Tag: Alternative Rock

Albums

Best albums of 2022: #1 Spiritualized “Everything was beautiful”

Post author By jprobichaud
Post date December 30, 2022
3 Comments on Best albums of 2022: #1 Spiritualized “Everything was beautiful”

In 2018, Jason Pierce released his eighth studio album as Spiritualized, “And nothing hurt”. I remember hearing in advance of its release of how great it was, how it was a return to the sound and scope of their masterpiece, 1997’s “Ladies and gentlemen, we are floating in space”, and how it might very well be his last album. I was so excited I jumped on it right away, downloading the digital version that was granted me with the pre-order of it on vinyl. Of course, I fell in love with it and it ended up landing at number four on my end of year list for that year, but what struck me the most was how different the album sounded when I dropped the needle to the disc on my turntable.

When “Everything was beautiful” was announced, I was first of all relieved that the fear of Pierce packing it in was unwarranted and secondly, I was determined to wait for my pre-ordered physical copy to arrive before giving any of it a listen. And so I held off on release day, even as I heard once again that this album was the man’s best work since that aforementioned masterpiece, and I was duly rewarded to brilliance and beauty when I gave it a spin the very night the record arrived. It was like a perfect synergy between my ears and my earphones, music and emotion and (forgive me here) spirituality.

Billed by Pierce as a companion album to its predecessor, the two titles taken together form a quote from the Kurt Vonnegut novel, “Slaughterhouse five”, apt considering the songs from both albums were all written and demoed around the same time. This second album, however, has had more time to steep and has the experience of many other lifetimes, these felt even more deeply with all that we have collectively been through in the interim. As great as “And nothing hurts” was and as much as was put into it*, “Everything was beautiful” feels just more complete, more a sum of all of Pierce’s ideas and work, like you can hear pieces of all his career on this album. But this is more a revisit than a rehash, retracing his footsteps in a different set of shoes.

At surface, one might surmise that this album was a throwaway, given that it’s only seven tracks in length. However, it uses every millimeter of space on the record, filling out the forty-five minutes and colouring in the skies in a mass of sound, his sound, space rock. If you’ve never heard Spiritualized’s particular brew of psychedelic noise, gospel, and free jazz, “Everything was beautiful” is just as great a starting point as any of his works. And yes, I would say this is definitely the best Spiritualized record in more than two decades.

The best way to listen to “Everything was beautiful” is end-to-end, all the way through on vinyl but I’m willing here to offer up three picks to lead you by the nose to the prize.

“The mainline song“: When I first saw the title of this track, I immediately thought back to Spiritualized’s second record, “Pure phase”, and the instrumental track that picked up on a theme that coursed through that whole album. This one is different though, more about trains than heroin, and though about half of the track’s six minutes is purely instrumental, we do get into some words. “Sweet heart, sweet light. Oh babe, it’s a beautiful night, and I wanted to know if you wanted to go tell the city tonight.” It’s a track inspired by lockdowns and protests about lockdowns and about finally getting things right. Setting things right.

“Let it bleed (For Iggy)”: “Laboured over these words too long / And nothing to behold / Wanted it to be special for you / But it’s just a song.” Pierce’s ode to his hero Iggy Pop certainly starts off mellow and ventures into delicate balladry, but in his hands, a song is never just a song. The choirs sing and horns call and guitars vibrate. It is about putting everything into it and having faith, perhaps blind fatih, that the efforts will be appreciated. This is about Jason Pierce as much as it is Iggy Pop.

“Always together with you”: Echoes of the title track of “Ladies and gentlemen”, the first track of the album opens with a female breathing the title of the album over space echoes but this time the voice is provided by his daughter, Poppy, instead of his ex-lover, Kate Radley. The similarities don’t end there, indeed, this feels like a sequel, a revisit, but the object is the future and not the past. It is just as epic and beautiful and heartrending. It is six and a half minutes of hope and love, strings and choirs and horns and angels. “If you want a silver moon, I would be a silver moon for you. If you want a unicorn, I would be a unicorn for you. If you want a satellite, I would be a satellite for you. If you want a universe, I would be a universe for you.” The universe would be pleased.

