Review of the year time

I’m sure you’ve seen quite a few ‘top albums of 2019’ lists already and have been wondering, ‘where’s the one that really matters?’. Fear not, thealbumreview.com’s list of the best 50 albums in 2019 is not far away.

It’s been a cracking year for music, with some brilliant new releases from some old faces as well as exciting debuts. As we count down to 2020, I’ll take you through my list of favourites from the year gone by. Hopefully there’ll be a few discoveries on the list for you to try out.

For the one or two of you who may have read previous reviews, don’t be surprised to find some albums that scored low on initial listen appearing higher in this list. Some albums get better the more you listen to them.

So we’ll start with numbers 50-41

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So, what have we missed? (Albums of the week 17 May – 5 June)

It’s been a wee while since I’ve posted anything up here. No excuses except work, life general apathy/despondency etc. I have, however, been keeping up with the latest releases, and there’s been a fair few decent albums surfacing over the last couple of months that I am driven to share with you.

With that in mind, here’s my pick of the albums of the week from New Music Fridays 17th May to 5 July, plus some other notable must-listens I’ve missed out on telling you about. If I get the chance I’ll do a fuller review of some of them.

Album of the week – 17 May

Ellen Allien – Alientronic

A good ‘ol-fashioned slab of acid house and techno that has something for the head, and something for the body.

Rating 7.5/10 – Listen on Spotify

Other essential listens:

slowthai – Nothing Great About Britain

The Voices – The Sound of Young America

Hey Collosus – Four Bibles

Album of the week – 24 May

Petrol Girls – Cut & Stitch

Angry, feminist, punk with a lot of intelligence to it and a message that cries out to be heard.

Rating 8/10 – Listen on Spotify

Other essential listens:

Amyl and The Sniffers – Amyl and The Sniffers

Black Mountain – Destroyer

Honeyblood – In Plain Sight

Madonnatron – Musica Alla Puttanesca

Album of the week – 31 May

Pip Blom – Boat

Fantastically infectious indie pop that deserves to be on your turntable/playlist/car stereo all summer.

Rating 9/10 – Listen on Spotify

Other essential listens:

Chase & Status – RTRN II JUNGLE

The Gotobeds – Debt Begins At 30

Album of the week – 07 June

Plaid – Polymer

Intelligent techno straight out of the 90s. Reminiscent of Orbital at their very best.

Rating 8.5/10 – Listen on Spotify

Other essential listens:

Pixx – Small Mercies

JAMBINAI – ONDA

Album of the week – 14 June

christian fitness – you are the ambulance

Actually released a couple of weeks previously on Bandcamp, but everything else out this week was pants so wanted to highlight this one instead. The sixth solo/not solo album from Mclusky and Future of the Left frontman Andrew Falkous. As edgy, noisy and witty as ever. The vocal track could do with being a bit louder though.

Rating 8/10 – Listen on Bandcamp

Other essential listens:

None 😦

Album of the week – 21 June

The St Pierre Snake Invasion – Caprice Enchanté

Riotous, affecting and heavy as hell punk that pounds you into joyous submission.

Rating 8.5/10 – Listen on Spotify

Other essential listens:

black midi – Schlagenheim

Jane Weaver – Loops In The Secret Society

Hot Chip – A Bath Full Of Ecstasy

Album of the week – 28 June

MOLLY – All That Ever Could Have Been

Austrian duo channel Sigur Ros in this shoegaze/post rock opus that takes you on an uplifting journey

Rating 7.5/10 – Listen on Spotify

Other essential listens:

Hmmm- nope

Album of the week – 05 July

Prettiest Eyes – Vol 3

Mature third effort from this post-punk trio that uses touches of psych and distortion galore to bring a tasty treat to our turntables.

