cyclical then takes things up a notch with spoken word passages and a trance-like outro, leading perfectly into the pulsating pop of Extraordinary. As Emzae sings “This is what it feels like to be free” on addictive and uplifting closer Thrive, it’s evident how cathartic the process of making this album has been for her and it radiates out of the music.

By the end of the record, Emzae’s infectious positivity will have fully taken hold, leaving you with just the biggest smile on your face. A truly excellent debut and I already can’t wait for the next one. Take a bow Emzae, you should be nothing but proud.

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Stoned & Supremely Confident by Childe

Sticking with the pop debuts and another impressive first outing so far this month came by way of Childe, whose soulful vocals and catchy hooks make his music impossible to ignore. First discovered at Dot-to-Dot festival in Nottingham earlier this year, Childe’s natural talent was evident from the get-go and I’m pleased to say this vibrant debut really makes it’s mark.

At just 9 songs and 23 minutes long, there’s really no reason not to dive into this one especially when there are so many great moments to be found. Just take a listen to the synth-soaked rush of Chemical Balance, the plucky guitar groove of Better Friends, the raw emotion of Death Wish and the nostalgic charm of My Reply, and I’m sure you’ll want to discover more of Childe’s music.

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Strange Disciple by Nation of Language

“Releasing their first two albums (2020 debut Introduction, Presence and 2021 follow-up A Way Forward) at the peak of the COVID-pandemic, Nation of Language could have easily faded back into obscurity as quickly as they emerged out of it. Yet through seemingly nothing more than word-of-mouth recommendations alone, music fans started to discover the dazzling indie-pop being crafted by the New York-based trio. Quickly building up a cult following of devoted fans, they emerged out of lockdown an unstoppable force, putting on enigmatic live performances whilst boasting an enviable collection of nostalgia-soaked synthpop anthems. Now in just three short years, they have gone from album No.1 to album No.3 and, if Strange Disciple is anything to go by, they are showing no signs of slowing down their momentum.

On this latest opus Nation of Language very much give the fans what they have come to expect from them, which is retro-inspired tunes in the vein of great bands like New Order and OMD. There are no radical sonic direction changes, so if you enjoyed their first two records the good news is you’ll likely love this one as well. This is simply Nation of Language having now mastered their sound, taking it to grand new heights. Some of their finest tracks to date can be found here, songs of romantic adoration and unhealthy infatuations backdropped against playful synth melodies that just make you want to groove.”

Read my full review for HeadStuff here

Listen to the album here

Sea of Mirrors by The Coral

Indie legends The Coral may be best known for their classic early 00s output, but those that have stuck with them will know that in recent years, they’ve very much been delivering the goods as well. Their last outing, tenth album Coral Island, was a highly ambitious double album that struck a chord with fans both old and new, going on to become one of 2021’s most acclaimed projects. Now back with another two projects, released separately this time, the first part Sea of Mirrors has arrived and it sees the Liverpudlian band continue their hot streak.

Full of soaring, cinematic instrumentation, The Coral prove once again they are in incredible form right now. Singles Wild Bird, That’s Where She Belongs and Oceans Apart are wonderfully constructed and sonically impeccable, whilst the string-tinged Child of The Moon and widescreen, Ennio-Morricone-infused North Wind also demand repeat listens. Overall, another fantastic outing from The Coral and I hope they keep delivering albums as stellar as this one.

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Australian Carnage – Live At The Sydney Opera House by Nick Cave & Warren Ellis

Then on the live albums front, seeing Nick Cave & Warren Ellis perform was without a doubt one of the most memorable shows I’ve been lucky enough to see in recent years. Pulling together the best moments from Ghosteen and Carnage, with a few other Bad Seeds classics sprinkled in, it was a powerful, emotionally hard-hitting live performance like few I’ve seen.

Now if like me you wish to relive that show, or indeed hear it for the first time, a new live album from the final performance of the tour at Sydney Opera House is now streaming. Well worth the nearly two hours of your time but please – have the tissues ready!

