Now It's On

Best Albums of 2012: #9 - Soulsavers "The Light The Dead See"

Haunting from start to finish, The Light The Dead See saw Soulsavers team up with the legendary Dave Gahan. The collaboration exceeded expectations, making it the #9 album on my Best of 2012 list. My original review is below.

Favorite tracks: "In The Morning", "Longest Day", "Presence Of God", "Tonight'

Rich Machin and Ian Glover are Soulsavers, a production duo from England who are returning with their fourth album. Although you may not be as familiar with those names, the name Dave Gahan certainly will peak some interest in this project, the stunningly gorgeous The Light The Dead See. The lead singer of Depeche Mode provides the vocals on the entire album and the mix of orchestral, downtempo electronic and Gahan's singular voice leads to one of the year's finest releases.

Soulsavers' music is far from just electronic, however. It is awash in cinematic strings, guitars, bass and live drums, in addition to the electronic elements. It is absolutely no surprise Machin and Glover also compose film scores, the music here fits that description perfectly. It's majestic, swirling and captivates you from the start. The duo has previously featured the likes of Mark Lanegan and Mike Patton as vocalists on their albums, but Gahan takes things to another level here. 

The majority of the album is filled with lovely downtempo tunes that delve into numerous musical styles. There is a soulful quality at work here, certainly a dramatic rock influence, and even some gospel elements as well. Lush tracks like "In The Morning", "Longest Day" and "Presence Of God" certainly border on a religious experience, they're that good. "Take Me Back Home" is a bluesy slow burner, another standout track. 

Gahan fans will not want to miss this album, he delivers fantastic vocal work throughout. But fans of moving, emotionally compelling music will want to make sure to pick up The Light The Dead See as well. It's the perfect response to the tired notion that 'good music isn't being made anymore.' A must have 2012 release.     

The Light The Dead See was released May 22, 2012 on Mute Records.

Official Website of Soulsavers

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Best Albums of 2012: #10 - Yppah "Eighty One"

There were a lot of excellent electronic releases in 2012, but none moreso than Yppah's Eighty One. Mixing live instrumentation into his electronic music, Joe Corrales Jr. created a can't miss release and comes in at #10 in my Best of 2012. My original review is below.

Favorite tracks: "Never Mess With Sunday", "Soon Enough", "D. Song", "Blue Schwinn"

I'll cut right to the chase. This is the best electronic album I have heard so far in 2012. However, Yppah's music is so much more than just standard electronic and Eighty One ranks up there with the best of the year, regardless of genre.

It's hard to make a mostly instrumental album that captivates from start to finish. But Joe Corrales Jr. has done exactly that. Starting his career as a rock musician, Corrales brings that element into the music recorded as Yppah. These songs feature plenty of guitar, bass and live drums, mixed with his version of blissed out electronic, topped off with heavy beats.

The tracks on Eighty One all fall in the four to five minute range. Nothing overstays its welcome and it keeps the album flowing along nicely. This is far from chilled out electronic, although there is certainly beautiful music incorporated into most of these tracks. Yppah uses hard hitting beats to keep an edge to this material and look out for the guitar work featured prominently in the mix.

There are so many great songs here, my suggestion first and foremost is to listen to the whole thing, you will not be disappointed. But as with every full length there are favorites. The relaxing "Blue Schwinn" starts things off and sets the tone of the album. "D. Song" is one of four that features the vocal work of Anomie Belle and she fits this music to a tee. Belle also sings lead on the first single "Film Burn". "R. Mullen" calls to mind some of Moby's work on Play, while "Never Mess With Sunday" is simply stunning and my favorite track on the album. A lovely acoustic guitar line loops while uplifting keyboards and live drums send this one soaring into the atmosphere.

There are so many different styles and genres within electronic music and I am a big fan overall. But it is the material like this, warm, full of life and soul and mixed with organic elements that always affects me the most. I'm thrilled to have come across Yppah's music and I highly recommend you do as well.  Eighty One is destined for my Best of 2012 list.

Eighty One was released April 3, 2012 on Ninja Tune Records.

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Best Albums of 2012: #11 - Ben Howard "Every Kingdom"

The last few years have seen a steady rise of folk/pop albums in my list of favorites. 2012 was no exception and newcomer Ben Howard released one of this year's finest with Every Kingdom. Released in 2011 in the UK, the album is garnering Howard some much deserved radio play in the States and comes in at #11 in my Best of 2012. My original review is below.

