Tame Impala - "Lonerism" (2012)

Tame Impala is one of those critically acclaimed artists that I have never really listened to before, and with a new album on the horizon I thought I'd better check them out. Listening to both this and Currents, it was Lonerism which I gravitated to more. It's (slightly) less produced, more spacious sound reminded me more of the little I know of 60's psychedelia (basically studio years Beatles and early Pink Floyd, and that I don't know as well as I'd like).

Across these detailed but spacious tracks, different melodies and moments pop into the forefront and then fade back into the distance, leaving room for another idea to take its place. Kevin Parker's vocals sometimes glide above the tracks, and then without notice plunge deep into the mix buried in effects. I don't know if it is intentional, but his voice is incredibly reminiscent of the likes of John Lennon and Syd Barrett in places, which adds to the throwback aesthetic. The lyrics give off the general vibe of longing and loss, however they're never really the draw of this kind of music, and are here to serve the atmosphere rather than to be read into too deeply.

Be Above It sounds raw and primal with its repeated chanting, and all the opening of Music To Walk Home By for some reason gives me the feeling of diving headfirst into a swimming pool. The bridge on Why Won't They Talk To Me? also always grabs my attention as the track strips back leaving this groovy drum pattern and some very 60's sounding synths. Feels Like We Only Go Backwards catchy as anything despite all the psychedelia and lo-fi buzz on Keep On Lying's synths and guitars slowly mesh together, raising the intensity of the track over time. Elephant stands out from the rest of the tracklist as despite its psychedelic flourishes, it's very much a bluesy stoner-rock song at it's core with its chunky riff and thunderous drums. Unfortunately the last couple of tracks don't really stand out and just fade into the background, which is disappointing considering most of the tracks have something which grabs me and draws me in.

Psychedelia isn't for everyone, but if it is something you can dig, this is a great album to stick on in the background when doing something or just chilling out. The bright, summery atmosphere is perfect for this time of year (when the weather is nice, which isn't always the case).

Top Tracks: Be Above It, Endors Toi, Music To Walk Home By, Why Won't They Talk To Me?, Feels Like We Only Go Backwards, Keep On Lying, Elephant

8/10

Sundara Karma - "Ulfias' Alphabet" (2019)

Sundara Karma gained a lot of attention with their 2017 debut "Youth Is Only Fun In Retrospect" and it's anthemic, coming of age, indie rock singles. However their was an arty, more ambitious element to that album which resulted in the band sounding split between two identities, unsure of which road to take. I was initially disappointed when the band started rolling out singles for the follow up, seemingly ditching the sound that made the likes of Flame and Explore such enjoyable songs, rather delving deeper into their art rock tendencies. This worry was quickly dismissed when the album released, as it just works, and I am enjoying it more with each listen.

Gone are the indie dance floor tracks about going out and young romance, replaced with songs about colourful characters and bizarre places. There is a very David Bowie feel to this album, not just in Oscar Pollock's distinct voice but also the lyrics and themes. The single One Last Night On This Earth is about an alien crash landing on Earth and discovering love. You can't get more Bowie than that. The album darts from one place to another, making huge stylistic shifts between songs. This, for me, means not every song connects, but the constantly changing sound keeps me engaged. Some highlights include the sizzling electronic rock of Higher Stakes, a track which sound like it would fit perfectly in the soundtrack to some futuristic racing game like F-Zero. Little Smart Houses bounces along as Oscar sings about being 'warm and dumb' in our 'little smart houses'. The vocals on the title track are processed with some vibrato and reverb to sound echoey an distant, coupled with the lush piano make it sound like the track is taking place in a thunderstorm. The best moment is Rainbow Body, a tense and atmospheric post-punk tune which bursts into colour towards the end.

While the album lacks the feel-good singles which drew them so much attention, I do feel it is a better album overall than the debut. It's less bloated and more ambitious, and the band sound committed to the direction they've taken.

