What I have been listening to - January-March 2022
Crash – Charli XCX (2022)
The new Ultra-Pop output of Charli XCX is everything you want it to be. Some great 80s production and weirdly experimental moments across the board, this album hits better than it ought to. The mega synth sounds are mixed so expertly and given every bit of effort that a Pop star of this calibre should have. The impact of The Weeknd on mainstream Pop is still sending shockwaves out. Can’t take any credit away from her though. The vocal performances are delivered with character and style that is effortless for her. This album is complex, and has depth that Pop rarely sees these days. Some of the best:
Crash – The Japanese disco backing of this track is unique, and very welcome. The many panning vocals keep things moving. A great opener!
New Shapes (feat. Caroline Polachek & Christine and the Queens) – The Euro synth hits hard, with enough space to let things be considered. A lovely vocal delivery.
Beg For You (feat. Rina Sawayama) – This track has elements of so many genres present. The lo-fi hardware sample drum opener, clean strings lines, EDM style synth build ups and then into more standard pop lines. A great mish-mash.
Move Me – The syncopated beat of this track is woozy/wavey, in the best kind of way. I love all the breaks and the soft drops. It makes the multiple vocal lines clearer, and stand out.
Every Rule – The emotive soft piano synth is surprisingly emotive. The lo-fi drums are back here and mixed, in the back. The doubled vocals are a welcome addition to this simple song.
Ocean Child: Songs of Yoko Ono – Various Artists (2022)
This unique collection of Yoko Ono covers ranges in complexity and style. The indie artists that move through these numbers make these songs accessible and different. It was an unexpected release this year, but a very welcome one. Some of the more repetitive tracks are taken to new places the original in my opinion. Some nice production choices across the board It is hard to talk about a broad collection of covers, other than – if you haven’t tried it before, give it a listen. Faves include:
Toyboat (Sharon Van Etten) – A simple but very welcome story that is surprisingly haunting with Van Etten’s vocals.
Who Has Seen the Wind? (David Byrne and Yo La Tengo) – It has a great bass line and wonderful harmonies. It captures some nice percussive elements that keep things mixed up.
Dogtown (Sudan Archives) – The strings and vocals production together create a beautiful space to the work. The percussive sounds filling the frequency spectrum and filling out the song was inspiring.
Nobody Sees Me Like You Do (Japanese Breakfast) – The piano has lovely body to it curtesy of the room reverb. The slightly delayed vocals match the space but sit above the piano in a really nice way.
There’s No Goodbye Between Us (Yo La Tengo) – Wow. The strings, synths and guitars and so heavily effected, but feel so natural. The soft vocal line is mediative but so emotive at the same time. Powerful stuff.
The Jordan Lakes Sessions: Volumes 3 and 4 – The Mountain Goats (2021)
This compilation was released a year after their Volume 1 and 2 collection. This band brings me so much joy when I listen to them. The story telling of John Darnielle is like no other. The current collaborators on this record has unity in style and approach that is powerful. I am particularly a fan of Matt Douglas’ work on saxophone in this collection. The live collection is like a great cheat code for a band. They get to talk directly to audiences, do great versions of their favourite tracks and have awesome live production. If you love this band like I do, you can’t go past either of these collections. My tops from this collection are many in number because it is so large:
Woke up New – A truly desperate and heartfelt version of this, (maybe more than the original).
Picture of My Dress – This silly and jaunty tune gets me every time and makes me smile.
Dark in Here – The opening with just guitar is so intriguing in this version. It should be in a film.
Sax Rohmer #1 – It is so positive, how could you not make this a part of the soundtrack of your life?
This Year – I couldn’t help this selection, it’s my favourite track of theirs.
Have to Explode – A great opener for Volume 4, it winds you up for a chill and inspiring version.
Game Shows Touch Our Lives – This story is a part of all of us, and this version’s chords make you want to hum along.
Wild Sage – A beautiful organ sounds that fill out a simple arrangement, is a lovely touch.
Absolutely – Dijon (2021)
I am going big with this statement: This is one of the best whole projects I have heard in a long time. Every part of this work is a considered and curated experience. The short length keeps you wanting more. I love the vocal deliveries of this album; desperate and effortless. The emotion of the timbral choices are thoroughly inspiring. There are parts of this album that bring me to tears of sadness, happiness, and inspiration. Sort of soul, sort of indie-alternative and all around groovy; this album goes places. This album came out last year, and I would say it is one of my favourites, but I am not if last year and what I was listening to, I would have appreciated it’s astounding subtleties the way I do now. I will talk about every track here because it is all deserving of a look in:
Big Mike’s – The distorted and wailing guitars are emotive and powerful. They fit the beautiful vocals that drip flavour and theme. The drums are stylish in their big production. Somehow, even with all the timbres, thick texture and production, it manages to give space where it needs to.