Favorite tracks: "The Fear", "Keep Your Head Up", "Old Pine", "The Wolves"

English singer/songwriter Ben Howard is a wizard on the acoustic guitar and a major up and comer in the folk/pop scene. With a voice that rivals Ray LaMontagne's and music that would certainly appeal to the Mumford & Sons set, Howard's debut album makes its way to the States after a 2011 release in the UK and it is one of my favorite releases of the year so far.

Howard's music is never at a loss for a lovely melody, even when the song is jumping as is the case with "The Wolves". Howard is equally comfortable with the ballads, from the soft "Everything" which is stripped down to almost nothing but acoustic guitar and his voice, to album closer "Promise" which leaves you in a trance with the hushed vocal work and his gentle guitar picking. So soothing.

Every Kingdom is at its best on the mid-tempo tracks. "The Fear" features one of the best lyrics here confronting the things which hold us back from living our lives to the fullest. The repeated phrase near the end of 'I will become what I deserve' is a powerful moment on a powerful track. "Keep Your Head Up" is another highlight, somewhat of an encouraging follow-up to "The Fear" with an uplifting chorus.

Howard's star has risen quickly in the UK and it certainly deserves to Stateside as well. This is warm, inviting folk influenced pop music and his guitar work is extraordinary. Highly recommended.

Every Kingdom was released in the U.S. April 3, 2012 on Universal/Republic Records

Official Website of Ben Howard

Purchase Every Kingdom from Amazon.com

Best Albums of 2012: #12 - Sinead O'Connor "How About I Be Me (And You Be You)?"

Easily my most unexpected comeback of the year was Sinead O'Connor. I was certainly not anticipating a return to the pop/rock genre and, even had I been, no way could I have imagined an album as good as this. One of the greatest female voices in popular music came back with a vengeance on How About I Be Me (And You Be You)?, the #12 album in my Best of 2012. My original review is below.

Favorite tracks: "Queen Of Denmark", "Reason With Me", "V.I.P.", "Take Off Your Shoes"

After forays into reggae, folk and spiritual music, Sinead O'Connor returns to the pop/rock forum that brought her fame, and oh what a return it is. How About I Be Me (And You Be You)? is O'Connor at her best. Bold, brash, profane, spiritual, vulnerable, a woman in complete control of her craft and one of 2012's finest albums so far.

Forget her past controversies, forgive some of her more outlandish comments, I've always had an insane amount of respect for Sinead. And there is no denying that gift of a voice she possesses. Here, she has the material that does that voice justice, running the gamut from pure pop/rock to lush ballads to a stunning cover that steals the album.

Despite a lifetime of seemingly rocky relationships, there are a number of downright upbeat proclamations of love and happiness expressed by O'Connor starting with opening track "4th And Vine". The Irish inflected pop song has O'Connor marrying 'the sweetest man you could find", while the sensational "Old Lady" has her so giddy over the object of her affection, she longs for the day he makes her 'laugh like an idiot, not be so serious'. There is a longing to grow old with someone in the lyrics and it's undeniably the catchiest rock track on the album.

"Reason With Me" is without a doubt the loveliest ballad here, a grand, orchestral backed plea for compromise in a relationship. "Back Where You Belong" and "Very Far From Home are both smoldering guitar led power ballads that round out the slower material nicely.

But it wouldn't be a Sinead O'Connor album without a heavy helping of emotionally raw, darker material and three tracks stand out. "Take Off Your Shoes" is a moody rock piece fuelled by anger. "V.I.P." is O'Connor stripped bare, just a stunning vocal performance of a poem she published in 2010 set to an ambient backing. In it, she lashes out at celebrity culture and much of mankind's unwillingness to help each other and the lack of compassion that permeates too much of our society. She sings, 'Who are we to give that name to us? When we don't know the lives of others. When we can barely raise a finger to help our own sisters and brothers' before she asks of the listener how God will judge them when their time comes. 'Or did you stand for something else, besides the hankering for fame and famousness. The one who always was and always is, will show you what a real V.I.P. is.' It's an absolutely brilliant lyric and impassioned song.

