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.

Top 33 Albums of 2014 (Part One: 23-33)

No. 23 // thom yorke // tomorrow's modern boxes 
[ landgrab ]

The Radiohead frontman dropped this solo album out of nowhere in September. It was also released, somewhat experimentally, via BitTorrent. Yorke's no stranger to alternative release methods, but this one was a bit of a surprise, outside of a few social media hints. Thankfully, I was somehow able to secure a first pressing of Tomorrow's Modern Boxes, now in its third edition.

If you're a fan of Yorke, you won't be disappointed. While not as immersive as The Eraser, this one pushes the experimental envelope, layering synth clips, treated piano lines, sychopated beats, and multiple vocal voices. The result is a sparse, cold, lonely version of Yorke. "Guess Again!" twitches back and forth robotically, "Interference" is a soft and sad digital ballad. "The Mother Lode" finds his incredible voice on display, and how the rhythm of the percussion fights the rhythm of the piano is wonderful. "Pink Section" approaches Further Down the Spiral territory.

Yorke gets a tad political, but it's vague enough, I think, that it doesn't overpower the musical intent. He's always been a serious fellow. Themes of dystopia, the environment, individuality, and the future don't let this small batch of songs sound anything but serious. However, Yorke is an artist on an island, he always has been, and this record is as solid as any he's done in recent years. Headphones encouraged.

No. 24 // damien jurado // brothers and sisters of the eternal son 
[ secretly canadian ]

I first heard Damien Jurado with 2002's I Break Chairs. I loved his voice and his songwriting style, the images of religion and rebellion. Since, he has released records at a steady pace, and for the most part, I've enjoyed his output. His latest effort, Brothers and Sisters of the Eternal Son, is presented as a concept of sorts, a lonesome quest of a lost man.

The songs themselves can feel desolate at times, but Jurado is a talented composer and weaves this thread through a series of individual "Silver" experiences, most happening after a droning reunion in "Return to Maraqopa." The strongest of these, is "Silver Malcolm" a soft spacey tune, that recalls the feeling of waking up not quite sure where you are. I find the concept intention a bit hard to follow, but it's probably for the best, as it lets the songs exist on their own. Jurado's voice is the star of most of these, particularly the closer, "Suns In Our Mind." It's a tremendous finale, a hint psychedelic '60s pop, and perfectly arranged.

This album can be compared to 2012's Maraqopa, and has been described by Jurado as a companion to that album. That may be, but Brothers and Sisters of the Eternal Son stands on its own two feet, and is one of the stronger albums in Jurado's canon.

No. 25 // the afghan whigs // do to the beast 
[ sub pop ]

It's a bit scary when a band that hasn't released an album in almost twenty years decides to hit the studio again. To be fair, Greg Dulli and John Curley are the only original members involved, and Dulli has been pretty active in the music world since Afghan Whigs' previous LP in 1998, with the Twilight Singers and the Gutter Twins.

Do to the Beast, thankfully doesn't attempt to recreate the sound of the Whigs' previous albums, at least not outside of Dulli's style. It's dark and rhythmic, dirty and heavy. The LP kicks off with a bang with "Parked Outside" a raucous, sleazy riff and drum beat, and a lot of yelling. "It Kills," "Can Rova," and "I Am Fire" are other standout tracks. "Algiers" is my favorite track, proving Greg can still write a killer tune after all these years. The melody is so good, and the smoky tempo and slide guitar just makes the whole thing drip with a cold sadness. The closing track "These Sticks" is a perfect slow burn to put the finishing touch on this dense album. The artwork and packaging on the LP version is pretty awesome, strange black and white photos, strange symbols, and lyrics included, which is always a nice bonus.

So, fear not, this record will be a quick favorite for fans of the Whigs and Dulli's other projects alike. Time will tell if this "reunion" will be a permanent one, but this one works. An interesting anecdote, this year I got a tattoo, my second, after a 14-year gap from my first. The album I chose to listen to whilst getting tattooed? Do to the Beast. It seemed fitting.