Scratching – I love the distorted sample sound in the back. There are inspiring vocal deliveries that remind me of Bon Iver. The short length grips you where it wants you. The soft drop at the end is a short lived but needed payoff. The wind up to the next track is palpable.
Many Times – More Bon Iver I can hear. The disgusted vocals that have many layers and moving panning, keep you in the narrative. The erratic guitars, pianos and obscure percussion are surprisingly intriguing. The production here fills and breathes when it needs to. The tiny break is a wonderful inclusion.
Annie – The saxophone is a part of a bigger wall of sound here. The delicate narrative of the vocals, contrasts with the opening of this tune. The interlude of the “Wonderwall” style naked guitar gets pushed aside for the bigger sound once more. The many vocal lines are raw and unfettered.
Noah’s Highlight Reel – I hear some influence in the guitars and vocal delivery from Broken Social Scene. This track is soaked with style, and theme. The high-pitched vocal ringing fills out that frequency band and disappears when it needs to. Background samples give this tune depth. This track feels arranged by the Octatrack featured in the album artwork.
The Dress – This RnB/Soul number features clean drums, prime organ, slide guitar that fits (how?) and a bass line that makes you want to boogey. The vocal is melodic and authentic. The story feels real, and emotive. The little synth and piano interludes provide interest moments. How do these tracks keep getting better?
God In Wilson – This moving piece is driven by the guitar and the vocals. The harmonies and the sweet melody of the vocals are surprisingly authentic to the sonic context of the narrative.
Did You See It? – The harmonics laden “Did you See it?” features a nicely placed slide guitar. The thickening of the texture in the chorus was well chosen.
Talk Down – Tamborine hasn’t hit this good in a long time. The rawer vocal performance is refreshing at this point in the album. The end of the track has some nice production complexities that pushes it along.
Rodeo Clown – There is a sense of push and pull between the vocal and the guitar of this track. The vocal is sensitive and sore. Beautiful.
End of Record – The syncing of the guitar with the vocals was so cute at the end and provided an openness to this track. The backing vocals are sweet, and real. It ends in this truly poignant place. The pad sound at the back reinforces the mood.
Credits! – A cute little extra track that sounds out the album in a really meaningful way. A little louder on all fronts, I get a feeling of old school Arcade Fire. What a great ending. Sweet and a little underdone with that classic cut.
Hypernatural – Hypernatural (2022)
This is the work of a member of electronic Australian artist Dan Whitford, from Cut Copy, Mirko Vogel, Aussie engineer legend, and Mike Gamwell (Knightlife). This album features some chill moments of electronica and parts that are tribal and moving. It features the full gambit of electronic sounds in a way that I didn’t expect to like so much (in retrospect I am not sure why). I can’t wait to see what they do next. Faves include:
Longboat – Tribal, repetitive, but never dull. This work has 80s synthwave sounds, arpeggiators and African drums. Unique.
Stormfront – Ooof. The dancefloor beats, the pushing Eurosynth and the flashy, understand background electronics; what is not to love?
Valley – This track is an inspirational end to the album. It takes me places with ambient pad sounds, clicks, toms and Yamaha CS-80 style synth sounds. What an ending!
Old Dead Young (B Sides and Rarities) – Broken Social Scene (2022)
They are back at it again with some B side tracks. Broken Social Scene creates a collection of tracks that fit well together, in their typical understated fashion. The vocals have the AM radio filter, the drums kick along, and the guitars are classic. Some tracks have that beautiful early 2000s indie-rock synths and guitars we all reminisce about that define the genre. This band will always be stand out in the drums, that help to point them stand out amongst the crowd. My top tracks are:
Not At My Best – We have the multiple layered guitar sounds this bad is known for. There is a driving drum beat that makes you want to jump up and dance. Where was this song when I was 19?
Canada Vs America – A fantastic long wind up to this track, that helps to build mood. The distorted chorus laden guitars create wavey textures that are underpinned by the trumpets. It has a messy B section that can’t be overlooked.
Day of the Kid – The organs and the synths come in with the French horns to make an opening that makes you feel alive. The cute vocal performance gives purpose to the song, and some tears also.
Until it’s Dead – Here we are with a great drum pattern again. Over-effected guitars, quiet vocals and some synths create a mood here that can keep on going forever, in my opinion.