Her cover of John Grant's "Queen of Denmark" is equally remarkable, turning his biting piano ballad into a vocal tour de force, at times quivering, then suddenly spitting with anger as hard guitars kick in during the chorus. 'I don't know what to want from this world, I really don't know what to want from this world. I don't know what it is you wanna want from me, you really have no right to want anything from me at all. Why don't you take it out on somebody else? Why don't you bore the shit out of somebody else? Why don't you tell somebody else that they're selfish? A weakling, coward, a pathetic fraud.' she snarls. Grant may have written the lyrics, but if ever a cover fit an artist perfectly, it's this one for O'Connor and she owns it.

There is really not much else to be said, How About I Be Me (And You Be You)? is an artistic triumph from start to finish. Sinead O'Connor never left us, but it is nice to have her back making pop/rock music of such high caliber. Truly destined to go down as one of 2012's best. 

How About I Be Me (And You Be You)? was released February 21, 2012 on the One Little Indian label.

Official Website of Sinead O'Connor

Purchase How About I Be Me (And You Be You)? from Amazon.com

Best Albums of 2012: #13 - Steven A. Clark "Fornication Under Consent of the King"

I know Frank Ocean and Miguel got the biggest buzz in 2012, but for my money Steven A. Clark stole the show in this whole 'new R&B' movement everyone is trying to label. If you like the aforementioned artists, and others like Maxwell and P.M. Dawn, I urge you to check this album out. Fornication Under Consent Of The King comes in at #13 in my Best Albums of 2012. My original review is below.

Favorite tracks: "Not Ready", "Just Ride", "She's In Love", "Lonely Roller" 

I've become pretty disillusioned with the R&B genre and that's pretty easy to do when you consider the cookie cutter garbage that gets radio play. It's a format I grew up loving, but with the exception of Maxwell, few mainstream R&B artists have excited me in the last decade or so. But there is a growing group of artists forging a new road for soul music. Of course the initial reaction is to come up with a new name for the genre with some referring to it as 'Future R&B'. Think Frank Ocean or How To Dress Well. Whatever you want to label it, make sure you add the name Steven A. Clark to the list and with his new album Fornication Under Consent of the King, (yes F.U.C.K. for short), Clark rockets to the forefront of this movement.

It's a special album that gets me this ecstatic and I was floored after listening to Clark's new one. I'm thrilled to have an R&B album that moves me again, although Clark incorporates other influences into his music. There are touches of hip-hop, electronic music, rock and pop here as well, but soaring through it all is his soulful voice. This is Clark's second full length and this time he lays his soul bare as he explores a relationship from its blissful beginnings to its bitter end. Written, recorded and produced almost entirely by Clark, the album serves as a deeply personal statement on the end of a long term relationship and his building pain as the album moves into its second half is entirely relatable for anyone who has experienced similar heartbreak.

Clark lists Stevie Wonder, Sade and The Neptunes amongst his many influences, but seeing that he cites P.M. Dawn as one of his favorite acts growing up makes perfect sense when the album kicks off with "F.U.C.K. Pt. 1". The song borrows the beats from "Set Adrift On Memory Bliss" amongst others and is a nice nod to that early 90's era of alternative hip-hop and R&B that P.M. Dawn waded in. "Lonely Roller" has an insistent guitar loop and features both Victoria Blue providing backing vocals and J NICS dropping a guest rap.

There's not a bad song among the ten on the album but two in particular stand out to me. "Not Ready" has a laid back groove and harmonic backing vocals reminiscent of Boyz II Men. It's an outstanding slow jam worthy of owning radio if radio played music based on quality. "Just Ride" is the other stand-out, an electro-R&B groove tailor made for blasting with the windows down on a hot summer night. 

As things go downhill in the album's storyline, Clark's lyrics become more intense and defeated. "She's In Love" has an instantly memorable melody but confesses 'She's in love... but not in love with me', as he realizes the betrayal at hand. Everything comes to a head on "Don't Have You", as he spits out all the bile that has built up inside over the end of the relationship. It's a mix of almost rapping the verses  while singing and it has the desired effect to get across his mix of seething anger and hurt. In direct contrast is the soft closing ballad "Superhero Re:Orchestrated", a reflective, lovely close to a superb album.