No. 26 // denney and the jets // mexican coke 
[ burger ]

There's a scruffy charm to the debut Denney and the Jets LP. Mexican Coke is rough around the edges, but the band barrels through sloppy blues and drunken waltz ballads with a devil-may-care attitude and some pretty good chops. Chris Denney is a storyteller, and most of his stories deal with drinking too much, doing too many drugs, and getting into trouble.

I stumbled upon this mid-year, and from the first few notes of "Water to Wine," I knew I was going to dig it. It's just dirt-kicking rock and roll, and there's something annoyingly hypnotic about Denney's Nashville drawl. The use of call and answer vocals is very cool, and the guitar tones are perfect. Matter of fact, great guitar is all over this record, clean, dirty, tremolo, reverb all used in great ways to shape bluesy riffs that hold up Denney's tunes. Whether it's ballads like "Darlin,'" a country waltz like "Charlie's Blues," or the slamming riffs of "Mama's Got the Blues," Denney and his Jets seem comfortable with pretty much any style.

Mexican Coke's rocking country blues and dirtbag stories may not be for everyone, but I found myself listening to it quite a bit. They don't take themselves too seriously, it seems, and a touch of humor and a touch of danger goes a long way.

No. 27 // ultimate painting // s/t 
[ joyful noise ]

There is something comfortable and uncomplicated about this UK duo's debut, self-titled LP. It sounds british without sounding too british. It sounds vintage without getting too vintage. Think warm guitars, punchy percussion, vocals sang or spoke with a vaguely english inflection. It's reminiscent of the Velvet Underground's self-titled album, in that it sounds simple, but attempts to expose some deeper emotion, without really understanding it.

Naming the title track after your band is always a bit strange, but it's a strong lead track. Vocals match up just enough, and the guitar work is strong. "Central Park Blues" tells a great rambling story about the desire for solitude, all the while in a bustling setting. Other standout tracks include the dreamy "Riverside," the Velvet-esque "Ten Street," and the dirty pop of "She's A Bomb." Really, all the songs are well-crafted and the album flows nicely.

This record is a solid debut from a group I hope to hear more of. There's a lot of potential here, and their willingness to keep things simple shows they respect the songs and where they can go. On a side note, I discovered Trouble In Mind Records this year, and have enjoyed many of their artists, a few of whom made this year's list.

No. 28 // the felice brothers // favorite waitress 
[ dualtone ]

The good news about the Felice Brothers' first foray into a proper studio, is that they still churn out a ramshackle stack of roots rock songs that sound like a Saturday night into Sunday morning. Favorite Waitress begins with a goodbye ode to Pete Seeger, bittersweet and sad, full of string swells and strums. It's a proper tribute to one of the fathers of American folk. "Cherry Licorice" is one of my favorite tracks of the year, trucking along with accordion accompaniment and tongue-in-cheek lyrical wit. When Ian Felice reaches for the line "I'm high on halloween candy again" they hit that musical perfection songwriters dream about.

Throughout the night, the band treats you to earnest ballads and alt-country numbers, all in a slightly unpolished, loose manner with an open mix. Their vocal harmonies shine on tracks like "Lion" and the Wilco-esque "No Trouble." Felice Brothers' sound is familiar, comfortable, and uncomplicated. This LP is enjoyable in any context, but feels especially geared towards an all nighter of beers with friends. Everyone sings along to "Katie Cruel."

Now that the sun is up, "Woman Next Door" is that last loud kick for anyone who is still awake. As you fall asleep, "Silver in the Shadow" blacks out the windows as best it can. Almost ten years into their career, the Felice Brothers can still make you tap your foot and stay up too late, even if it's the usual. Sometimes, that's just what you need.

No. 29 // circulatory system // mosaics within mosaics 
[ cloud ]

The Pandora's Box award for 2014 goes to Circulatory System's Mosaics Within Mosaics. An apt title, there's little left uncovered after the double LP's 31 tracks have been experienced. And an experience is just what this is. Some tracks feel as if you're wandering through a rehearsal building, hearing a bit of each band. Some songs are fully realized, incredible pop gems, while others are ideas petering out of gas in front of you. All of them have strange layered, bedroom tape machine, potluck feel to them.

