Top 33 Albums of 2014 (Part Two: 12-22)

No. 12 // christopher owens // a new testament
[ turnstyle ]

It feels like this record has been a long time coming for former Girls frontman Chris Owens. The last record he made with that band, Father, Son & Holy Ghost, was very good, but then they disbanded. I had high hopes that he'd take the poppier side of that band and ride it into the sunset with a solo career. Well, that didn't really happen. He released Lysandre, which was basically an EP with a few decent folk tunes, a recurring theme, but little experimentation and little gold.

A New Testament is much closer to the mark. In it we find Owens writing the most accessible, melodic, pop songs he's ever released. Among them are some of his best: "Stephen," "Nobody's Business," and "I Just Can't Live Without You" are as good as anything he released with Girls. There's so many styles that hold up his simple songs, country, soul, blues, even some gospel backing vocalists. The band takes Owen's music and makes it sound big, like on "Nothing More Than Everything" and "Key to My Heart." The songs are so full and so sweet, it's almost too much at times.

Owen's definitely has a style, musically, vocally, and lyrically. His vocals don't always fit in the pocket, as he's seemed to embrace the whisper/sing even more on this one, and the ultra clean mix sometimes fights with that aspect of the record. I've always enjoyed his music and style, though, so hopefully you can learn to love it too, because the songs are just so darn good.

No. 13 // ty segall // manipulator
[ drag city ]

Ty Segall is one of the most hard working musician's out there right now. He's put out at least one record per year himself, in addition to collaborations with friends, albums with the Ty Segall Band, and one-off singles. While it may be impossible to digest Segall's output, or even make sense of it, Manipulator just may be the album that best shows us where he's been, while showing us where he's headed.

There's quite a lot to experience here, seventeen tracks in all. You get a lot of value with Ty records, and he keeps most of the tracks short, so it doesn't seem too long. The title opener is perfect announcement almost like a garage rock circus is about to start. "Susie Thumb" is a classic Segall song, yet "Don't You Want to Know Sue" finds him embracing the '70s. "Feel" is a straight jam, Ty's leads are so sloppy and cool, like Neil Young on uppers. With Manipulator, he's pushing his sound through the roof. The guitars have that saturated, overdriven sound, you expect from Ty, like on "The Faker," but the songs are more crafty and deliberate. The strings that Segall adds to "The Clock," for example show maturity, but don't detract from his free and sometimes primitive sound. It's pretty impressive, actually. He does whatever he wants, and it it works. The great "Who's Producing You" gives us a bit of insight into him "turning black into gold." Ty produces all his records.

I enjoy the majority of what Ty Segall has released, but with each listen, Manipulator is quickly becoming my favorite. It's bit more charming and classic-leaning than his previous releases, and hopefully that's a trend that will continue. Ty has always been one of the more interesting artists to come out of the San Francisco scene. If you've never listened to him before, this might be a good time and place to start.

No. 14 // tweedy // sukierae
[ anti- ]

Everybody does a solo record. It happens sooner rather than later these days, so for someone as accomplished as Jeff Tweedy to wait 20 years to do one almost never happens. It's a soft, sweet album dedicated to (and named for) his wife. Somewhere along the line, his son Spencer became involved, making this more of a father and son album than a true solo affair.

Be forewarned, there's a lot of Tweedy here. The good part is, most of Sukierae has him trying a lot of new sounds and progressions, that he's committed to tape at least. That's not to say you won't hear ghosts of our beloved Wilco here, whether it's avant guard noise, sloppy noodley guitar solos, or pulsing piano riffs. There's a good deal of reverb laced backing vocals in many songs, like the humoristic "Low Key." They made a pretty funny video for that one.

This record feels a bit long, though. Of the twenty tracks, some songs are a bit half baked (intentionally or not), but the ones that are more complete like "Summer Noon" or the sleepy "Desert Bell" are incredible. "Nobody Dies Anymore," proves Tweedy is still the best at sad and sweet. He wears his Dylan influence on his sleeve on many of the tracks. The addition of Spencer was a good idea, he seems eager to impress both his father and his fans. His young approach makes songs like "Diamond Light Pt. 1" and "World Away" stand out, where they may haven't otherwise.

So, the long awaited Jeff Tweedy solo album isn't quite what we expected. But when has Jeff ever done that?

No. 15 // sturgill simpson // metamodern sounds in country music
[ high top mountain ]

It's a tough task these days for a country record to break into mainstream music. It's even more difficult to make a traditional-leaning, serious country record, push it through a slight psychedelic filter, and have it come out one of the best albums of the year.