Top Tracks: Higher Stakes, Illusions, Little Smart Houses, Rainbow Body, Ulfias' Alphabet

7/10

The Cure - "Disintegration" (1989)

This masterpiece turned 30 this week. On the eve of his 29th birthday, Robert Smith was musing about how all his idols had produced their masterpieces before they reached 30 and then in his eyes declined in quality since, and that The Cure had yet to create their magnum opus. So he began writing what is now considered it. This feeling of the bands impending demise combined with tensions within the group over Lol Tolhurst's (the only other remaining founding member besides Smith) growing alcohol problem and inability to work to create one of the bands darkest and most isolating releases. It is long, slow, dense but also spacious and sonically rich and it just commands you to sink into the apocalyptic world it creates for you.

The album opens with Plainsong, a track which could be the closer for any other album. The shimmering synths and heavy reverb have an open finality to them, and Smith's allusions to the end of the world sound like there has been this huge world ending event before the album has even started. That really sets the tone for the next 72 minutes, the world has already fallen apart and Smith is just living in the aftermath. The next song, Pictures Of You, is beautifully nostalgic about past good times and incredibly melancholic about the fact they are over. Despite its seven and a half minute run-time, I reckon it is one of the most accessible on the record. It has such a universal topic that everyone can relate to.

Despite its oppressive atmosphere, the record actually has a couple of really big hits on it. Lovesong and Lullaby are incredibly catchy pop songs at their core, they are just dressed up and the melancholia which floods the rest of the album. Both songs have some of the most catchy bass lines the band have ever recorded. Lovesong has the same universality as Pictures Of You, detailing just pure, unabashed devotion to someone. Lullaby is weirder, as the bass bounces along Smith sings about a creepy nightmare creature in a soft ASMR-style voice. Following Lullaby is Fascination Street, which sounds like some kind of nihilistic apocalypse anthem. "Move to the music like you know that it's over" Smith shouts during the chorus.

On the second half of the album, the songs get longer, denser and darker. Prayers For Rain feels like it is completely smothering you with its rich atmosphere. It legitimately feels like the song is taking place in a thunderstorm. In fact, the transition between it and Same Deep Water As You is the sound of a thunderstorm. Where Prayers For Rain feels like you are being forced down by its audio thunderstorm, Same Deep Water As You feels like letting yourself get washed away by the ensuing flood. The title track is perhaps the most intense of all of them, opening with the sound of a glass smashing and slowly builds over 8 minutes as Smith works himself into a self destructive meltdown. It feels like every emotion is pouring out of him to the point of exhaustion. Following this is Homesick, which feels perfectly placed after Disintegration. Smith determinedly sings "I'll never go home", which I can't help but feel is related to the previous track. Smith just wants to run away from everything that went down on the previous track. The closer, Untitled, leaves the album in much the same way Plainsong opened it, open and empty. But it does this to an even greater extent. There isn't much of a sense of completion to the track, it just leaves the listener in a frail, depressed state, hoping things might get better.

This album is near enough flawless, and completely transcends age. It sounds as fresh and unique as any album today. If you have an hour and twelve minutes to spare, just plug your headphones in and let it absorb you. You will bound to find something that you can relate to. Smith got his magnum opus, and if I'm going to be honest he predicted his downfall as well. The band have never been quite this good since.

Top Tracks: Plainsong, Pictures Of You, Closedown, Lovesong, Last Dance, Lullaby, Fascination Street, Prayers For Rain, Same Deep Water As You, Disintegration, Homesick, Untitled

10/10

Circa Waves - "What's It Like Over There?" (2019)

Circa Waves' 2017 sophomore album, Different Creatures, was a great development from their debut. It added darker and heavier elements to their youthful indie rock sound, creating a more sonically diverse album that still retained its blistering energy. So when frontman Keiran Shudall started talking about how the next album would be even more visceral and cinematic, I was exited. Unfortunately, it's not very cinematic, just underwritten, overproduced and sonically all over the place.

The album is short, 30 minutes long, with only 10 tracks. One of which, the title track, is only a intro track to the album. This track is literally the sound of some gulls and a van door closing, which I find frankly bizarre as it doesn't feel like it connects to the actual first track at all. So there's actually 9 proper tracks, in a 30 minute timespan which cover completely different styles. There's no flow or running thread throughout the album, just a bunch of vastly disparate songs.