This wild experience is completely intentional, however. Leader Will Cullen Hart knows what he's doing here. Making a record like this is more difficult than it seems, and easy to honk up. There are so many stellar tracks that pop their head out of the sand throughout this journey. "If You Think About It Now" gate sets the mood after a Red Red Meat style intro. The beautiful "It's Love" wouldn't sound that out of place on the White Album. Some songs are brilliant half and halfs, like "There is No Time but Now." It's an interesting style that works really well. The album get better as it goes along, and my two favorite tracks "Sounds That You've Never Heard" and "Stars and Molecules" are both constructed perfectly and provide the second LP with the steam it needs.

Mosaics Within Mosaics is a heady listen all at once, so be warned. I've had just as much satisfaction jumping around the digital tracks as I have spinning it in its entirety, discovering new sounds all the while.

No. 30 // jack white // lazaretto 
[ third man ]

Jack White is a polarizing fellow. He's everywhere these days, between his Third Man Records gimmicks, world concert tours, primetime interviews, baseball stadium VIP tickets, as so on. It can be hard to separate the man from the music. If you can muster the strength to do this, his new LP Lazaretto is probably the most exciting one he's released since Get Behind Me Satan. We may still long for those White Stripes days, but this confirms White 2.0.

Where 2013's Blunderbuss seemed schizophrenic, this one feels like a roller coaster to every sound White has under his belt. White employs his touring band for the majority of these tunes, as well as a slew of additional musicians, and the group can sound smooth and cool, tight and crisp, or just plain nasty. A dense population of instruments let them frame White in just about every color of the spectrum. White's vocals are confident as always, even if he does tend to occasionally write above his register, but don't we all?

There is really isn't much outside the realm of Jack White's song style, and here we find rockers, country strings, folky traditions, space-age '70s effects, often in the same song. Standouts like "Temporary Ground," the muscular instrumental "High Ball Stepper," and country-blues "Entitlement," Lazaretto prove that, whether you like the man or not, you can't deny the musician's talent.

No. 31 // warm soda // young reckless hearts 
[ castleface ]

Get the fuzz in your face with this one. I wasn't too impressed with Warm Soda's debut LP in 2013, but Young Reckless Hearts is quite a step up in maturity and songwriting. This LP can sound like '50s rock and roll, '70s puff, '90s rock, and even a bit like early Strokes records. It was recorded at a studio called Fuzz City for crying out loud.

The songs are poppy, almost a power-pop, but the instruments are kept pretty lo-fi and warmly compressed, that it doesn't wander into the candy zone. "Postcards" and the title track are early standout examples of this. The tones are just heavy enough, throwing in classic riffs and layered whispery vocals makes for one of the more interesting rock and roll records this year. "Save This Dance for Me" seems pulled straight out of teen movie with a band at the dance. Who has a band at the dance? "When Your Eyes Meet Mine" is another favorite. Strangely modern and classic simultaneously.

At the end of the day, this record was better than Warm Soda's previous, and I liked enough to include it in the list. They still sound just like their name suggests. But this time around, at least you're drinking Barq's.

No. 32 // chad vangaalen // shrink dust 
[ sub pop ]

Supposedly written as cinematic score, this Canadian weirdo's fifth LP is perfect for the "german black and white nightmare film" genre. The imagery is strange and an almost fever-induced haze covers the entire record. After an introspective introduction "Where Are You?" shouts down the coal tunnel, probably at himself, his psyche, as hypnotic drums and a mess of sounds attempt to hold structure.

Once you've made it to the other side of this interesting start, there are some beautiful songs here. "Lila", "Weighed Sin" and "Evil" sound almost normal by comparison, if it weren't for that aforementioned haze. VanGaalen's warble finds pretty melodies within each simple arrangement, especially when harmonizing with himself. This lends an interesting polarity to the lyrical imagery of fear and isolation. The garage rock "Leaning on Bells" and the psychedelia of "Weird Love" color the record's back half and prevents any repetition from forming. "Hangman's Son" and the echoing closer "Cosmic Destroyer" will lift you out of VanGaalen's nightmare slowly and sweetly. The country-tinged beauty in these two tracks is worth the entire trip.