It's also easy to pigeonhole country music as songs about drinking, broken hearts, and pickup trucks. Metamodern Sounds in Country Music is more about traveling, pining for love, drugs, and existentialism. That's not to say this record isn't steeped in tradition. Sturgill's voice has that deep, almost sarcastic country inflection that just drips onto the top of each song. In "The Promise" he pledges his love softly until the end, when he uncharacteristically raises his voice, and it's so good. "Living the Dream" proves his band can kick it, too. "Long White Line" is awesome tongue-in-cheek shuffle, with great electric guitar. That's just how it's supposed to sound, by the way. "A Little Light" will get you a-dancin' and a-clappin' the night away. The closer, "It Ain't All Flowers" blows them all away, and turns it up to ten, both musically and emotionally.

Admittedly, country music isn't usually my bag. But when it comes down to it, you can't really argue with that sound. Sweeping and sad, boogie and shuffle, southern and sweet. There's just something about it. And Sturgill Simpson's got it.

No. 16 // frankie cosmos // zentropy
[ double double whammy ]

There is this simplistic genius to this record. Songs about school. Songs about self esteem and daydreaming. Songs about dads. Dedicated to her dog. Just like a teenager would write in his or her room. Just like we all did.

However, on Zentropy, Frankie Cosmos composes with such a talent that she elevates these simple songs to the next level. The record tightly produced and concise, with minimal instrumentation and no clutter. Only a couple songs push past the two-minute mark and most don't even approach it. Cosmos' angelic voice propels songs like "Birthday Song" and "My I Love You" all by itself. Other gems like "Fireman" and "Owen" find one of the Maine brothers (not sure which one) help the song get where it needs to go, especially the latter, which has a perfect loud-quiet-loud arrangement that stands out here. The simple yet sophisticated "Buses Splash with Rain" is also a standout that builds and builds.

And it's all over in a flash. Perhaps that is one of the reasons Zentropy is so memorable. It's catchy, quick and leaves you wishing there was more. Pop rock at it's finest.

No. 17 // temples // sun structures
[ fat possum ]

Psychedelic rock has made a strong comeback in the past few years, with bands either jumping in to the sound completely, or peppering their own sound with drone and fuzz psych flair. In response to the States' mostly dingy, lo-fi approach, these brits deliver a cleaner and classier take on that classic sound.

Sun Structures is very british and sophisticated, and from the meandering lead of "Shelter Song" they swirl and echo their way through a strong set. Songs tend to jam on for a while, as this genre does, but they are packed with a myriad of little lead lines, key parts, random vocals, they can sometimes sound like a train with no signs of stopping. Dark or light, major or minor, there isn't much to complain about here. Weirdness abounds on "The Golden Throne" but the payoff comes when the chorus hits. "Keep In the Dark" shows a folkier side of the group. "Colours To Life" drones through part after part, building and falling with ease. "The Guesser" is a standout track as well.

Sun Structures is layered and dense with multi-part harmonies on almost every song. Slightly distressed drums and jangly guitars are also a trademark of the band and the genre. This, coupled with the LP's length makes this more of a challenging listen. However, the more you hear it, the more it sticks with you. Definitely worth the exploration.

No. 18 // mark lanegan band // phantom radio
[ heavenly ]

The Mark Lanegan Band is back with another installment of dark blues. Phantom Radio (and its companion EP, No Bells on Sunday) take cue from more of the synth-driven songs from MLB's previous effort Blues Funeral. The result here is a more flowing, cohesive record that sounds more like a band working together, rather than a group of musicians taking orders from Lanegan. Collaborator Alain Johannes returns again, so perhaps this direction was his doing.

That's not to say that there aren't some unique songs here. This album is more relaxed than its predecessor, particularly on tracks like "Judgement Time" and "I Am the Wolf," and the latter almost feels like a throwback to Lanegan's tremendous 2001 album Field Songs. The digitized percussion and synths are present on almost every song, and are vehicles for tracks like "The Killing Season" and "Death Trip to Tulsa."

The lonely ballad "The Wild People," is possible my favorite song, a welcome break from the digital sound towards the end of the record. If you didn't dig the sound of Blues Funeral much, you might take issue with this LP as well. However, if you enjoy Lanegan's songwriting and voice as much as I do, you should view this as a solid effort with a unique sound, yet somehow still classic Lanegan.

