Midyear Notables or Oh Yeah I Almost Forgot About This Blog
Hopefully your RSS reader still works and this popped up. My excuse for lack of content here at the Finest Kiss is that I’ve been too busy listening to records. To catch everyone up on my life, here are 30 or so records that are at the top of my pile so far for 2018. Seems like a lot, but I still feel like I left a lot of good stuff out.
Anna Burch – Quit the Curse (Polyvinyl)
Burch was in the Sarah Records influenced Failed Flowers with Fred Thomas of Saturday Looks Good to Me. Here debut solo album has a nod or to towards K Records, specifically Lois Maffeo, with its 90’s style indiepop and understated sardonic pop.
Beach House – 7 (Sub Pop)
Baltimore’s Beach House are a prolific duo and their many records seem to have building up to their seventh appropriately titled album. If you recall late period Cocteau Twins when they were at the height of their ethereal powers, then yuo will no doubt already own this.
Blues Lawyer – Guess Work (Emotional Response)
With their tendrils firmly wrapped around the Oakland, California indie scene, Blues Lawyer do lo-fi wiry punk ditties that bring to mind contemporaries the Rays and early influencers like Television Personalities and the Tronics.
Cavern of Anti-Matter – Hormone Lemonade (Duophonic)
Tim Gane’s post-Stereolab groop puts it all together on their third album. It’s full of experimental Kraut excursions and just enough song structure to keep it from going off the rails.
Cut Worms – Hollow Ground (Jagjaguwar)
Tons of Everly Brothers and Buddy Holly in Hollow Ground, which flies in the face of present day music. What’s wrong with this one man band Max Clark and his compulsion of a bygone era? Who cares, when it sounds this good.
Datenight (US) – Comin Atcha’ 100MPH (Drop Medium)
Anyone remember that Box Elders record from a ways back? If not, you probably are familiar with the Clean. This Nashville band reminds me of both.
Dumb – Seeing Green (Mint)
Most would file Dumb under Pavement/Parquet Courts, but I dig way these Vancouver rockers’ punky songs evoke Big Boys, sport an offbeat sense of the absurd and (probably) make an unintentional nod to Stewart Copeland’s alter ego Klark Kent.
Flasher – Constant Angel (Domino)
I love how this DC band blend Hometown influences like Unrest and Holland with Three O’clock style paisley underground into a brilliant record that goes against the current grain. If this came out 25 years ago it woulda been on Teenbeat fer sure!
Freak Genes – Qwak Qwak (Drunken Sailor)
Sparse lo-fi punky songs from a guy from Proto Idiot and another guy from the Red Cords. On LP number the duo add some synths to their garage arsenal of sound. I’m not sure why they’re dressed as ducks on the cover, maybe it’s a result of some gene splicing experiment gone awry where they tried to genetically modify the DNA of Buzzcocks, Syd Barret and Howard the Duck.
Girls Names – Stains on Silence (Tough Love)
On their fourth album, Northern Ireland’s Girls Names plunge themselves down into a dark, dark place. It’s not as immediate as previous efforts, but I think I like this new one more than anything they’ve done so far. It brings to mind the moody “difficult” post punk the Sound’s All Fall Down and Comsat Angels’ Sleep No More.
Goat Girl – Goat Girl (Rough Trade)
London’s Goat Girl sound like a 1980’s 4AD band from the United States. Translated, that means think Throwing Muses and Pixies. Throw in a little PJ Harvey and Gallon Drunk and you’re only missing Steve Albini, who apparently was too busy playing poker to records their debut LP.
Green Seagull – Scarlet Fever (Mega Dodo)
From the If it ain’t baroque then surely its psychedelic school of 60’s rock revivalism, comes Green Seagull’s debut LP. Both of last year’s excellent singles reappear here to re-mezmerize, but there are many new songs drenched in kaleidoscopic harmonies and 12 string guitars that are just as worthy.
Gwenno – Le Kov (Heavenly)
For her sophomore album Gwenno has switched from singing in Welsh to singing in Cornish, a minor detail probably for most of us who speak neither. Whatever language she sings in, Gwenno excels at the lingua franca of krautrock-psychedelic-soundtrack strain of rock.
Hollie Cook – Vessel of Love (Merge)
Swapping out Prince Fatty with Youth to produce her third album of tropical reggae vibes, Hollie Cook doesn’t miss a step. There are fewer string arrangements, but one half of Public Image Limited (Jah Wobble and Keith Levene) and a top batch of songs make barely noticeable.
Hookworms – Microshift (Domino)
Hookworms started out as a screaming maelstroem inspired by Thirteenth Floor Elevators, but with each album they have sanded down the roughness of their sound little by little and now Microshift sees them morphing into Depeche Mode. Not quite, but they do employ some fast fashion into this record to thrilling effect while still keeping their slightly unhinged attitude.
Insecure Men – Insecure Men (Fat Possum)
The new band from Saul Ademczewski formerly of Fat White Family is light, playful and unassuming, but that doesn’t mean it’s not worth your time. With a name like Insecure Men and sounding like it they were influenced by Harry Nilson, the Lightening Seeds, Love & Rockets and Captain Sensible, Ademczewski an his collaborator Ben Romans-Hopcraft stay on the pop rails just barely.
Itchy Bugger – Done One (Low Company)
This record appears to bit of an anomaly, a dude from bands that sound nothing like the Clean, Television Personalities, and the Art Museums makes an album that makes a record that sounds like it was directly influenced by those bands. What a crazy wonderful world.