The density of the twelve tracks makes Shrink Dust a fairly stout listen, but if you'd like the push past the usual indie type into a more challenging sound without falling off the deep end, this record is for you.

No. 33 // delta spirit // into the wide 
[ dualtone ]

Compared to previous Delta Spirit releases, this album feels like a fresh redirection in sound. Perhaps it's them striving to match their live sound, or stay current. It also could be an attempt to shake the alt-country sound of their earlier work.

In any case, Into the Wide is dense, dramatic, and polished. It's similar in sound to their previous, self-titled release. From the balladry of the opener "Push It" to the urgent pulse of "Live On" to the arena-rock "Patriarch," Delta Spirit are eager to flex each muscle in their arsenal for the listener on this one. Matthew Vasquez has always had a strong unique voice, and it's showcased throughout, but particularly so on "Take Shelter" and the title track.

Into the Wide is a very serious record that, in my opinion, you must be in the mindset to enjoy. Themes of perseverance, rebellion, history, and rebirth are heady subjects to tackle, and don't quite work as background or party music. But for what it is, it sounds like Delta Spirit have picked a lane, and punched the gas.

Did you see that Fat Possum? He's, like, wearing sunglasses.

Independent label Fat Possum has some great new titles to offer. The label's motto is, after all, "We're trying our best." Their track record is pretty stellar and I'm liking the catalog more and more since I first ordered Christopher Owens' Lysandre early last year. I'm also looking forward to Each Other's debut LP in March.

Mutual Benefit Love's Crushing Diamond
A leftover from 2013, and one I would have liked to include in the honorable mentions. It's open and sparse, like Califone or Dirty Three. Soft harmonies, interesting percussion, and unique instrumentation make this short release a pretty satisfying listen. The songs are welcoming, romantic, and a tad hypnotic. A perfect afternoon spin.

Temples Sun Structures
Modern psychedelia is all the rage, kids. In contrast to the last few records I've touted, Temples' debut LP is quite well produced, even a bit polished. All the classic guitar tones, panning tricks, and call and answer vocals are here, however. Sun Structures is also fairly diverse, sometimes reminiscent of Unknown Mortal Orchestra or Tame Impala, other times Oasis or Travis. Basically, just good throwback british psych rock played by british kids.

Water Liars s/t
I absolutely loved last year's Wyoming, and was impressed to hear these guys hit the studio again so quickly. Their self-titled third LP could be considered a part two of last year's record, there's not a huge departure in sound. Justin Kinkel-Schuster's songs seem just as strong, sentimental, and sorry as the previous offering, but this one is still pretty fresh. Think alt-country singer-songwriter stuff with some dirt on it after a few drinks. On a side note, Water Lairs play Off Broadway on March 8 and I shan't miss them.

Warm Your Feet By the Psychedelic Fire

January kicked our butts, but there's good news on the horizon. Warm psychedelic jams are on order in the first two records to capture my attention this year. Both records are unique in that they manage to be shimmering and layered, whilst avoiding being too heady and overbearing. They're available now, so go and dig it!

Quilt Held In Splendor (Mexican Summer)

Quilt's second record is pretty traditional psych, with chambered vocal harmonies and shimmery phased-out guitar. Each song has at least one instrument that sits above the smoke while the band jams along. Also, the songs are different enough that it's not boring, and most of the melodies are fairly memorable, when not lofty and repetitive. Sometimes it's dreamy, sometimes it's dark, but it's pretty strong. Retro 60's psych seems to be a hot ticket these days, what with the Tame Impala's and the Unknown Mortal Orchestra's, but there is certainly enough on this LP to make it unique. 

Morgan Delt s/t (Trouble in Mind)

Okay I lied, this one is pretty heady. It's worth it, though. Lo-fi sound and mix, degraded samples, creepy melodies, psych freak out guitar, fuzz bass, this one's a doozy. It's also the debut record from this guy. Some of it reminds me of White Fence, some of it the Flaming Lips, if Stephen were the leader. These kinds of records fascinate me in their creativity and density, and Delt is as strong a songwriter as you need. He's imaginative, but really tempers that challenging quality and churns out an LP full of distorted pop goodness.  

