10 -> 6
5. Whitney – Light Upon the Lake
Golden Days
No Matter Where We Go
Light Upon the Lake – with its shimmery, rustic resonance – is a perfect title for this debut from core duo Julien Ehrlich and Max Kakacek, both formerly of Smith Westerns. Acoustic strumming with jamband-like passages of electric guitar, keys, and horns permeate this gorgeous album. Chicago band Whitney opens with an arpeggio run on track “No Woman” that starts and ends the tune with the line “I left drinking on the city train, To Spend some time on the road”. It’s a captivating way to introduce your art. “The Falls” kicks off with a funky back beat and gently builds into a dense whirl. There is a thumping rhythm section that drives several tracks including “No Matter Where We Go” – which marries uplifting vocals with progressive rock riffs. One of the livelier arrangements, “Golden Days”, stands out with a 70s new wave groove. We get some jazz fusion brass in the instrumental “Red Moon” and the entire album culminates with an inspired blend of masterful orchestration on “Follow”. There is a measured pace to many tracks but an underlying bounce that provides contrast to the dreamy falsetto vocals. The album is brief, leaving me wanting more from this septet. Light Upon the Lake is cohesive, lightly experimental, and absolutely beautiful music!
4. Car Seat Headrest – Teens of Denial
Fill In The Blank
Vincent
It would be easy to guess the many influences for Will Toledo, the youngster behind this project – Pavement, Pixies, Television, early Beck perhaps. Teens of Denial may sound derivative if it wasn’t for the ambitious song structures and abundance of killer hooks. The lo-fi slacker aesthetic cavorts around rock songs with immediacy and shimmery production. At times, the tunes on this impressive album seem to fall apart in chaotic noise and meandering guitar lines only to be thrust into a roaring jam or catchy chorus vocals. Somehow, concise songwriting and lengthy instrumentation coexist – several songs eclipse 6 minutes but seem perfectly natural explorations. “Fill In The Blank” is an earnest example of the former. “Vincent”, however, begins with a tasty warped guitar riff and slowly adds delayed layers of distortion until rambling vocals and full band dynamics finally give way to a monstrous rock song. Creative hard rock riffing with noisy detours continues on the fierce “Destroyed by Hippie Powers” and the reflective matter-of-fact “(Joe Gets Kicked Out of School for Using) Drugs with Friends [But Says This Isn’t a Problem]”. The brutally honest and fantastic “Drunk Drivers / Killer Whales” provides one of the catchiest sing-along sections of the entire album. There are several of these huge anthemic vocal moments throughout the album – set against the most fiery and originative rock I’ve heard in quite some time. Slacker indie may have never been this gripping.
3. Shovels & Rope – Little Seeds
The Last Hawk
Buffalo Nickel
If you know me or followed my ramblings about music, you know I’ve been a huge fan of Charleston, South Carolina’s Shovels & Rope since the moment I heard O’ Be Joyful in 2012. Back porch rockabilly folk, emotional ballads, and bluesy stompers have expertly flowed since. The live show from married couple Cary Ann Hearst and Michael Trent is tremendous, with each jamming on a deluge of junkyard versions of rock and folk instruments – and trading lead vocal duties. This year’s Little Seeds finds the band converging on a more singular voice with riveting harmonies. I think it’s also the noisiest, most abrasive sound yet – but not to a fault. Some of the brash tunes don’t work as well as others – but are no less fun. “I Know” grinds and screeches over extremely distorted guitars and “Botched Execution” moves at a frenetic pace – deftly following the escaped convict story. Personal, beautiful ballads “St. Anne’s Parade” and “Mourning Song” are equally striking. The former a celebratory song – “This life may be too good to survive” – and the latter dealing with the onset of Alzheimer’s disease for Trent’s father. “Missionary Ridge” is a gorgeous but haunting folk tune providing backdrop for a story about a Civil War battle. The highlight for me is the back-to-back “The Last Hawk” – a signature melodic mid-tempo rock song – and the intense “Buffalo Nickel” with it’s brazen vocals, guitar attack, and loads of nervous energy.
2. Michael Kiwanuka – Love & Hate
One More Night
Love & Hate
Some albums are important to hear as social commentary needed at critical times. Some albums are just awesome listens. Londoner Michael Kiwanuka’s Love & Hate has the distinction of being both. Having Ugandan heritage – his parents fled to England during an oppressive regime – and growing up in middle class white neighborhoods gives a unique perspective. With all the troubling observances throughout this passionate album, Kiwanuka manages to keep a positive outlook and hopeful message – which lends to the quality of this outstanding release. Also key is his wonderful, soulful croon and the evidence of solid musicianship by him and his support. Album opener “Cold Little Heart” is a 10 minute track with sultry Blues licks and uplifting lead vocals coming half way in. Gives me chills every time. “Black Man in a White World” is a sparse, captivating tune with funky riffs and hand claps. Its message about understanding your identity is more social than racial. Psychedelic space-rock saturates “Place I Belong” – whose lyrics maintain an established theme. He asks “How much more are we supposed to tolerate” in title track “Love & Hate”, which also asks questions of one’s self, while evolving into a mind-bending wall of sound. “One More Night” could be the most accessible song with a throbbing dance-able rhythm and “Rule the World” ranges from reflective warble to passionate wail. Phenomenal lead guitar and vocals emphasize the experience on closer “The Final Frame”. The production throughout is gloriously murky and feels familiar – in part to the seminal presence of Danger Mouse, again. This album excels on so many levels, but in no small part to the way Kiwanuka turns inward for questions and answers – he’s honest and expressive, tender often, and keeps the stirring impact of the music itself front and center.
1. Hiss Golden Messenger – Heart Like a Levee
Biloxi
Heart Like a Levee
Say It Like You Mean It
My new favorite sharp and wonderfully ragged folkster is M.C. Taylor. Known as Hiss Golden Messenger, he’s put out consistently good albums for a few years now – and this year’s Heart Like A Levee is outstanding! Every detail has been perfectly executed in this soulful blend of folk and swampy blues. The music is buoyant and chill concurrently and every selection is an amazing song-writing achievement. Lead track “Biloxi” is so effortlessly pleasing with acoustic and slide guitar interlaced throughout the “It’s hard, Lord. Lord, it’s hard.” refrain. The lovely title track “Heart Like a Levee” has been one of my most played songs this year. Taylor‘s soulful delivery about self-doubt and picking each other up is fascinating, and I love the genius tempo change in the final minute. “Happy Day (Sister My Sister)” is saturated with an easy beauty and tender musings on humanity. More rollicking tunes “Tell Her I’m Just Dancing” and the dazzling “Say It Like You Mean It” comprise a jaunty boogie-rock quality. Providing depth and variety are the funky blues of “Like A Mirror Loves a Hammer” and the creeping gospel blues of “As the Crow Flies”. Taylor’s passionate croon and warm lyrics about real life struggles and finding joy appear to keep these tunes together – as they almost fall apart. There are countless fills and flourishes with top notch production and – in addition to the wonderful uplifting melodies – make this one extremely addicting album!
10 -> 6