Le Poisson

thank u, next - Ariana Grande

(Republic)

Ariana Grande has followed up last year’s charming Sweetener with a more consistent, more confident and more moving record, thank u, next. As usual, Ariana’s voice is really something to behold, hitting every note perfectly as she delves into her own heartbreak, loss and guilt following the death of her ex-boyfriend, Mac Miller. Ariana bravely goes into this with no features, which proves to be a powerful decision, as there are no obnoxious Pharrell additions or out-of-date Lil Wayne verses, making for an appropriately personal record. As if to ease us away from the lack of rap features we are treated to a Wendy Rene sample on ‘Fake Smile’, which will put a real smile on the face of any hip-hop head. The juxtaposition of deep lyrical themes with the positive, playful instrumentation is rather refreshing, and it’s good to see Ariana excited about life and this new chapter in her life. -M

Gallipoli - Beirut

(4AD)

Zach Condon’s Beirut project has buried Balkan folk deep in the hearts of the Western indie fanatics ever since the release of its first three albums. He’s had us enamoured with the sound ever since, and while Beirut’s work has seemingly gotten ever more formulaic and poppy, that folky, worldly manifesto has never really left Condon. Compared to 2015’s No No No, the most recent Beirut project Gallipoli actually sees him taking it in a more varied and independent direction, and you’ll be hard-pushed to find anything objectionable as Beirut traverse their usual pastures of percussive ukulele and various organs and synthesisers. Gallipoli isn’t short of entirely new sounds for the band either and, indeed, it’s hard to see it as anything but a solid record. Condon might not be making the same impact on the musical landscape as he was thirteen years ago but this is his most consistent release in a decade. Gallipoli proves there are indie bands in far worse form than Beirut; an admirably fresh and progressive release for a band who probably don’t particularly need to be either of those things. -E

Assume Form - James Blake

(Polydor)

Even if it isn’t quite the musical landscape-defining, career-best record that James Blake seems inevitably destined to produce, Assume Form goes quite some distance to confirming him as one of this era of popular music’s defining and most influential figures. And that means a lot, considering no one else is really quite like him. There’s a very particular beauty to the combination of Blake’s music style and his love-themed lyricism, and Assume Form sees both assemble for an impressive, career-best effort. More checked for excess than The Colour in Anything but more stylistically developed than Overgrown, the niche Blake has found treads a fine line between hip-hop and sparse, soulful electronica. Assume Form shows what he can do with both, seeing the likes of Travis Scott and Andre 3000, but also Moses Sumney and Rosalía, make impactful and appropriate appearances alongside Blake’s own plainly romantic lyrics. He’s refreshingly obsessive and open but never too doting or unrelatable, and tracks such as ‘Assume Form’, ‘Can’t Believe the Way We Flow’ and ‘I’ll Come Too’ clearly reveal this untethered romantic happiness. Whether you like his newfound bessottedness or not, one can’t deny Blake has carved himself a distinctive aesthetic, to such an extent it’s no wonder his collaboration is so sought-after by hip-hop artists. Even more exciting is that there’s probably much better to come from Blake, and he remains (as he has for the last ten years) one of the most interesting and exciting artists in popular music. -E

Liv - Daniel Blumberg & Hebronix

(Mute)

Apparently a collaboration between Daniel Blumberg and himself (an endeavour I’m still not sure is artistically innovative or a bit pretentious) Liv builds on Blumberg’s 2018 release Minus with impressive amounts of abrasive noise and more chaotic baroque instrumentation. Hebronix is supposed to be Blumberg’s own psych-pop project, predating his releases under his own name, but on Liv it seems like he’s used it to fill out his own sound. His lonely vocals are more like Phil Elverum on the louder Microphones/Mount Eerie records, while the scrawls of anxious feedback that underly the majority of Liv endlessly build to lengthy, haunting finales; entirely validating the record’s lack of drums. The fact that Liv was recorded in only one take is a feat unto itself, never mind the consistency and coherence that it gives the record. Despite seeing releases on the infamous Mute Records, Blumberg continues to be overlooked by pretty much everyone – and as he’s putting out exceptional, genre-bending experimental music like this he deserves far, far more attention than he currently enjoys. -E

Careful - Boy Harsher

(Nude Club)

Despite “minimal wave” having seemingly ran its course, Boy Harsher provide another argument for it being the perfect time to rework the genre. On Careful, inspiration is clearly drawn from the likes of Depeche Mode and New Order, but whereas these bands created colourful, dynamic dance tracks, Boy Harsher do the complete opposite; as if they’ve been booked to DJ a funeral. Ghostly vocals speak of abandonment and loss over layers of cold, pounding synths and minimal drums – fit for any cyberpunk movie. Dotted throughout the record are a handful of quieter, atmospheric moments which add to this cinematic feel; intensifying the anxious, dark nature of the project. This is a synthpop record which truly reflects the times. –M

Trust in the Lifeforce of the Deep Mystery - The Comet is Coming

(Impulse!)