*I remember writing about it at the time that it sounded to me like Pierce was putting his all into it.

In case you missed the previous five posts, here is the rest of the list:

10. Blushing “Possessions”
9. Just Mustard “Heart under”
8. Jeanines “Don’t wait for a sign”
7. The Reds, Pinks and Purples “Summer at land’s end”
6. Tallies “Patina”
5. Suede “Autofiction”
4. Wet Leg “Wet Leg”
3. Beach House “Once twice melody”
2. Alvvays “Blue rev”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Tags 2020s, 2022, Alternative, Alternative Rock, Best albums, Best of 2022, British rock, End of year, Indie, Indie rock, Jason Pierce, Psych rock, Space Rock, Spiritualized

Albums

Best albums of 2022: #2 Alvvays “Blue rev”

Post author By jprobichaud
Post date December 28, 2022
3 Comments on Best albums of 2022: #2 Alvvays “Blue rev”

Much has been made about the length of time that has passed between the second album by Alvvays (pronounced ‘Always’) and this new one. Indeed, five years is an eternity in the music world in this day and age, what with trends whipping by at a torrid pace and viral videos and music streaming. And yet one can’t help but refrain from laying blame, what with the events of the past few years, and those being especially pronounced for the Toronto-based indie pop band. In addition to plagues, they’ve had to overcome thefts and floods and changes in personnel, but luckily for all of us, they seem to have come out of this period of quiet all the better for it.

I’ve been following the group led by long-time friends Molly Rankin and Kerri MacLellan, as well as Alec O’Hanley, since the appearance of their self-titled debut back in 2014. I loved the dreamy bursts of sunshine indie pop on the album, the jangly nostalgia, and the youthful maturity of songcraft therein. The follow up was more of the same in taste and texture but showed a progression worth following. Much of this third record, which takes its name from a beverage favoured by the two lead protagonists in their even younger youth, was written shortly after the original touring cycle for “Antisocialites”, around the time that Sheridan Riley joined them on drums and long before Abbey Blackwell replaced founding bassist Brian Murphy. With all the delays, they really did have a fully formed idea of the album when they finally convened to record it in the fall of 2021. My understanding is that it was recorded in much the way you can hear it on the record, front to back, twice through, in one day, but that the mixing and perfectionist refining afterwards took much, much longer.

“Blue rev” is quickly becoming my favourite by the group, if it hasn’t yet achieved that honour. It goes far beyond the borders of their original pigeon-holed territory of light and jangly indie pop and at the same time, doesn’t betray it’s long-time fans. It’s noisier, louder, longer, smarter, more assured, and lots of fun. Like the previous album on this list, I have a new favourite track on the album every day and I expect that to continue as each listen reveals new layers and textures and lyrical gems to behold. The three tracks I’ve picked for your perusal were almost selected at random. Really, you could do no wrong with any track here.

“After the earthquake“: Track three on “Blue Rev” was inspired by a short story collection by excellent Japanese writer Haruki Murakami. It is three-minutes reminiscent of The Smiths but with sharper teeth, spikier hair, and more anger than mopery. It’s a remembering of good times before disaster struck and nothing was the same. And just before the two-minute mark, time stands still and Rankin murmurs and wonders aloud wrapped in a gentle synth wash: “Those days, I’d never let you fall apart. But things fade like the scent of a brand new car. Why would I ever fall in love again when every detail is over the guardrail?” It’s heartbreaking.

“Pharmacist”: The opening track and first single has been called their My Bloody Valentine song. At just over two minutes, it’s shorter than anything (save for maybe “Touched”) on “Loveless” but it’s not any less immediate. The moment the heavy layer of guitars are plopped down in the lap of the otherwise jangly palette, you feel that nervous anxiety put forth by Rankin’s meeting up with the sister of her ex. “I hear it happens all the time. It’s alright (it’s alright). I know I never crossed your mind.” She sounds reliable and reassuring and then, any questions are put to rest by a flailing guitar solo, as if to say, pay attention, we’re not done with you yet!