And the songs, they aren't great. The actual first track, Sorry I'm Yours, sets the album off on a bad foot with typical Imagine Dragons style overblown bass and percussion during the chorus. It is such a turn off for me. Then follows Times Wont Change Me, a stomping piano rock tune that does initially have some bite. That is until about 50 seconds in when Keiran has sung the line 'these times wont change me now' about 4 times already and you realise hes going to sing it about 400 more times before the song finishes. That's a big problem that runs through much of the album, most of the songs feel really underwritten. The verses don't seem to have much detail or depth, and the choruses are just the song titles repeated 4 times over. Me Myself And Hollywood has this problem as well. The track has these really chilled verses with this lackadaisical Arctic Monkeys Humbug style guitar. But the title is legitimately the title repeated 4 times. What does 'me myself and Hollywood' even mean? Be Somebody Good is perhaps strangest mess on the whole album. It opens with a really nice angst ridden opening verse that's set to programmed drums and it builds in intensity until the chorus hits, which consists of Keiran singing 'I wanna be somebody good' over and over against the returning overblown pop-rock drums and bass. There is a really nice sounding guitar solo at the end of the track, but it really comes out of nowhere and is over in 6 seconds, so feels really out of place. The Way We Say Goodbye and Motorcade are more consistent sounding songs, but are rather underwhelming attempts at their respective genres (the former being mid-2000s soft rock akin to Coldplay and Snow Patrol, and the latter being a more electronic rock leaning sound). The best the album has to offer is lead single Movies and the closer Saviour. Movies is a pretty standard Circa Waves song, with their trademark youthful energy. Savour is the bands attempt at blues rock and definitely feels like the loosest song on the album, and also seems the most poignant, with lyrics about class divisions.

It's strange after the political songwriting on Different Creatures that this album is so devoid of it. Apparently Keiran was fighting writers block when creating this album, and you can definitely tell with all the repeated phrases and the fact these songs don't really appear to be about much beyond their vague pontificating. The frustrating thing is that there is something I like about every song on this record; I like Keiran's performance of chorus on Sorry I'm Yours, I like the backing vocals and production on Passport, I like the general aesthetic of Me Myself and Hollywood. But they're all assembled into these hodgepodge, clunky songs. If they were struggling to write something meaningful, maybe the band should've taken a break for a bit instead of heading right into the studio.

Top Track: Movies, Saviour

4/10

Nothing But Thieves - "What Did You Think When You Made Me This Way?" (2018)

UK rock group Nothing But Thieves were quick to follow up their 2017 sophomore album, Broken Machine, with this 4 track EP written on the road touring that album; released just over a year later. While I enjoyed the promo single, Forever And Ever More, I pretty much forgot about the EP until it's release a few months later. I expected a bunch of pretty good tracks, just to hold fans over until the next full LP. What I got was a couple of the best tracks the band has ever recorded, with the other two being pretty great as well.

Forever And Ever More opens the EP with a crunchy guitar line and Conor Mason's characteristic falsetto vocals. The track deals with the bands usual themes of feeling emotionally trapped, embracing the worst impulses, but now with an added fun, vampiric twist. Gods starts off sounding straight out of Bends-era Radiohead, with the muddy acoustic guitar and Conor's dry, hoarse vocals. That is until the chorus hits and utterly explodes into one of the bands loudest cuts. The breakdown towards the end of this track is absolutely ferocious. After that You Know Me Too Well slows things down, sounding more akin to some of the slower moments from their debut. The rich production and Conor's gentle vocals create a sensual atmosphere which really draws you in. The final track, Take This Lonely Heart, is up there with the very best the band has created in my opinion. The loud, anthemic tune just builds and builds in intensity as Conor's souring vocals seethe so much raw emotion.

This EP is really great and has me even more exited for where the band goes next than Broken Machine did (I think that album is also pretty great). Its definitely their best produced and most consistent release yet.

Top Tracks: Forever And Ever More, Gods, You Know Me Too Well, Take This Lonely Heart

8/10

Joy Division - "Closer" (1980)

I love Joy Division's era defining debut, Unknown Pleasures, but it is only recently that I have been properly listening to their follow up, Closer, and some of their other one off singles and compilation tracks. I have listened to Closer before recently, but only really straight after Unknown Pleasures, and never really paying much attention to it, as I was always doing something while it was on. So I have been listening to it a lot over the past few weeks, giving it more attention, and for a long while it just wasn't clicking and I didn't know why. It doesn't sound all that different from Unknown Pleasures (a few lighter, more new-wavey moments scatter the tracklist but its not a drastic shift); and it still has Ian Curtis' twisted and tortured lyrics on top. I just always ended up drifting during the middle of the record, but it was never on the same track so I couldn't just assume that there was just a track that wasn't working. It was only when I once again had it on in the background while doing some housework where it really clicked and I found myself really enjoying the record.

