With the release of Always Foreign’s first single, the band reminded us that they can write a tight pop song (“Dillon and Her Sons”), but it’s “Marine Tigers”, the album’s seven-minute epic, that stands out. There’s a stream of anger throughout the album, and rightfully so, but it never leaves listeners alone to simply seethe or wallow. Whether you hear “Faker” about the band’s lineup change in the time between albums or as a statement about our current commander-in-chief, when the guitars pick up and vocal shift to, “Are we awake yet?”, you’re filled with a feeling that villains can be vanquished, that there’s got to be a way forward. The World is a Beautiful Place & I am No Longer Afraid to Die is one of those bands for me, and Always Foreign captures that same positive momentum even at its most biting. It’s easy to feel that the outlook is bleak, but it’s in those moments where I turn to particular bands for something like a glimmer of hope. The world feels a little upside down these days. The World is a Beautiful Place & I am No Longer Afraid to Die - Always Foreign (Epitaph) ASMR sensibilities and a complex world of layered poetry makes for one of the most interesting experimental records of the year. The record’s most calming and disorienting qualities both serve to envelop the listener in a visceral experience, where all of its sounds feel within arm’s reach. Felicia Atkinson - HAND IN HAND (Shelter Press)įrench experimental artist Felicia Atkinson creates a jarring but cathartic soundscape on HAND IN HAND, a record which keeps its extreme frequencies close and intimate-from crackling buzz to soft-spoken voice. Fantastic songwriting and a unmistakable bond with his band makes for a unique and special record. We bring lightning, we melt snow,” he sings on “Wrong Turn”. With that is a shade of hope and unbridled confidence too, though, a smirk cutting through rough times: “O’er the fields we go / Speaking so nonchalantly about the promise of life after death on “Long Con”, about love on “Trust”, there is always a sense of humor underlying his sometimes tragic poetry.
Blithe field genius full#
The breezy world of Enjoy The Great Outdoors, his first release with a full band, takes all of these elements and ups the musicianship while still maintaining the wit and charm of all of his past efforts. Upon discovering his songwriting project as Spencer Radcliffe, these expectations were met even outside of his electronic tinkering-his deep but assuring voice complements a loose and sarcastic tone to his songs. Having been long obsessed with Spencer Radcliffe’s Blithe Field project, I had come to know him as a warm figure, one whose careful and gentle approach to sound-making provided a sort of unrivaled comfort. Spencer Radcliffe & Everyone Else - Enjoy The Great Outdoors (Run For Cover) It’s an album about independence and navigating a newfound world in exactly the way you want. Pyle’s lyrics recognize those feelings and let them exist without belittling them, without apology. It’s one of Pyle’s strengths as a songwriter: taking something so personal and making it feel universal.Īt just shy of 30 minutes, Cowgirl Blues is compact and efficient, capturing an array of emotion that touches on just about everything from the quiet moments of desire in “Drawing Room”, to the institution of marriage (see “Lucy Stone” and “Proposal”), to accepting the difficulty of moving on. It’s an unapologetic statement for existing on your own terms, for embracing what you feel even if it’s messy. To categorize it that way, as a breakup album, would be reductive. Rising from the ashes of a breakup and the disbandment of her previous band Chumped, Anika Pyle crafted a record that’s not just about endings. I will not accept responsibility for your feelings or your bullshit. I will not live under the umbrella of shame. I will be deliberate and unafraid, discerning and kind. On Katie Ellen’s Bandcamp page for Cowgirl Blues, there’s a manifesto that follows the track list, reading, in part: Katie Ellen - Cowgirl Blues (Lauren Records) With the help of contributors Daniel Palella and Lauren Lederman, here are our top 60 albums of 2017.Ħ0. Most importantly, we listened to each record with open ears–even the bad ones–discovering something new upon repeat listens. At SILY, we reviewed well over 100 records that came out in 2017–mostly original LPs, but some EPs, live albums, compilations, and reissues as well. Instead of listening to more albums, I decided to listen more to the albums I did discover. This year, I made a conscious effort to dig deeper. That narrative is true and vital, but not the one I’m here to wax about today. You’ll see the same narrative everywhere: 2017 sucked, so we found solace in incredible music.
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