Rating 8/10 – Listen on Spotify

Other essential listens:

BABii – HiiDE

KOKOKO! – Fongola

Catching Flies – Silver Linings

Album of the week (10 May): USA Nails – Life Cinema

USA Nails - Life Cinema album cover

The fourth album from noise rockers USA Nails is only 25 minutes long, but during that time they manage to pack in a hell of a lot of riotous bass and crashing guitars. While hugely enjoyable, I got the feeling that the album was kept deliberately short in order to preserve our hearing and mental health.

From the off with Creative Industries we are presented with a bass line that demands your attention and all-consuming, wildly distorted guitars that just don’t quit until the very end. It’s quite an oppressive, head-pounding experience, and probably not one for those who are looking for a gentler introduction to the world of post-punk.

Singer Steven Hodson also does a sterling job shouting his way through the album, but you get the feeling he is just trying to make himself heard over everything else that’s going on.

At points when listening to this I did catch myself thinking, ‘Wow! This is intense’ and there isn’t much, if any, let up in that intensity. There are times, such as on standout track Work Drinks when the guitars take a slightly lighter touch and the approach of the bass is different – that’s as close to a moment of respite as you get. Similarly, title track Life Cinema, with its mantra of ‘Tune in and turn off’, offers a bit more structure that gives you something to grab on to.

By the close of the album, which finishes with a humorous 8-bit take on Life Cinema, you are left exhausted and elated, but also slightly relieved.

Release date: 10 May 2019

Rating: 8/10

Standout track: Work Drinks

For fans of:

  • Christian Fitness
  • Prettiest Eyes
  • Crows

Listen on Spotify

Album of the week (03 May): Viagra Boys – Street Worms

Viagra Boys - Street Worms album cover

Stockholm seems to be the place to be right now if you’re looking for new and inventive post-punk bands. Following on from FEWS releasing one of my favourite albums of the year so far, we now have Viagra Boys ploughing their own heavy guitar furrow to great effect.

There’s a touch of surrealism across debut album Street Worms and the occasional use of saxophone makes for some interesting moments – setting this effort apart from releases by bands of a similar ilk.

The thing that drives this album, however, is the incredibly infections and super-dirty bass that you just can’t help falling for and the almost pub-rock croonings of vocalist Sebastian Murphy, which he manages to sell perfectly.

From opener Down In The Basement, with its high tempo hi-hats, right through to the hypnotic instrumental LP closer Amphetanarchy we are treated to a masterclass in scuzzed-out bass and guitars that worm their way inside you and stick their hooks in.

Highlights along the way include Sports (see video below), in which Murphy does his very best Iggy Pop impression, and Slow Learner, which instantly transports you to a crowded, sweaty, dirty dive bar to pogo along with the heaving masses.

Standout track Shrimp Shack offers a touch of humour, with Murphy telling us how he’s ‘Surfing with your mom in the dirt’, while the second half of the track is dedicated to a good ‘ol instrumental wig-out.

I’m a massive proponent of vinyl, but it’s a shame that it can’t find room for the five additional bonus tracks available on CD and digital. There are some corkers in there too, including some proper bouncy punk numbers like Jungle Man, Up All Night and the broody but infectious Special Helmet.

A proper treat for the ears this one.

Release date: 03 May 2019

Rating: 8.5/10

Standout track: Shrimp Shack

For fans of:

  • FEWS
  • Iggy Pop
  • Fontaines D.C.

Listen on Spotify

Album review: Frank Carter & The Rattlesnakes – End of Suffering

Frank Carter & The Rattlesnakes - End of Suffering album cover

It’s been a decade since Frank Carter, then front man of hardcore-punk outfit Gallows released the utterly-brilliant Grey Britain. It’s been a funny old 10 years for him since, musically speaking.

After leaving Gallows in 2011 citing musical differences, he had a decent crack at more radio friendly alt-rock with Pure Love before returning with current project Frank Carter & The Rattlesnakes.