The album opens with Atrocity Exhibition, a track very different to Unknown Pleasures' sound. It has these thunderous drums and wild, noisy guitar screeching at the top of the mix. Curtis sings about the Victorian insane asylums that were used as tourist attractions as if he is a circus ringmaster. The whole thing feels dripping with satire and subtext. The next track, Isolation, has these glittering synth lines dancing across the track, completely juxtaposed with Curtis' dark lyrics about feeling so alone in the world and the shame he feels about his epilepsy. From here on out the album just gets darker and more depressed. You can tell from Ian Curtis' haunted lyrics and vocals that he was really on the end of his tether at this point, so close to the end of his life. A Means to an End seethes of betrayal as Curtis sings "I put my trust in you", and Heart and Soul sees him completely hopeless. Twenty Four Hours builds into an intense frenzy, with the last verse in particular feeling very suicidal. The last line of this track is "Gotta find my destiny, before it gets too late.", before the gothic The Eternal begins. This long, slow track feels like Curtis has almost burned himself out, becoming this passive, spectral voice floating in the fog of the instrumentation. The closer, Decades, brings back some colour with the more saturated bass and synths sounding like accordion. leaving the album with some sembilance of hope as it finishes.

While I still prefer Unknown Pleasures for its knife-edge tension and atmosphere, I have really started to come round on this record. It contains some of the bands darkest moments and shows signs of where the group would go as New Order after Curtis' passing. It's not accessible music and it's not meant to be, but is deeply rewarding once you get invested.

Top Tracks: Atrocity Exhibition, Isolation, A Means to an End, Heart and Soul, Twenty Four Hours, The Eternal, Decades

8/10

Garbage - "Garbage" (1995)

Garbage are a band I have been casually interested in for years. I enjoy their music when it comes up on the radio and I have had this album saved on Spotify since I've had it; I may have even listened to it once or twice. However I haven't really given them enough attention to properly get into them.

Garbage are one of the most critically acclaimed groups of the post-grunge scene, crafting a unique sound incorporating elements of grunge and 90's alternative rock with electronics, dance and rave. This creates a loud and busy sound, that's also melodic and radio friendly. Some tracks lean more to the rock side of the spectrum, like Not My idea and Supervixen, while others are far more dancey, for example As Heaven Is Wide and Stupid Girl. More subtle use of synths and electronics are used in places across the album on the gentler tracks. Album closer Milk almost leans into some trip-hop sounding beats.

I wouldn't describe Shirley Manson's vocals as anything Earth shattering, but are nonetheless incredibly expressive and build the intensity on the heavier tracks and show vulnerability when needed. She very much sounds like a 90's rock front-woman. The lyrics on the, other hand, are fascinating. The band cover themes of self-loathing, sexuality, obsession, self-destruction, abuse and power fantasies. The uptempo music and the tone of Shirely's voice mean it doesn't become too depressing though. It creates the vibe that some of what the band are saying are interesting fictions, or at least extensions of the truth.

Supervixen and Vow are relationship power fantasies, with the latter being straight up abusive, with Shirley singing "I will break your soul apart" as part of the chorus. Stupid Girl and Dog New Tricks are positioned on the other end of the situation, detailing the self-loathing and worthlessness of the victim. Only Happy When It Rains is a catchy tune about wallowing in depression and negativity and Fix Me Now is a cry for help late on in the tracklist.

This album is a blast. It's dark and curious, yet remaining very listenable. Each track provides something slightly different to the table, but remains very much within the sound of the album. Not everything from the post-grunge scene has held up all that well, but this album totally has and I'm looking forward to delving into the rest of their discography.

Top Tracks: Supervixen, Queer, Only Happy When It Rains, As Heaven is Wide, Vow, Stupid Girl, Fix Me Now, Milk

8/10