Amazingly, Fornication Under Consent of the King is available as a free download. It astounds me that an album this stellar is available for free, but in this day and age of illegal downloads, it can work to a new artist's advantage to get their music heard. It's up to music lovers to help spread the word and bring wider exposure to the quality stuff. I can't emphasize enough, grab this album. By far one of the best R&B albums you'll hear in 2012.

Fornication Under Consent of the King was released September 11, 2012 via L&E Media Co

Official Website of Steven A. Clark

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Best Albums of 2012: #14 - Chromatics "Kill For Love"

At nearly 90 minutes long, this was by far the longest album of the year that made my Best of list, but it is worth every second. Icy cool, the sound on Kill For Love was like little else I heard in 2012, putting Chromatics' brilliant full length at my #14 spot on my Best Albums of 2012. My original review is below.

Favorite tracks: "Lady", "These Streets Will Never Look The Same", "There's A Light Out On The Horizon", "Into The Black" 

Shame on me for sitting on this album since its release back in March. The fourth studio album from Portland, Oregon's Chromatics, Kill For Love carries an intimidating run time of nearly 90 minutes, the main reason I've put off listening to it for so long. That's quite a commitment when you like to listen to new albums while relaxing with the headphones on as I do. So I may be late getting to this one, but no less enthusiastic given the fantastic music it contains.

Chromatics have gone through quite a lot of changes since their 2003 debut album. Only guitarist Adam Miller remains from their original four piece lineup. The addition of vocalist Ruth Radelet, drummer Nat Walker and multi-instrumentalist/producer Johnny Jewel also brought a completely new musical direction to the band. Gone was their early, noisy punk sound, replaced by music rooted in synth-pop and Italo-disco. 

There are drum machine beats and electronics aplenty on Kill For Love, but Chromatics music also is guitar heavy. It's also quite dark and moody, although there are a number of truly gorgeous sounding tracks here as well. With 17 tracks spread across the 90 minute album, there is plenty of room to experiment, stretch out and delve into various moods and tempos. The only tracks that really didn't work for me were some of the shorter instrumentals like "The Eleventh Hour" and "Dust To Dust" which serve more as interludes on the album's journey than proper songs.

The album opens with their stunning cover of Neil Young's "Into The Black", stripped down to guitar, Radelet's vocals and some ambient backing. It's a beautiful piece of work. The ballad "Birds Of Paradise" stands out with its piano work, while "Running From The Sun" also features prominent piano and electronically altered vocals. "There's A Light Out On The Horizon" is by far the best instrumental on the album, a throwback to early electronic music.

Other highlights include "The Page", one of the more danceable tracks with a killer guitar line. "Lady" has classic disco written all over it while "These Streets Will Never Look The Same" has guitar work reminiscent of Stevie Nick's "Edge Of Seventeen", vocals run through a vocoder and a relentless beat. Amazingly, even with its length, Kill For Love never loses its consistent greatness. A top 2012 release.

Kill For Love was released March 26, 2012 on the Italians Do It Better label.

Official Website of Chromatics

Purchase Kill For Love from Chromatics Official Web Store

Best Albums of 2012: #15 - Jamie Woon "Mirrorwriting"

A mixture of electronic with soulful R&B music, Jamie Woon's Mirrorwriting had me hooked instantly. I first heard this album in 2011 when it was released in the UK and was thrilled to finally see a Stateside release. There was no question it was then destined for my Best Albums of 2012, where it places at #15. My original review is below.

Favorite tracks: "Shoulda", "Night Air", "Gravity", "Spiril"

Released in April of last year in the U.K., Jamie Woon's Mirrorwriting has finally made its way to the States thanks to Verve Records. Although the British singer/songwriter is often thrown into the dubstep category, a closer listen to his debut full length reveals a soul singer through and through. Mirrorwriting may dabble in the poppier end of dubstep, but this is an electronic R&B album at its heart, and a winning one at that.

Woon wrote, produced and plays the entire album, and has gone to great lengths to break out of the traditional singer/songwriter mold. Despite the cold electronics and beats on the majority of the songs, Woon's soulful voice adds life and heart to each track. This is one of the albums built for the night time, playing while out on the town or on an overnight drive, it just has that mood and texture throughout. There is no better example than the opening track, the appropriately titled "Night Air". It's a slinky, sinister song with a thrilling breakdown where Woon declares 'I've acquired a taste for silence' as he drops out everything but echoes and whispers of the track in the background.