No. 19 // real estate // atlas
[ domino ]

The melancholy surrounding the start to Atlas never quite lifts. Soft reverb and warm colors come and go. Vocals wane in and out. Real Estate is a band that is, in actuality, very tight, but have perfected not sounding too tight. Songs stretch and yawn, a bit like Kurt Vile, but with half the song length. This album was recorded at Wilco's loft, and to me, you can hear it. It's superbly recorded and mixed, every instrument nestled in its little pocket.

"Talking Backwords" builds with some momentum towards the front of this LP, but mostly the songs teeter around a barely-breaking-a-sweat pace. There aren't many variations in sound along the ten tracks, but all are sweetly arranged and performed, particularly "Had to Hear" and "Primative." No aggression or confrontation, but still very purposeful and sincere. "Crime" in my ears, is the best song, and houses the most creative melodies here.

Atlas is a somewhat sleepy record that sounds as if the band sprawled out in the living room to jam. And fittingly, it's a good record to spin while sprawled out in your living room. Not too challenging, not too sad. Just right.

No. 20 // busman's holiday // a long goodbye
[ joyful noise ]

One of the more unique releases of the year, A Long Goodbye on the surface seems like the feel-good indie folk that has been popular in the past few years. Dig a bit deeper, though, and these guys have chops. Brothers Lewis and Addison Rogers are fantastic singers, songwriters and storytellers. Their simple folk stories are transformed by a slew of accompanying musicians playing horns, strings, keys, and percussion.

Outside of the string freak out that closes out "Bones I," this album is a very pleasant listen. Love songs and songs of yearning and aging show this duo's maturity and craftsmanship throughout the record. Foot tap through "Child Actor" miss someone during "Death." Live inside your own movie on "Alone" and "Not Alone," arrangements so lush and colorful you can almost see it. They tend to toss in some existential nuggets, as in "World" with "You will always be a part of something more than you would know." Performed with such confidence, and lacking any pretense, it becomes something special. The record is incredibly clean, perfectly recorded in Arcade Fire's church.

Busman's Holiday released a short album that included some covers in 2008, and clearly spent the following years perfecting a sound that is easy but deep, quiet but loud, and definitely memorable. I look forward to the next installment of these talented brothers.

No. 21 // papa // tender madness
[ republic ]

Darren Weiss, singer/drummer of PAPA, had a stroke of genius in 2012 with the EP A Good Woman is Hard to Find. It was so fantastic, and so short, I couldn't wait to see what he would come up with next. The result is a more calculated, produced version of the band. It sounds like New York City in a rainy taxi. It sounds like a man on the run.

Tender Madness moves quickly, the first proper song, "Put Me To Work" is a call-to-action declaration. Weiss' voice is so good, that even with a more memorable piano line splitting up his verses, you can't wait for him to sing again. PAPA likes to pepper instruments in and out of songs, kind of like Spoon, and each tune can contain many different parts and riffs, it teeters on overload. "Cotton Candy" jumps around with guitars, organ, drums and piano each taking their turn. "If You're My Girl" has a ghostly vibe, full of that aforementioned big city sound.

The highlight of Tender Madness, is half way through, with "If the Moon Rises." It's unapologetic and honest, and most-likely sarcastic, but so strong in arrangement and melody. It's the best of a batch of great songs. Unfortunately, there's one misstep, in rerecording "I Am the Lion King" from A Good Woman. It doesn't have the attitude of the original version, and feels out of place here. It's a forgivable offense, thankfully, considering the album as a whole.

No. 22 // dean wareham // s/t
[ double feature ]

For a seasoned musician, a solo album can be an emancipating exercise. Throughout the years, Dean Wareham has experienced moderate success with bands Galaxie 500 and Luna. He's written music for film. Now, he's made a full length under his own name for the first time, following up last year's appropriately titled EP, Emancipated Hearts.

This LP is produced by My Morning Jacket's Jim James, and it sounds like it. Wareham's simple songs are made to float in dim light, with touches of echo and reverb giving them color. Throughout, Wareham shares the wisdom of his years, but it's not at all condescending or instructive, simply a reflection of age and a longing to understand the future. The opener "Dancer Disappears" folds you in to the album's sound gently until a slight Wilco-esque noise carries it away. It could be a commentary on the state of music, or at least his music. The flowing chord progressions of "Beat the Devil" have a '60s vibe, and in "Holding Pattern" James' familiar omnichord makes an appearance. The fantastic standout, however, is "Love is Not a Roof." It's a coming-to-terms with aging and his place in the world. When the Pink Floyd style second half kicks in, it's clear that Wareham's doing just fine.

The more I spin this one, the more I enjoy it. It's easy to listen to, and easier to repeat. It's a good thing Dean Wareham has chosen to finally announce himself in a solo affair. It was worth the wait.