Debut album ‘Blossom’ signalled a return to the snarling angry, screaming Carter we had grown to love in Gallows. Songs on fear of death, songs of hate and anger – all delivered with Carter’s trademark vocal yell. One track, ‘Paradise’, even recording him spitting on the floor during a moment of quiet as he railed against those who matryr themselves in the name of religion.

Second album ‘Modern Ruin’ showed a more tender side, less screaming but still delivered with enough bite to keep fans of his edgier side on board.

However, latest release End of Suffering has seen Carter go all out stadium rock on us. The punky aggression of the debut album has gone completely, as has Carter’s snarling vocal style, replaced by what can only be described as a fairly average croon. We’ve seen this vocal style before on previous albums, especially with Pure Love, but it has normally been balanced out with more spiker stuff.

There’s little of that on show here. The closest he comes is on Crowbar, where at one point he almost sounds angry and manages to throw in a few swear words here and there.

The rest of the album is fairly standard, though competent, heavy rock. Not necessarily any better or worse than a Muse or a Manic Street Preachers.

Having seen Carter live before, his sets are full of energy and agression. How the slew of slower, softer songs on this album, such as Anxiety, Angel Wings, Supervillain, Little Devil and title track End of Suffering, fit into these gigs I’m unsure (they are playing The Great Escape fesitval next weekend, so I might drop by and find out).

During Kitty Sucker, one of the livelier moments of the album, Carter bellows out ‘I’m a punk rock renegade’. Maybe once Frank, but I ain’t feeling it no more.

Release date: 03 May 2019

Rating: 5/10

Standout track: Crowbar

For fans of:

  • Manic Street Preachers
  • Royal Blood
  • Gallows

Listen on Spotify

New Music Friday 03 May – The pick of the latest album releases

Get your ear plugs ready, it looks like this week’s pick of the new releases could be loud. We’ve got former Gallows front man Frank Carter with the third studio release from his Frank Carter & The Rattlesnakes project. There’s also a reissue of the impossible to find debut from post-punkers Protomatyr and a debut from Swedish noise outfit Viagra Boys. Other forms of music are available (and some even feature in the list below).

Spotify playlist at the bottom.

Frank Carter & The Rattlesnakes – End of Suffering

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Protomatyr – No Passion All Technique

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Viagra Boys – Street Worms

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Flamingods – Leviation

Listen on Spotify

Versing – 10000

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Barrie – Happy to Be Here

Listen on Spotify

The Dream Syndicate – These Times

Listen on Spotify

Drahla – Useless Coordinates

Listen on Spotify

Saint Agnes – Welcome to Silvertown

Listen on Spotify

Wolfmanhatten Project – Blue Gene Stew

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Filthy Friends – Emerald Valley

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Here’s a playlist of all of the above if you want to listen to this week’s selected new releases.

The best albums of April 2019

1: The Chemical Brothers – No Geography

Rating: 9/10 – Read full review

Listen on Spotify

2: Fontaines D.C. – Dogrel

Rating: 8/10 – Read full review

Listen on Spotify

3: JAWS – The Ceiling

Rating: 7.5/10 – Read full review

Listen on Spotify

4: Priests – The Seduction Of Kansas

Rating: 7.5/10

Listen on Spotify

5: W. H. Lung – Incidental Music

Rating: 7.5/10

Listen on Spotify

6: Josefin Öhrn + The Liberation – Sacred Dreams

Rating: 7.5/10 – Read full review

Listen on Spotify

7: Cowboy Flying Saucer– Travel Lodge

Rating: 7/10

Listen on Spotify

8: Ifriqiyya Electrique – Laylet El Booree

Rating: 7/10

Listen on Spotify

9: Lowly – Hifalutin

Rating: 7/10

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10: Various artists – For The Throne (Music Inspired by the HBO Series Game of Thrones)

Rating: 7/10 – Read full review

Listen on Spotify

26 April releases – Reviewed and rated

Josefin Öhrn + The Liberation beat the not-too-stiff competition this week, while Game of Thrones pulled off yet anther of its trademark shockers by not producing a complete disaster of a pop album.