“Very online guy”: One of these songs is not like the others. Where the other two were more aggressive and heavy on the noisy guitars, this last pick mines the impersonal and cold tones of 80s synth pop. It’s almost a perfect backdrop to which to set a calling out on reply guy culture and the nastiness of hiding behind the anonymity of ones and zeroes. “He’s only one flicker away. He’s only one photo, one filter away.” Even Rankins’ vocals are obscured and filtered through technological trickery, adding more fun to the chugging beat and sentient synthetic ambience. Brilliant stuff.

We’ll back in two more sleeps with album #1. In the meantime, here are the previous albums in this list:

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Tags 2020s, 2022, Alternative, Alternative Rock, Alvvays, Best albums, Best of 2022, Canadian indie, Dream Pop, End of year, Indie, Indie Pop

Albums

Best albums of 2022: #4 Wet Leg “Wet Leg”

Post author By jprobichaud
Post date December 24, 2022
4 Comments on Best albums of 2022: #4 Wet Leg “Wet Leg”

I generally feel like I’ve got a pretty good grasp on the comings and goings and new releases of music, especially when it comes to the alternative and indie realm, but I’m obvious not omniscient. Every once in a while, something slips through on first pass and “Wet Leg” is a perfect example of one of those parties to which I arrived unfashionably late. Indeed, I hadn’t heard of them at all until the week of their self-titled debut’s release and I started seeing tons of hype all over the music sites and pictures of the album’s cover and vinyl pressing on the various vinyl-loving pages I follow on Instagram.

Rhian Teasdale and Hester Chambers are long-time friends who decided to form as a duo in 2019 after years of miring in relative solo musician obscurity on the Isle of Wight. They’ve given a handful of differing reasons as to why they settled on Wet Leg as a moniker but the version I believe or want to believe the most was as a constant reminder to not take themselves too seriously. They signed with Domino Records in late 2020 and recorded the aforementioned debut in the spring of 2021.

A couple of months after the album was finished, Wet Leg released the first advance single and really, their first ever single. And yeah, it went viral, racking up millions of streams in its first year. With the second single almost as successful, it was unsurprising that the music machine started to take notice. “Wet Leg” was finally released a year after it was recorded and was preceded by five singles in total. It debuted at #1 on the UK and Australian record charts and performed well in pretty much every major market. It was nominated for the UK’s Mercury Prize and for a handful of Grammys in the US.

The first time I streamed it, I did so with a dubious ear, but one that quickly melted to the glee that many other music fans have obviously experienced. There’s something universal in their sound, which is probably why I’ve seen them classified as everything from punk to post-punk, from garage rock to britpop, and from new wave to slacker rock. The duo is original and exciting, but given their quick ascent in popularity, they are already treading the fine line of darling and derision. All eyes and ears will be on whether they can properly follow this up but for now, we can appreciate the debut as pure fun and folly.

Indeed, there’s plenty to like here but there’s no arguing with the three singles I’ve picked for you to peruse, just in case you (as I almost did) have missed out on Wet Leg thus far.

“Too late now“: The third single and last track on the album has a rumbling bass line and chiming guitars that keep time with Teasdale’s shifty vocals. It feels at first like it’s got it all together, albeit insular and atmospheric, but little by little, its insecurity shows and by the end it’s a shambolic mess. “Down we go while holding hands. If I fuck this up, I’m taking you down with me.” It’s feedback and hammering drums and chaos and I really wouldn’t have it any other way.

“Wet dream”: Working backward through their singles, track five reminds me a bit of Goat Girl, who were a surprise entry on my end of the year list last year. It’s a bass groove that flirts with Blondie and The Go-Go’s but is perhaps more overt in its sexuality and its refusal to play and accept its role. “What makes you think you’re good enough to think about me when you’re touching yourself?” But in spite of its knowing side glances and sly winks, it is at its heart, a great pop song and has the potential to fill dance floors everywhere.

“Chaise longue”: Here’s the big one. The ear worm. The song you want to hate but can’t help but love. You listen to it over and over and find yourself singing along to that damned repetitive chorus. “On the chaise longue, on the chaise longue, on the chaise longue. All day long, on the chaise longue.” Fast and frenetic and hyperventilating. One could almost imagine Justine Frischmann singing it with her band Elastica back in the mid 90s. It’s no wonder it’s gotten so much play.