Posts Tagged ‘Best Album Of 2016’

Daughter - Not to Disappear

London trio Daughter’s debut album If You Leave was an excellent, tender, delicate record and, on the strength of the first taste of the new album, The single Doing The Right Thing – they’ve retained their sense of melancholy and added some steel to it too.

A few listens in, not long after its release in January, we thought to ourselves If “Not to Disappear” is not in our end of year list, it will have been an incredible year for music’. As it turned out, 2016 was a pretty decent year for new music releases but Daughter’s second album remained a high, and powerful, point.

“Doing the Right Thing” continues to provoke tears when listening. Its anguished take on dementia, told from a sufferer’s point of view, not so much tugging at heartstrings as wrenching them out by the handful while making you chop onions for hours. It is one of the saddest, most emotive tracks we’ve heard in years and its power does not diminish the more familiar you are with it.

By contrast “No Care” is powered by a visceral dissection of a less than pleasant sexual liaison. Here there is anger and disgust but the rawness and honesty remains. Indeed, Not to Disappear is startling in its openness, poignancy, accessibility and beauty. For our money it shows a real evolution and maturity from a band who have always sounded gorgeous, and now seem to have a lot more to say within it.

‘Doing The Right Thing’ was the first single to be taken from Daughter’s new album ‘Not To Disappear’, released on the 15th January 2016

if there was a competition for the vocal of the year in 2016 Elaine Edenfield would already be dancing off down the aisle, arms raised to the sky,  The lead voice in Warehouse’s suitably dynamic indie-rock beast of a record, “Super Low”, Edenfield’s turn here is a miraculous effort, simmering above the rock-solid back-drop of twin guitars and percussion, and armed with the ability to breathe fire in the blink of a scorched eye. A beautiful collection of sprawling, jazzy, and jangley post-punk that paints a reflective and colorful sonic background behind the vocalist’s oscillating poetics. Couple that with the band’s ability to pen righteous hooks that add even greater weight to such aesthetics , the result is one of the boldest records in the American indie-rock frame.

Primal, precious, and consistently invigorating, Warehouse are the kind of band that to hear them once is to pin all your hopes and dreams upon them; a rabid and rousing unraveling.  ‘Super Low’ was “largely written in a notorious punk house that was torn down to build a parking garage” and the record comes wrapped in such new-world vexations, melding punk aesthetics with something endearingly humane.


Warehouse is Alex, Ben, Doug, Elaine, Josh

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There’s a humor at the heart of  Weaves sound that makes each song sound as if it’s smirking. But no matter how hard you search for it, that joke won’t reveal itself. On the Toronto outfit’s debut album,  they zip through the 11 art-rock tracks, each more sporadic and jolting than the last. On “Candy” and “One More”, guitarist Morgan Waters and drummer Spencer Cole create a delightful cacophony akin to Deerhoof. They throw in slide guitar, skip downbeats, and zig zag around traditional rhythm structures, accenting the genius side of insanity, even when relatively in row on “Human”. At the front of it all is Jasmyn Burke, elongating words on “Birds & Bees” or “Coo Coo” to complement the plunging bass. The four-piece constantly sound like they’re on the verge of exploding, a dozen colors of confetti prepped to shoot from their cores in a way that even the most familiar listener won’t expect.Image result

Come the end of the record, you start to figure out what it is they, and their songs, are smiling about. It’s a shared sense of energy amid a lack of structure, a grin at the unknown, a smile before leaping off a cliff. Weaves are creating pop that distorts its own intentions — and they’re as surprised by the songs’ twists as you are.

Weaves‘ self-titled album is out now