Jonathan Fitoussi / Clemens Hourrière – Espaces Timbrés (Versatile)
This duo employ vintage modular synthesizers to create ambient landscapes that share topographical similarities with Kraftwork’s Radioactivity and Eno’s ambient stuff. Rarely does ambient music feel so powerful, but this record is juiced with the ability to make one feel they are floating into other realms.
La Luz – Floating Features (Hardly Art)
I suppose it isn’t all that surprising that a surf band from Seattle would move to Los Angeles. Who wants to surf (or play beach parties for that matter) the frigid waters of the Pacific Northwest when sunny SoCal is just down the I-5? With some production help from Dan Auerbach and sporting a slightly more muscular tone, these former Seattle ladies seem to have adjusted to their new locale quite nicely.
Lay Llamas – Thuban (Rocket)
Lay Llamas essentially is Italy’s Nicola Giunta creating multi-textured psychedelic rock. On Thuban he has a few guest to help him out including Goat and Clinic, but this is his show of rhythmic dalliances into north Africa, Thailand and the Beta Band’s Edinburgh.
Lithics – Mating Surfaces (Kill Rock Stars)
I recommend Lithics second album and first for Kill Rock Stars knowing that their sparse, mechanical clang is not for everyone, but for those who like cold hard surface on which to reproduce…Hell even if you don’t and want something cold, sharp and hard to jar you from your comfort zone then this is it.
Math & Physics Club – Lived Here Before (Fika)
Math & Physics Club have been known to cover REM, I remember them doing an excellent version of Shaking Through from Murmur, so it not surprising to hear them dropping REM references throughout Lived Here Before. Don’t worry, if you are a fan of their subtle understated pop, they haven’t gone all End of the World as We Know it. They have this great ability to subtly incorporate influences without them overpowering their own of delicate pop.
Melody’s Echo Chamber – Bon Voyage (Fat Possum)
The second effort from Melody Prochet was a long time coming, but well worth the wait. Instead of the focused pop of her debut, she teams up with members of Dungen to make a psyche rock amoeba built on improvisation and fear of being fenced in. It has a random kitchen sink feel at times, but it sounds adventurous and exciting.
Olden Yolk – Olden Yolk (Trouble In Mind)
I always wonder when a member of a band, say Shane Butler of Quilt, starts another band, what does that mean for the other band? Are they kaputt, or just taking a break? Bultler is joined by Caity Shaffer and they come off sounding like a long lost 60’s California folk group that has a thing for the German motorik beat. A near perfect combination of the two and my new chocolate & peanut butter.
The Orielles – Silver Dollar Moment (Heavenly)
I’ve seen the Orielles described as being, baggy, shoegaze and C-86. They’ve been compared also to the Pastels, Pink Floyd, Belly and Orange Juice. For the record I’m not going to add to that confusing list of comparisons. I will say that this trio’s debut album is strong in the pop department and has something for nearly everyone.
Parquet Courts – Wide Awake (Rough Trade)
The new PC’s album was produced by Danger Mouse, reminds me of the Beastie Boys Check Your Head era funk and Spoon’s sparse percussive pop. Wide Awake might be their best since their debut Light Up Gold.
Patois Counselors – Proper Release (Ever Never)
Charlotte, North Carolina’s first impressed with 2015’s Clean Skits single on Negative Jazz. The seven piece band are a kin to Protomartyr, with a seriously lower profile. Their debut album is full of post punk, art school ditties reminiscent of Pere Ubu, the Fall and Fugazi and every bit as worthy of your hard earned money.
Red Red Eyes – Horology (Where It’s At Is Where You Are)
This year I’ve felt a strong Broadcast influence in the rock continuum and UK duo Red Red Eyes are another piece of anecdotal evidence for my case. It’s not a Broadcast tribute mind, Horology is moody, mysterious, trippy and not afraid to borrow from Massive Attack and Serge Gainsbourg either.
The Roves – The Roves (One Man Movement)
This London band’s debut album is a jangly throwback to classic 60’s pop records that were packed with two and tree minutes pop songs and not a dud to be found in the bunch.
Say Sue Me – Where We Were Together (Damnably)
The undeniably catchy Old Town is a slice of classic indiepop, but it’s sort of a red herring too. Say Sue Me hail from South Korea and it’s obvious they are fans of the UK indiepop style, but they paint from a bigger pallet of surf inspired guitars and effects laden dreampop.
Shannon Shaw – Shannon in Nashville (Easy Eye Sound)
Is it ok to say that I like this better than any Shannon & the Clams albums? The Shaw – Auerbach collaboration reminds me a little of accomplished pop-psych that came out of the Del Shannon – Andrew Loog Oldham collaboration.
Shopping – The Official Body (Fatcat)
For album number three (why does nobody call the third album their junior effort) Shopping rip it up and start again. Not exactly, but they employed Edwyn Collins to produce the record. Their brand of dancy post-punk benefits from an infusion of Orange Juice to make it their most accessible record yet.
Sons of Kemet – Your Queen Is a Reptile (Impulse!)
I didn’t even know that the Impulse label still existed as a label that put out new stuff. This is the group’s third album and its tuba, trombone, sax, clarinet attack spans Mingus, Jamaican ska/reggae, Coltrane and Sun Ra. Remarkable, even for non-jazz aficionados like myself.
Virginia Wing – Ecstatic Arrow (Fire)
This is the first Viginia Wing I’ve bought since EP on Faux Discx. I love it. Touches of Taken by Trees, Hector Zazou, and Broadcast, the latter which (as you can probably tell) seems to be so prevalent in my listening tastes lately.