Scratch that, imagine your house and life suddenly overtaken by two puckish mischief-makers whose energy never flags. Led by a trio of phenomenal tracks in “Chwyldro”, “Patriarchaeth”, and “Calon Peiriant”, it all makes for a dreamy, entrancing experience like none other in 2015. Inspired by Welsh author Owain Owain’s 1976 novel of the same name, Y Dydd Olaf combines pulsating, hypnotic motorik beats reminiscent of Kraftwerk and Neu!, spacey kosmische arrangements that echo Stereolab and Can, and best of all, sumptuous vocal hooks. The fact that she has crafted a beautiful, shimmering sci-fi krautpop concept album is impressive enough, but the fact that it’s sung entirely in Welsh (and one song in Cornish) makes it stand out even more. Gwenno – Y Dydd Olaf Ī decade after winning the hearts of many as a member of indie pop group the Pipettes, Gwenno Saunders has since reinvented herself as a pop auteur by veering off in a direction that few could pull off. Cam’s full-length album drops in December and may render this EP redundant, but it won’t be obsolete, because how do you top four perfectly realized songs? - Josh Langhoff The production, by Cam collaborator Tyler Johnson and country interloper Jeff “Fun.” Bhasker, is spacious and brilliant with sparkly details. “Runaway Train” sounds more like its awesome subject than comparable songs from Soul Asylum, Brad Paisley, Rosanne Cash, etc. “Half Broke Heart” uses a chewy New Orleans groove to deliver its wisdom, a rebuttal to the “horseshoes and handgrenades” theory of completeness.
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“Burning House” is the delicately picked folk single, wherein Cam recounts a dream full of Symbol and Portent, turning her into a sleeeeeeepwalker at the parties where she still encounters her ex. “My Mistake” is forthright and sexy, Cam’s harmonies draped across guitars and rumbling piano. Cam – Welcome to Cam Country Ĭam’s major label debut is only four songs, ranging from very good to doubleplusgood, each showcasing a different side of one of the most promising singer-songwriters in mainstream country. But Remy notes, with a hint of hope, that her conclusion will be that of a woman luxuriously sitting in a limousine.
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While Top 40 pop considers love flawless, Half Free locates conflicts within the presumptuously joyous subject. It is an odd choice, considering that these characters don’t own themselves (“New Age Thriller”), but it is necessary to show how liberation is important. Instead of making an album that critiques the family dynamic and attacks conservative notions of what living means, Remy allows listeners to position themselves as the women in her album. The protagonists exploring the record are those living lives considered antiquated, dealing with the impact of the second-shift (“Window Shades”) and eventually considering children to be foes (“Navy & Cream”). When Meghan Remy tells her audience that her character will hang herself on the family tree, she means it. Girls‘ Half Free takes its battles inside and outside the nuclear family. Still, this isn’t your familiar brand of barbed, boisterous post-punk it’s a smart, though approachable listen that’s destined to hold its ground with the passage of time. Lead singer Tim Darcy addresses these issues with snarky vocal intonations that are purposely unsympathetic, backed with tricky, atonal compositions that are passionate and refreshingly open minded. Sun Coming Down is chiefly about one’s place when entering the so-called “real world”, one in which conformity is an everyday concern and the idea of buying in to an absolutist credo is frightening. The Montreal-based quartet are oddly noncompliant with their sardonic one-liners, tossing out pointed non-sequiturs with a quick-tempered agitation that highlights their post-collegiate malaise. Ought – Sun Coming Down Īn anti-establishment mood courses through the veins of art rockers Ought, but not in the way you’d exactly expect.
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