End of January Album Round up

2016 is fast upon us and with January has come some truly staggering albums so far.

These are my picks for January:

Hymns

Bloc Party

Tiger Rating: 5.5 / 10

Dream Pop / Electronic

Once known for their urgent savagery and moments of unexpected (sometimes cheesy) tenderness, BP have crashed, burned and emerged from the wreckage with a new line up and "mature" vibe.

Bassist Moakes has been replaced by Justin Harris (poached from his band 'Menomena') and snappy snare smasher Matt Tong has had his seat filled with the sexy Louise Bartle.

Unfortunately Bartle is not up to scratch as a drummer, resulting in a very "chilled" vibe (I suspect to help her ease into the band) and well there are simply not enough parts in the songs to truly showcase what Justin can do. Bloc Party without the drums and the bass (and even Russell is quite conservative on his riffs), it's really just Okereke and his clunky lyrics to fill spaces and come to conclusions on 11 introspective songs.

Having said all of that, though, 'Hymns' is likely going to be an album that improves with each listen (though there isn't a wealth of detail to discover). The tracks are soild and the pace only abates on lovelorn ballad 'Fortress' (which is actually rather stunning) and somehow hopeful 'Exes'. The rest of the pace is constantly mid tempo (apart from tragic lead single 'The Love Within'). The pseudo country/blues on 'The Good News' and 'Into the Earth' is masked by the undeniable catchiness of 'My True Name' and luscious closer 'Living Lux'.

All in all 'Hymns' is less rousing spiritual experience and more sad and sober at three am after a disappointing prom. Which, if not exciting, is at least memorable.

Adore Life

Savages

Tiger Rating: 9.0 / 10

Punk / Alternative / Gothcore

Wailing "Love is the answer" over a grungy, electric, near prog-rock pulse in her best Grace Slick falsetto, Jehnny Beth proves right out the gate that this time round she can be vulnerable too. It is such a refreshing and unexpected twist (these goth monsters singing "if you don't love me, don't love anybody"), that it takes you by surprise. It's totally a welcome surprise though.

On 'Evil', the hardcore version of Jefferson Airplane continues, with a swing beat from Fay Milton and accompanying psych bass licks from Aysse Hassan so wicked they are their own super villains on the track.

"Love is a disease / the strongest addiction I know" could be a lyric lifted from a trite club banger, but on 'Sad Person' it takes on a menacing nature. It's honestly hard to imagine what Jehnny's flirting looks like, and as much as she assures us that's exactly what she's doing, you still can't picture it. She doesn't quite have the sex appeal of say Karen O, but in the end you just don't care because the rest of the band have savage badassery that makes you not want to question them too accusingly.

The track where the album name is lifted from 'Adore' is yet another showcase of the band's new abilities.In a smoky, slinky blues number that kicks into a major key for four unexected uplifting bars, before slipping effortlessly back into the dark, oozy depths, it's a small glimpse of the overall genius of this outstanding sophmore. At once dark and exciting, harkening to a time past with both feet stubbornly in the present, it is both bleak and beautiful.

The only slight failure here is the monotony of that bass. Swapping it occassionally for something synthy might not have been a misstep. But the lyrical content, the haunting, deep vocals, the acid guitars and storyline of a caged beast trapped in love is all so fresh it's almost too good an album to be true.

"I need something new / I need something I haven't heard before" is a sentiment we all have, and it's been fulfilled slickly by the coolest band in rock music right now.

Night Thoughts

Suede

7.5 / 10

Britpop / Classic Indie

Exceptionally few comebacks are successful. Most end up incorporating elements that originally made the band famous whilst trying desperately to find a new direction, but ultimately only succeeding in sounding contrived. Luckily Suede have had the presence of mind to just sound like their glorious 1994 selves. This is a throwback album that somehow manages to sound fresher than ever, possibly for it's lack of striving. There is an ease in every riff and vocal display here. Most successful is the soaring 'Outsiders', which for me at least is an instant shot of nostalgia (circa 'Stay Together').

Not only are the individual tracks succesful as many a potential single, but there is an excellent run after 'Outsiders'. 'No Tomorrow', 'Pale Snow' and 'I Don't Know How To Reach You' fit together so precisely and easily and yet are strong individual tracks.

'Learning To Be' and 'I Can't Give Her What She Wants' are perhaps the only missteps in an album that already feels stuffed. The album should have ended on 'When You Were Young', melodramatic as it is.

Very seldomly do a band succesfully make a comeback, let alone one that is strong without being rigid, confident without being cocky and retro without being stale. 'Night Thoughts' is all the good stuff, whilst being frequently grand and fresh.

Jet Plane and Oxbow

Shearwater

Tiger Rating: 8.0 / 10

Electronic

I don't actually have a lot to say about this album, apart from the fact that it's excellent.

Channelling much of the best the 80s had to offer (there are echoes of OMD, Joy Division, even splashes of Bowie), Shearwater have an inherently indie approach to songs, ensuring these tracks are both artfully constructed and deep enough to have something to chew on and savour.

And when they do come up from the neon underbelly for an optimistic, acoustic guitar driven number ('Pale Kings'), it's rousing, uplifting and still cohesive.

And just when you have them pegged, they pull out a purely acoustic and insufferably charming ballad. 'Only Child' - like the rest of the album - is carefully balanced, deceptively complex and wonderfully produced. This album is pristine; the work of a well seasoned band that is still in love with life and music. It's layered, unpredictable and undeniably memorable.

Not To Disappear
Daughter
Tiger Rating: 10 / 10
Lo - Fi / Mood Rock

Not since Ben Gibbard reminded us of just how good it feels to be miserable on 'Marching Bands of Manhatten', has depression sounded this beautiful. To be fair, Daughter have lead the charge in this third wave of shoe gazing, paving the way for bands that have not achieved the same level of fame (like London Grammar or Love Inks). It's possibly because the other bands have not managed to capture that rare essence. It's found somewhere between the basslines, the atmosphere from synth pads and the innate ability Elena has to make even the cheesiest lyric sound effortlessly cool.
When she rues "I feel numb in this kingdom", it's a vague sentiment but strangely one that you can relate to. When she begins her pseudo rap ("you better, you better, you better make me better"), it elevates the track from a dirgey sulkfest to something you can't help but bop your head in time with.

The true genius of this lush album lies in the details of it. Where their last album 'If You Leave' managed to capture the isolation and disillusionment of being a young adult, it was sparse on depth and richness, whether by intention or not. But as this album progresses, you experience a full spectrum of emotions, buried and unearthed in the catchiest guitar riffs, layered reverb, subtly gorgeous vocals and an overall beauty that wraps itself around your ears and captures your heart.

This is an album to be felt, not analysed. The dear diary quality of the lyrics requires at least your polite attention, but if you give into Tonra's siren like beckoning, you'll find yourself swept under the depths into her glittery insanity, irresistable heartbreak and the occassional rolling wave of a chorus.
All of which should at least garner a second, third and possibly thirteenth listen.

WVS.