The sophomore offering from The Comet Is Coming is the latest outstanding British jazz record, taking the reins from from Sons of Kemet’s 2017 offering Your Queen is a Reptile (incidentally another project with the involvement of Shabaka Hutchings), with more of an electronic, rock fusion. Fusion of the last twenty years has usually been the result of influence the other way, injected jazz into electronic, funk or rock music; but Trust in the Lifeforce of the Deep Mystery appears to have come the opposite way. Foremostly a jazz record but enhanced and driven by elements of other genres, it’s catchy and passionate spiritual jazz, topped off with harks to Sun Ra and an inventive space-age theme. The Comet is Coming are yet more evidence of the burgeoning, world-leading London jazz scene and this is easily one of the year’s most striking and innovative releases. -E

Czarface Meets Ghostface - Czarface and Ghostface Killah

(Silver Age)

The follow up to the much-anticipated and mostly-forgotten Czarface Meets Metal Face, Czarface Meets Ghostface proves to be an enjoyable return to form for both Czarface and Ghostface Killah. As usual, all beats are produced by The Czar-Keys (7L and Jeremy Page) and are an electrifying mix of updated, gritty boom-bap, and futuristic beats reminiscent of early-morning superhero cartoons. Lyrically, the emcees really entertain, bringing the right amount of corniness needed for a project based around comic book superheroes, but still manage to sound imposing and even threatening when necessary. A specific standout moment is Esoteric’s verse on ‘The King Heard Voices’ in which he moves his way between four different flows with such ease. Compared with the collaboration with MF DOOM were always going to be drawn, and, for this album, that is a good thing. I’m not sure it would have been able to stand on its own, but in comparison, it shines. –M  

Remind Me Tomorrow - Sharon Van Etten

(Jagjaguwar)

Sharon Van Etten’s most lyrically and instrumentally developed record yet, Remind Me Tomorrow continues to carry Van Etten’s reputation for impressive songwriting and great capacity for reinvention. Her vocals are emotionally resonant and forthright and, helped by super-producer John Congleton, her instrumental developments clearly exceed that of her previous contemporary folk. Often the instrumentals here are moodier and heavy, even descending into lower-key, electronica-influenced, more Annie Clark-esque sound. Contrasting with that are lead singles ‘Comeback Kid’ and ‘Seventeen’, which have a Springsteen stomp to them, but mostly Remind Me Tomorrow’s tracks are of a more sullen quality. Well written, well produced, well performed, there isn’t much more one can ask of an indie album – and though Van Etten doesn’t pull out anything spectacular out of the bag on Remind Me Tomorrow, it’s one of the year’s strongest releases and a progressive release for her artistically. -E

This Is How You Smile - Helado Negro

(Rvng)

Robert Carlos Lange takes a step back from his usual focus on race and politics to reflect on his life and hone in on his musical soundscapes. Latin folk and atmospheric synths are mixed beautifully to create a cathartic listening experience which Lange guides us through with his gentle vocals, switching back and forth between English and Spanish. Lange’s hauntological influences are evident more than ever on Smile. Beneath the cosy, relaxed instrumentals there are field recordings and unnerving samples which give the nostalgic feel of a Caretaker project, with some of its dejectedness too. The perfect example of this is ‘Fantasma Vaga’, which directly translates to “Ghost Knife” in which Lange describes a supernatural figure over droning synths and sparse steel drums. The triumph of Smile is this ability to overlay and mix these tranquil folk songs, with a hint of discomfort, giving it just the right amount of edge. –M

Crushing - Julia Jacklin

(Polyvinyl)