Spotify playlist at the bottom.

Josefin Öhrn + The Liberation – Sacred Dreams

A psychadelic trip through the realms of electro-pop and lazy, hazy country blues desertscapes.

Rating: 7.5/10 – Read full review

Listen on Spotify

Various Artists – For The Throne (Music Inspired by the HBO Series Game of Thrones)

A collection of pop tunes based on the smash TV series. Provides an absolute shocker by not being a complete disaster.

Rating: 7/10 – Read full review

Listen on Spotify

Otoboke Beaver – Itekoma Hits

Spiky Japanese girl-punk. It’s sometimes tricky to follow the thread of the tracks but satisfyingly aggressive at times.

Rating: 6.5/10

Listen on Spotify

The Cranberries – In The End

Emotional farewell from the band that carries many of the sounds that made them famous, but with a more mature and sombre edge.

Rating: 6.5/10

Listen on Spotify

Mammoth Penguins – There’s No Fight We Can’t Both Win

Catchy indie-pop from this Cambridgeshire tiro, but the hooks and vocals fail to set the band apart from their many contemporaries.

Rating: 6.5/10

Listen on Spotify

Marissa Nadler & Stephen Brodsky – Droneflower

Initally promising sparse and atmospheric folk-rock, but the album fails to kick on as hoped.

Rating: 6/10

Listen on Spotify

Catfish & The Bottlemen – The Balance

Radio-friendly indie rock, not unpleasant to listen to, but hardly inspiring.

Rating: 6/10

Listen on Spotify

Guided By Voices – Warp and Woof

24 songs in 37 minutes on this soft alt-rock album with the occasional hint of Bowie and country.

Rating: 6/10

Listen on Spotify

Bear’s Den – So that you might hear me

Bland indie-folk, heard it a thousand times before.

Rating: 5/10

Listen on Spotify

Here’s a playlist of all of the above if you want to listen to this week’s selected new releases.

Album of the week (26 April): Josefin Öhrn + The Liberation – Sacred Dreams

This is the third studio album from Josefin Öhrn + The Liberation, and while it’s not a perfect piece of pop, there’s enough sophistication here to make it stand out from the rest of this week’s releases.

Sacred Dreams takes us through the realms of electro-pop and lazy, hazy country blues desertscapes – all with a dash of psychedelia thrown in.

The album does feel a little front loaded, as most of the best moments feature early on. Opener Feel The Sun borrows heavily on the Goldfrapp model of crowd-pleasing blissful pop. Then follows an unnecessarily early keyboard and effect laden interlude before we are hit with standout track I Can Feel It, featuring a pounding bass drum, incessant keyboard tones and layered harmonics. The hypnotic chorus is fabulous.

The danceable electro-pop theme continues with Desire, Öhrn’s breathy vocal style working particularly well here with the french lyrics in the verses.

The second act of the album signals a change of pace – Hey Little Boy is a slower track with a country blues feel to the guitar work, though there’s still a hint of pulsating synth to be found.

Only Lovers leans heavily on a spacious folky acoustic guitar to match the echo-laden vocal and moves away from the beat-driven tracks before it. The tempo ups slightly with Baby Come On, a blues-rock number featuring some interesting keyboard work and good layering of sound.

However, things start to get a little flabby towards the end. New Horizons is a fairly standard low-key pop number, while Let It Come and Whatever You Want don’t really add anything extra.

The main saving grace of the latter part of the album is Caramel Head, that uses lazy, hazy slide guitar to let you drift away to another plane.

It’s not going to be my album of the year, or even the month, but I reckon some of these tracks will stay with me for some time.

Release date: 26 April 2019

Rating: 7.5/10

Standout track: I Can Feel It

For fans of:

  • Goldfrapp
  • Lorelle Meets The Obselete
  • Ladytron

Listen on Spotify