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Freak Show EP by ALT BLK ERA

And finally on the EPs front, ALT BLK ERA have long been one of the thriving Nottingham music scene’s most promising up-and-coming acts. Now it seems word is finally getting out about this alt-rock sister duo, who fuse mind-melting electronica, heavy rock and razor-sharp bars for a sound that is entirely of their own making. If you are yet to hear their hypnotic genre-defying sound, then this debut EP is the perfect introduction, with the opening trio of I’m Normally Like This, Misfits: SOLAR and the horn-backed title track all well worth checking out.

Listen here

Also worth checking out: HELLMODE by Jeff Rosenstock, Hit Parade by Roisin Murphy, Mid Air by Romy, Playing Robots Into Heaven by James Blake, KILLJOY by Coach Party, This House by Pale Blue Eyes, GUTS by Olivia Rodrigo

Tracks of the Week

Angry by The Rolling Stones

Arguably the biggest music news of September so far, the legendary Rolling Stones announced their first album of original material in 18 years will arrive on the 20th October. Accompanying the news of the release was the album’s opening track Angry, a vintage Stones outing propelled by a stuttering guitar riff, a stellar solo and Jagger’s ageless vocals.

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Only by Sampha

Six long years after his Mercury Prize-winning debut Process, electro-soul singer Sampha is finally back with a new album, Lahai, which also arrives on the 20th October. Spirit 2.0 was a great lead single and now second single Only just adds to the album’s promise, with a smooth groove, Sampha’s soulful vocal tones and exquisite production.

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Wishing Well by Sundara Karma

Also arriving towards the end of October will be the third studio album from Reading rockers Sundara Karma, their first full-length since 2019’s Ulfilas’ Alphabet. After some more experimental and somewhat uneven EPs, the singles so far have suggested a return to form for the band, with the dreamy Wishing Well easily the best of the bunch so far.

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Victim / The Bear by Lonely The Brave

Elsewhere, Cambridge quintet Lonely The Brave are also readying their fourth album due for a November release – their second since the arrival of Jack Bennett as their new vocalist. It’s another record where the signs are promising so far, with this latest double A-side release unveiling two soaring new cuts from the tracklist. Victim sees Bennett’s gravelly vocals surrounded by an impressive wall of noise, whilst closing track The Bear steadily builds to an uplifting, string-tinged crescendo.

Listen to Victim here

Listen to The Bear here

Date Night by Lossline

Off the back of their first two records Fading Affect Bias and When I Look Out I See No Stars, Manchester band Lossline have started to build a decent following across the country. Listening to new single Date Night it’s easy to see why, a wonderfully sparse track that steadily builds into some tremendous swells, drawing shades to local acts like James and Bill Ryder Jones in the process. One to watch!

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Diving (Acoustic) by Bombay Bicycle Club & Holly Humberstone

Without a doubt my most anticipated record for the final quarter of the year, every song off Bombay Bicycle’s forthcoming sixth album My Big Day has been sensational so far. Whilst in recent days they have released their excellent fourth single from the record, Turn The World On, I actually want to recommend this acoustic version of their Holly Humberstone collaboration, Diving. The main track itself is fantastic but when the song is stripped back to just an acoustic guitar and the voices of Jack Steadman and Holly Humberstone, it is truly goosebump-inducingly special.

Watch the live performance here

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Big Shot (Live At Glastonbury) by Fontaines D.C.

And finally this week, Irish post-punk titans Fontaines D.C. have recently released a deluxe version of their highly acclaimed third album, titled Skinty Fia go deo. This new version includes live session performances as well as remixes and interesting covers of both U2 and Whipping Boy. However, the track to dig out if you have not heard it yet is the Glastonbury 2022 performance of Big Shot, which strips the song back to just Grian Chatten, a piano and a string quartet. Utterly sublime, it was one of the performances of the whole festival that year and it’s great to finally have an audio copy to revisit again and again.

Watch the live performance here

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Also worth checking out: KPR by Yumi Zouma, Cousin by Wilco, Turn The World On by Bombay Bicycle Club

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2023 tracks through my Best of 2023 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 playlist to your library here

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