The 2010’s have become synonymous with female singer-songwriter indie folk; Sharon van Etten, Angel Olsen and Courtney Barnett are just some of the artists who have really championed the genre. It has, however, become rather saturated in the past couple of years, making it that much harder to standout and make a name for oneself. Julia Jacklin has a lot to say, however, and is determined to be heard. Themes of betrayal, loneliness and acceptance are touched upon in a mature and articulate way. Jacklin stands out because she really gets into her subject matter, she intensely scrutinises herself and her surroundings in order to find answers to her questions and solutions to her problems. It is empowering and refreshing to hear an artist not only acknowledging their struggle with humanity and empathy, but so confidently confront and explore it. –M

Love Is - Jungstötter

(PIAS)

Gaining some buzz from his tour with Soap&Skin this spring, Fabian Alstötter’s debut album under the name Jungstötter is a gloomy affair. The name Jungstötter is a mix of his family name and the German word ‘jungstoter’, which translates to ‘young dead’, which perfectly embodies the overall theme of this record. The general slow pace of the album is occasionally disrupted by more intense and chaotic moments, creating some really dynamic and striking tracks. On listening to this record, a barrage of familiar sounds will flood your ears. From the intense baritone ballads of Nick Cave & The Bad Seeds to the androgynous vocals of ANOHNI, there is a wealth of alternative art rock influences dotted throughout. Though, at times, Alstötter does seem reliant on his influences, it is a marvellous debut from the German, obviously keen to form his own signature sound. –M

[X X] - 이달의 소녀 [LOONA]

(BlockBerryCreative)

Loona’s reissued EP is a modern and fashionable set of pop tunes pretty typical of K-pop but with some characteristics Western listeners might find in the work of Grimes or, to a lesser extent, other electro-pop artists like SOPHIE and Charli XCX. Considering there are twelve members of Loona, [X X] is a watertight release, even if it stylistically varies a bit between tracks. Opener ‘X X’ combines electronic chillwave with dubstep in an interesting way, followed by the very modern album highlight ‘Butterfly’; and while many of the rest of the tracks aren’t particularly memorable, they certainly aren’t dull – ‘Colors’ even seems overtly influenced by American R’n’B. With all its similarities to Western pop, it’s easy to see [X X] as a record that could be a gateway into Korean pop music for Western listeners; with the added bonus of being of slightly more substance than your usual idol group. -E

Elephantine - Maurice Louca

(Northern Spy)

A by-product of the Arab Spring in 2011 was the development of a flourishing music scene in Egypt. Cairo-born composer and performer, Maurice Louca, is one of the most exciting names to have risen from this scene. On his third project, Elephantine, Louca explores native Egyptian jazz, surrounding them in the avant-garde. On the track ‘One More for the Gutter’, outbursts of free jazz are complemented by the intensity of guitar-led post-rock. Whilst the finale, ‘Al Khawaga’ is a powerful, repetitive groove littered with swinging horns and hectic drum fills. Elephantine is an inventive exploration, covering immense musical ground throughout its six compositions. –M

Malibu Ken - Malibu Ken

(Rhymesayers)

Aesop Rock has always kept a low profile and doesn’t seem too fussed about reaching the mainstreams. This collaboration with Tobacco of Black Moth Super Rainbow fame certainly doesn’t’ change that as his infamously lengthy and challenging bars have finally found a match. Tobacco’s own brand of neo-psychedelia and indietronica is so out of skew with traditional hip-hop beats that it gives Aesop an edge which he has certainly been missing in the past couple of years. Aesop revisits old themes and is as introspective and philosophical as ever, and opener, ‘Corn Maze’, and ‘Suicide Big Gulp’ showcase some of the best flows of his career. Tobacco’s production is faultless throughout the entire ten tracks, which is good to hear after last year’s lacklustre BMSR effort. Aesop Rock’s dry, esoteric style finds a new home in Tobacco’s weird world of psychedelia. –M

Girl With Basket of Fruit - Xiu Xiu

(Polyvinyl)

It feels like Deerhunter have been around a lot longer than their actual eighteen years. This is due, in a large part, to how the band have been a consistently effective ground-breaking force in indie rock. Spinning from noise and shoegaze on Microcastle and Weird Era Cont. to luscious, empty slowcore on Monomania and Halcyon Digest; their 2015 record Fading Frontier attempted to merge all these traits under the umbrella of a more accessible pop-rock aesthetic. Fading Frontier was arguably as good a record as Bradford Cox and crew have ever made (bar the untouchable Halycon), an emphatic and confident show of exactly why they’re such an important band. However, their latest, Why Hasn’t Everything Already Disappeared, while not being an entire disappointment, doesn’t prove as compelling as any of their previous releases, never mind merely Fading Frontier.