There is a sparseness to a lot of the instrumentation here. Many songs feature little more than electronic beats and bass, some keyboard noodlings and electronic embellishments. But Woon's vocals and melodies flesh each song out, making them feel fully realized musically. "Street" carries a somber tone, "Spirits" features Woon's multi-tracked harmonies and backing vocals, while "Lady Luck" has a head bobbing beat and chorus.

Woon also shows himself to be quite the balladeer. My personal favorite track here is the screaming to be a future single "Shoulda". A tale of a failed relationship, he laments 'I walked when I shoulda run, and I ran when I should walked... and don't I know it' to a luscious melody. Album closer "Waterfront" is an acoustic guitar ballad while tracks like "Spiral" and "Gravity" recall some of the more daring directions Maxwell took his modern soul sound on the under-appreciated masterpiece Embrya. Both incorporate acoustic guitar with atmospheric electronics and subtle beats for the album's most seductive and sensual tracks.

I'm ecstatic Mirrorwriting has finally seen release here in the U.S. Hopefully that means some American tour dates are in Jamie Woon's future. I'm pretty down on the state of contemporary R&B music, but this is a fresh take on the format by an artist to watch. This is night music that is alive and full of soul. A sparkling debut not to be missed.

Mirrorwriting was released in the U.S. January 31, 2012 on Verve Records.

Official Website of Jamie Woon

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Best Albums of 2012: #16 - Greg Laswell "Landline"

Full of more of his typically gorgeous ballads and wonderfully melodic pop/rock, Greg Laswell's Landline cemented his place as one of my favorite singer/songwriter's working in the genre today. He continues to produce one great album after another, and his latest lands him at #16 in my Best of 2012. My original review is below.

Favorite tracks: "Another Life To Lose", "Back To You", "Landline", "It's Settled Now"

It has gotten to the point where I seriously doubt Greg Laswell is capable of putting out a bad album. Landline, his fifth full length, continues his run of perfect, melodic pop/rock. This time, in addition to his usual blend of gorgeous ballads and hummable, catchy tunes, he’s enlisted the help of a number of indie female favorites to add vocals to another collection of songs you’re sure to hear on one of your favorite television programs at some point.

For reasons I can’t explain, and I am done trying to figure out what they could be, Laswell does not get commercial radio play, which leaves a top-notch singer/songwriter like him to pursue other avenues to bring exposure to his music. Enter television dramas. “Grey’s Anatomy” alone has used at least eight of Laswell’s tunes, while others have appeared in programs ranging from “True Blood” to “NCIS” and “CSI:Miami”. His take on Cyndi Lauper’s “Girls Just Wanna Have Fun”, stripping it down to a sad ballad, was clearly the inspiration for the version used on the smash hit show “Glee”, a move that pissed Laswell off when no acknowledgement was made of where they took their note for note version from.

There are plenty of candidates on Landline to wind up on a network show in 2012 starting with album opener and first single “Come Back Down”, a duet with Sara Bareilles. With hand claps and a bouncing piano line, the two share a plea for someone to pick themselves up with Bareilles lovingly singing “all of your wallowing is unbecoming” before they both chime in during the chorus, “it’s getting pathetic”. The whole thing comes across as tough love, with a wink and a nod and a melody you can’t escape.

For those worried Laswell’s recent marriage to indie pop darling Ingrid Michaelson, who duets on the lovely acoustic title track that closes the album, would soften some of his signature sarcasm, wit and penchant for a great break-up song,  look no further than “Another Life To Lose”, the absolute highlight here and one of my favorite tracks of 2012 to date. Upon a bed of glorious piano arpeggio’s, Laswell issues a dismissal for the ages in his distinctive, rich baritone.  ”And I have places for things again, from now on I’ll hold more in. Turns out that I don’t owe you shit, it was never my intention to cause you harm or to make you sore and I don’t know what the final score is,”  he sings, cleansing himself of a failed relationship.

His new found happiness does come to the forefront often enough, especially in the declarations of love on piano ballads “Back To You”, a duet with Elizabeth Ziman, and “New Year’s Eves”. “Dragging You Around” featuring Sia may just be the most upbeat track Laswell has ever recorded. It all adds up to one of my favorite releases in the pop singer/songwriter genre this year. Greg Laswell has yet to disappoint and here’s to hoping Landline reaches a wide audience.