New Spins // Honorable Mention Edition

Here are a few honorable mentions on the list this year that were a bit lesser-known, in my opinion, and I think they deserve the new spins treatment. Check 'em out if you can. 

T Hardy Morris Audition Tapes (Dangerbird Spain)

Dead Confederate founder's solo debut. This record is a strong set of songs that range from folk, alt country, rock; and it's all pretty accessible. He has a unique voice (think Delta Spirit), and inhabits the even-paced songs very naturally. This is probably my favorite one of the above four. The more I listen to it, the more I think it should've made the top ten.

Dent May Warm Blanket (Paw Tracks)

2012 found him an honorable mention too, and this 2013 LP is equally strong. On the surface, this one is a bit weird. His voice is syrupy sweet, like discount cough medicine. The arrangements sometimes have a George Harrison feel (see "Do I Cross Your Mind?") Overall, though, a very hypnotic and unique record that lingers if you give it a shot. 

Diane Coffee My Friend Fish (Western Vinyl)

The drummer from Foxygen has some pipes. There's lots of the throwback qualities that band employs here, and a bit of it's sense of humor, too. The mix has a nice open sound, and you can pick out all the little extras. This record reminds me a bit of RAM that way, and it's probably why I like it so much. This guy is pretty impressive and seems like a bit of a weirdo. That's cool, though. 

Generationals Heza (Polyvinyl)

Discovered this one when I was ordering Of Montreal's new one from Polyvinyl. I guess you'd call this 'indie' rock. Lots of synth editions, but pretty straightforward throughout. The opening track "Spinoza" has so much energy, it had me starting the thing over every time. In that, I found a catchy, memorable record that I never tired of.

Top Ten of 2013

The enjoyable yet tiring process of choosing my favorite ten records of 2013 is finished. There was so much great music this year, I can't believe it. Spotify was a great help digging through it all as usual. Here's the master list and some honorable mentions. Cheers!

1. Portugal. The Man Evil Friends (Atlantic)
2. Cass McCombs Big Wheel & Others (Domino)
3. Foxygen We Are the 21st Century Ambassadors of Peace & Magic (Jagjaguwar)
4. Pokey LaFarge s/t (Third Man)
5. Happy Jawbone Family Band s/t (Mexican Summer)
6. The Strokes Comedown Machine (RCA)
7. Kurt Vile Wakin on A Pretty Daze (Matador)
8. Queens Of The Stone Age …Like Clockwork (Matador)
9. Jim James Regions of Light and Sound of God (ATO/RED)
10. Unknown Mortal Orchestra II (Jagjaguwar)

Honorable Mentions

New Spins: Check these Footlongs

Califone Stitches
(Dead Oceans)

Mister mumble and his kitchen sink crew clean up the place a bit on this new Califone LP, the first that Tim has done outside Chicago. The mix is pretty straightforward and the vocals are front and center. This is a tighter album than 2009's meandering All My Friends Are Funeral Singers and that's all for the better. Califone goes places they've seldom gone on this one, and they're all the better for it. Easily their strongest outing since Quicksand/Cradlesnakes. If you're a Califone fan, let's face it, you should already have this. If you're not, it's a great place to start.

Caveman s/t
(Fat Possum)

Strange in name, atrocious artwork does not a bad record make. This one took a bit to sink in, but it's quite a diverse, interesting journey. Synth-fueled jams chock full of reverb, blurry background vocals and creative melody. The first real song on the LP, "In the City" recalls the seriousness of the late seventies, and sells it hard. Songs get stretched out and fade back into the mix, but when the vocals push, it's pretty emotional. "Ankles" is a favorite at the moment, give it some volume. Certainly not a party album, but they can't all be, right?

Water Liars Wyoming
(Fat Possum)

Folk is king right now, it seems, but it's an easy genre to botch. Water Liars' sophomore album does it well, without posing or forcing it on you. Justin's small touch of southern drawl lends some authenticity to the sadder songs. "Backbone" was released as a single a time before the LP, and it's a two sided jekyll and hyde tune that manages to channel Cass McCombs, Jim James and AA Bondy all at once. The album as a whole is a great listen, perfect for the Fall. Nothing too overcomplicated or challenging here, and that's just the way it should be.