Its faults lay not only in its consistency and comparatively short length but in how it doesn’t particularly push Deerhunter anywhere they haven’t been before. Why Hasn’t Everything takes a lot of their more pop-rock cuts and fleshes them out over their own disc, dispersed between oddly incandescent, immobile numbers that make little-to-no impression over any number of listens. There’s nothing as punchy, bold, or with potential to divide fans like ‘Snakeskin’, and instead tracks that are pretty but plain dominate – the likes of ‘Death in Midsummer’, ‘Element’ and ‘Futurism’ feel hollow despite their catchy melodies. As nice as instrumental passages such as ‘Greenpoint Gothic’ and the back end of ‘Tarnung’ are, they don’t feel necessary on a record that only just breaches thirty-five minutes, and likewise one can question the necessity of tedious interludes (most notably‘Détournement’) and the dire decision to interrupt a short album with lethargic tracks.

As easy as it is to criticism much of Why Hasn’t Everything, the record still has its strong tracks. The nonchalant bounciness of ‘What Happens to People?’ is infectious, and moments like the joyful horns under the post-chorus of ‘No One’s Sleeping’ are as surprising as they are gratifying. Furthermore, though ‘Plains’ might feel like something we’ve heard from Deerhunter numerous times before, it’s still a track with more depth than much of the rest; and closer ‘Nocturne’ seems to be a more poppy sequel to ‘He Would Have Laughed’, which can only be a good thing.

As disappointing as it is that Why Hasn’t Everything is Deerhunter’s first real misstep, it’s also rather impressive that it’s taken them this long. Furthermore, it isn’t as if this new record is testing in its entirety – there’s still plenty of tracks on here reminiscent not only of Deerhunter’s old work but of their philosophy as an artistically evolutionary band.- E

This blog has been censored for ‘explicit content’, despite containing nothing of the sort.

(Jagjaguwar)

Like the album artwork, Remind Me Tomorrow is chaotic and messy, full of bright colours, vulnerable moments and nostalgic themes. In the five years since her last record, Van Etten has acted, scored a film, gone back to school, and had a child. This period of change is reflected in her music as she ventures away from the melancholic indie folk that has become her trademark sound, and boldly embraces the world of synth-pop. Her guitar takes a back seat as throbbing synth bass lines, spacey drones and ambient textures take over.

In order to achieve this new sound, Van Etten turns to prolific producer, John Congleton, known for his work with art-pop superstar, St. Vincent, and on the crushingly hypnotic Swans record, To Be Kind. Congleton does a great job picking out synth melodies that compliment Van Etten’s powerful vocal delivery, making this daring leap into unknown terroity that bit easier. The vast space in the mix, especially on tracks like ‘Jupiter 4’, allows Van Etten ethereal delivery to really standout, as it should, and not get lost within these new sounds. ‘Comeback Kid’, ‘You Shadow’ and ‘Hands’ are more examples of how exciting this duo can be. A more alternative rock influence shines through, with an evocative mix of electric guitar and synth drones which make for a well-crafted exploration through this new sound for Van Etten.

On previous records, there is a distinct bittersweet sentimentalism in Van Etten’s lyrics, as she bravely bares her emotional psyche. Remind Me Tomorrow is just as introspective, but it is a much more positive record, as she reflects on the years after Are We There, and makes evident how much she has grown. The nuance and benevolence that makes Van Etten’s love songs so unique are just as prevalent, even in this new style. On ‘You Shadow’, instead of just dismissing a lover who is trying too hard to earn her love, she advises them to “Use loving words and be gentle and kind. Open your mind and it’s easy to find where I am”. The album closes with a beautiful dedication to her young son, an optimistic look towards the future – something very rarely heard on a Sharon Van Etten album.

The album can, however, feel a bit safe and indistinct at times. I mentioned above some standout tracks which perfectly encapsulated the exploration needed on a record like this, but not all tracks are as inventive. Following the brilliant ‘Jupiter 4’ is ‘Seventeen’, a very predictable, middle of the road track; “Sharron Van Springsteen” as one YouTuber commented. On this track and a couple of others, Van Etten’s lyrics become less direct, and less inspiring; “I used to feel free, was it just a dream”. The production holds up these songs, but even it has moments of excessively gaudy textures, and slightly overdone vocal effects.