Landline was released May 8 on Vanguard Records.

Official Website of Greg Laswell

Purchase Landline from Amazon.com

Best Albums of 2012: #17 - Gotye "Making Mirrors"

Yes, I know you're sick to death of "Somebody That I Used To Know". But it's tough to get upset with Gotye when the rest of the album is this solid. So much more than the overplayed hit, Making Mirrors didn't connect with me until months after its U.S. release. I'm glad I gave it a second chance, as it's one of the year's best and #17 on my Best Albums of 2012 list. My original review is below.

Favorite Tracks: "Eyes Wide Open", "State Of The Art", "Bronte", "Somebody That I Used To Know"  

OK, I'll be the first to admit I am way late to this album. I dismissed it when it came out in the States back in January, unimpressed by the samples of it I listened to. I'll let "Making Mirrors" serve as a reminder to me that 30 second samples don't always tell the whole story of an album.

It took Gotye's recent appearance on Saturday Night Live to intrigue me enough to re-visit "Making Mirrors" and it wasn't even so much the performance of the unavoidable "Someone That I Used To Know". Yes I like that track, it's hard not to, but the second performance of "Eyes Wide Open" is what really sold me. The guy can sing, he's even pounding out some percussion up there and he obviously can write quality pop music that doesn't sound churned out of a radio hit making factory. This is the song that got me excited to check out the entire album again.

Upon further listening, "Making Mirrors" reveals a talented singer/songwriter and multi-instrumentalist not afraid to push pop boundaries to inject some originality and thought into the genre. There's the pure Motown Sound of "I Feel Better", the dub and reggae influenced "Don't Worry, We'll Be Watching You" and the soothing ambiance of "Giving Me A Chance". But the song that truly sold me on this album is "State Of The Art", with its mix of electronics, hip-hop and reggae all topped off with Gotye electronically manipulating his voice so it is slowed down to the point of being unrecognizable. It's the perfect combination of not taking yourself too seriously while creating a seriously brilliant track.

"Making Mirrors" is actually Gotye's third full length album, but the first released in the U.S. Born in Belgium, but raised in Australia, he's quickly becoming a household name here and I'm officially on the bandwagon.  

"Making Mirrors" was released in the U.S. January 31, 2012 on Universal Republic.

Official Wesbite of Gotye

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Best Albums of 2012: #18 - JBM "Stray Ashes"

Jesse Marchant returned in 2012 with another album of his inviting folk music. Every bit as gorgeous as his 2010 debut, Stray Ashes places at #18 in my Top Albums of 2012. My original review is below.

Favorite Tracks: "Winter Ghosts", "Forests", "On Fire On A Tightrope", "Keeping Up"

JBM is Canadian singer/songwriter Jesse Marchant. HIs 2010 debut Not Even In July was one of my favorites of that year, so this new release came with great expectation. Marchant has not let me down as Stray Ashes is a fantastic follow-up. JBM's music is acoustic based, primarily slow, but warm, peaceful and inviting. Nothing about that has changed between the first and second albums and he avoids that second album let-down by staying with what he excels at.

If there is one current artist I'd most compare Marchant's vocals to, it is My Morning Jacket's Jim James. There are times on Stray Ashes when it is difficult to decipher the lyrics through his drawl, but this ultimately does not distract from the lovely music contained here. Tracks like "Ferry" and "Winter Ghosts" will have you ready for the upcoming change in seasons as they call to mind barren trees and snow covered landscapes.

"Only Now" is a little more electric than most of JBM's material with moments of pounding drums and shimmering guitars, while "Forests" bounces along on a soulful bassline. But it's the more subdued material that is JBM's bread and butter and "On Fire On A Tightrope" is among the best here. Marchant's voice is accompanied by just guitar for the majority of the track before he slowly brings other elements into the mix and the song closes with gorgeous falsetto wails.

JBM may not be the household name acts like Bon Iver and Mumford and Sons are, but his music will certainly appeal to fans of those artists. He is deserving of a much higher profile. This is staggeringly beautiful music and one of 2012's best.

Stray Ashes was released May 22, 2012 on the Western Vinyl label.

Official Website of JBM

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