I want to inhabit Florence Welch’s world. It’s rich in tapestries, gold filigree and lace. There are also tempests and drownings to watch out for. And apparently the queen has an entire corps de ballet at her command. If lifestyle magazines are any indication, the … Continue reading Spectrum
This could almost be a long-lost Judy Collins song, with its vision of romantic bohemian living and Florence Welch’s unearthly high vibrato. Collins, however, would never call for percussion heavy enough for riding into battle. That is where Welch distinguishes herself from everyone else critics … Continue reading South London Forever
It’s hard to imagine Florence Welch reigning in her flair for drama. She is the queen of making everything epic. However, when she does strip it down, as she did on her last album, it’s even more devastating. Because of the sense of just how … Continue reading Sky Full of Song
This is Florence Welch is full pagan priestess mode, which is when I love her best. She has a bit of a dual-sided persona. Sometimes she presents herself as a regular (or regular-ish) English girl who struggles in love and drinks too much. Then there’s … Continue reading Seven Devils
Florence Welch sure has a big presence. Her voice is huge, of course, and she plays up to it. Most importantly, she has a magical vision. Her image is pagan, baroque, bohemian, pre-raphaelite, symbolist, romantic… Notice how those are art movements? The lady has a … Continue reading Only If For a Night
Oh, Florence and your amazing gift for drama. So visionary. Truly, Florence and the Machine answers the prayers of those of us who thirst for real, reach-for-the-rafters dramatic vision. Most likely the real Flo doesn’t spend her time plummeting off tall buildings or climbing out … Continue reading No Light, No Light
Part One. The Albums.
The less said about 2015 the better, and 2016 has already established itself as the worst year in all of recorded history. But at least we still have music.
- I Love You, Honeybear – Father John Misty
Mark my words, Father John Misty is going to take his place as one of the most important living artists in the canon. In fact, on the strength of only two albums (at least under that name and persona), he kind of already is. I can’t think of a better songwriter, capable of the most intense romanticism and the darkest sarcasm. A great voice, a sexy look, a charismatic presence, a rock star who hits all the points.
2. What A Terrible World, What A Beautiful World – The Decemberists
The Decemberists’ hiatus didn’t last too long, thank goodness. The world needs their brand of hyper-literate musical anachronism. In a culture where erudition often seems to hold no value, it’s pleasing to see the erudite succeed outside the small circle of the NPR crowd. See, Americana can still be a relevant influence!
3. Strangers to Ourselves – Modest Mouse
The hiatus of Modest Mouse was a long one, and hard to take. Promises of new material were made and rescinded. The words ‘long overdue’ were on everyone’s lips. When it finally came, it didn’t disappoint. Modest Mouse are up to their usual weirdness, mixing the catchy with the abrasive.
4. Sometimes I Sit and Think, and Sometimes I Just Sit – Courtney Barnett
It’s been a couple years since songs from Courtney Barnett’s EP began getting play on indie radio, but this full length debut was most people’s first introduction to her music. Now the world is heralding the arrival of a very major talent. As the title of the records suggests, Barnett’s talent is spinning wordy, witty songs out of the mundane, all delivered in a heavily accented deadpan sing-speak reminiscent of Lou Reed, if he had been born a snarky Australian lesbian with bangs.
5. How Big, How Blue, How Beautiful – Florence and the Machine
The title of the album refers to the Pacific Ocean, but it could refer to Florence herself; a force of nature. She’s grown into a bona fide Major Artist since her debut, and it seems she’s still gaining momentum, if this third album is any sign. I’ve rarely seen anyone so commanding, and especially someone so young. As a performer, she was born to fill coliseums, yet despite its grandiosity her music retains intimacy.
6. Dodge and Burn – The Dead Weather
Not even entirely new material, but new to us, and that’s enough. The Dead Weather churned out more material than one record could hold when they were at their most active. This is the overflow, with some new jams thrown in. It certainly doesn’t feel like leftovers. Alison Mosshart remains a goddess of the highest caliber, a love child of the lizard king.
7. I Thought the Future Would Be Cooler – Yacht
An unfairly under the radar release from socially conscious electro Utopians Yacht. Claire L. Evans is an electropop genius, from her pixie cyborg style to her witty take on the issues of modern life. This is music you can dance to and think about at the same time. And it’s not without the kind of romantic sentiment a classy lady can get behind, either. How Yacht isn’t basking in fame, I have no idea, but I love this record so much I actually paid for it. So.
8. The Fool – Ryn Weaver
A debut from a new talent I hadn’t even heard of until recently. Ryn Weaver is a singer who broke into my consciousness as an opening act for Billy Idol. So right away you know that she rocks. She also has impressive songwriting ability, a varied palette of influences and a voice that that brings to mind everything from the tremolos of folk singers like Judy Collins, to the breathy sultriness of Lana Del Rey, to the open-throated high notes of Florence Welch herself.
9. Vulnicura – Bjork
Bjork had been lying low for a while, but now she returns to purge the experience of her separation from Matthew Barney. So, here’s Bjork’s take on the classic genre of Big Divorce Album. As expected it’s a soundscape of emotion, with cryptic lyrics and surreal atmosphere, and of course, support from friends like Antony Hegarty, always on hand to bring a touch of the otherworldly.
10. Sound & Color – Alabama Shakes
Here’s a band that went from near-unknown to everybody’s favorite in a blink of an eye. But you can’t say they don’t deserve it. If it seems like the throughline of rhythm and blues has gotten lost in the last two or three decades, well, it turns out it hasn’t. To call it ‘retro’ would be too obvious; it’s a reminder that roots music will never not be relevant.