Every year there’s a few albums
which standout not for being great, but for not achieving the acclaim and
success of fellow albums. And though some of these will make it on to our Top 50
Albums list, and other lists – they may have been missed / ignored / received
satisfactory by the general press. The whole point of this list is to champion
music we think deserves the listen, and deserves to be held in a higher regard that what is the general consensus. This is another list without a numerical value, so the followoing are listed in alphabetical order...
~Eddie Gibson
~Eddie Gibson
Black Onassis - Desensitized |
My Leicester comrade Chris Karloff sounds a mile apart from the poppy neo-psychedelia path Kasabian have taken since Karloff’s departure in 2006. Black Onassis is the collaboration between Karloff and multi-instrumentalist Nick Forde, based in New York City. Desensitized masks in the high tempo electronic rock sound Kasabian may have leaned towards if Karloff didn’t depart. It’s a loud 50 minutes, but 50 minutes of industrious abrasive electronic music more akin to the sounds of Oneohtrix Point Never than Kasabian. From Leicestershire to New York City, the differences can be heard on Desensitized, which is why it’s such an achievement for Karloff, and the Black Onassis name.
The Men - New Moon |
Sacred
Bones Records have no excuses when it comes to how quickly they operate,
because The Men are just 12 months ahead of them every time it comes to an
album. New Moon is The Men’s fourth studio album, taking a softer approach to
the punk rock style from 2012’s Open Your Heart. And as I write this, I
discover The Men have planned, recorded, and ready to release their fifth album
in 2014 – they never stop, but they also never stop pleasing, so why not? New Moon is the album Bob Dylan would
have released in the 90s if he had worked with Kurt Cobain. It’s got blues all
over it, punk all over it, and folk in places where you expect noise. Where The
Men are being criticised for being too flimsy, I disagree completely and point
towards New Moon as the changing sound of a Brooklyn quintet experimenting with
what they’ve got.
Nick Cave and the Bad Seeds - Push the Sky Away |
There’s no Mick Harvey (who spearheaded our best
album of 2011, PJ Harvey’s Let England
Shake,) but what Nick Cave and the Bad Seeds loose in an original member,
they make up for in gaining an old – Barry Adamson. But of course, it’s Cave’s Cohen
poetry and Warren Ellis’ violin contributions that set Push the Sky Away on its course. This has been the
longest gap between Nick Cave and the Bad Seeds albums, and it pays off here. The
minimalistic percussion and subtle bass add up to a dreary autumn / winter
aesthetic closer to Kate Bush’s 50 Words For Snow than their previous album Dig,
Lazarus, Dig!!! Push the Sky Away entered the fray in the year of the
Australian releases, and Nick Cave’s hard work on finding a distinctive sound
in 2013 has pulled him away from the fading, and aging musicians of post-punk’s
past.
Steve Mason - Monkey Minds in the Devil's Time
|
Steve
Mason sings: “You get up, fight them back. A fist, a boot, and a baseball bat,”
on Monkey Minds in the Devil's Time’s
18th track “Fight Them Back”. It’s a bold statement, an attacking swing
at rioting, and not at all promotion. Mason’s second solo album is riddled with
socio-political lyricism built on strong genres blending hip-hop with
alternative rock, reggae with funk, and pop with gospel. It’s very much a
reflective album based around modern life
is rubbish, including the effects of capitalism and anarchism and their
rumbling fall from grace in the public sector, and the arts. Monkey Minds in the Devil's Time is a
clear frontrunner for the 2013 (June 2014)
Scottish
Album of the Year Award – an accolade worth winning, and not
sponsored by the all mighty dollar like the Mercury Prize.
Ty Segall - Sleeper |
I’ve never been one to judge on first listens, but
when Ty Segall’s Sleeper was drowning
out the sounds of the neighbours, it was obvious that Sleeper wasn’t just background music. Segall’s seventh album
respectively takes a slowed down, acoustic sound compared to the abrasive fuzz
sound of Segall’s past. It’s as if Sleeper has transported Segall back to the
60s to release a psychedelic folk album, that’s not only influenced by the era,
but belongs in the era. It hasn’t been missed by critics, but my god does
Sleeper deserve the folk credit it so needlessly deserves.