Given that the collaborations on this album, mixed with some covers, it’s a record that in lesser hands could have ended up a well-intentioned but ultimately disappointing aural mess. Instead of which, over the course of three-quarters of an hour, it’s like walking into Willy Wonka’s Chocolate Factory in terms of listenable treats.
Every once in a while something gets passed in your direction that changes the course of everything. KOYO, the debut album from KOYO, is that something.
Once again, we laugh, we cry, our hearts are warmed and our minds transported, sometimes to a better world, and other times to places altogether bleaker. Regardless of which destination we arrive at, The Nashville Sound is the work of a classic artist in one of the most prolonged purple patches in any musician’s career. Truly spellbinding.
This is another beautifully-produced record where initially slight songs eventually grip you. Silver Eye keeps their reputation firmly intact as one of the best and most reliable groups around.
That Sløtface exist should be enough for us all, we need energetic shouty young people to form bands, create catchy riffs and remind us all that we were all young once. Try Not To Freak is no masterpiece but it’s their masterpiece and quite frankly that should be sufficient for us all.
It’s sozzled, it’s high as a kite and sometimes it’s just downright psychotic. But it’s because of the maniacal shifts in tone, its massive melting pot of sounds and Thundercat’s hysterical (sometimes in more ways than one) yet honest ramblings that Drunk will probably go down as his magnum opus.
We All Want The Same Things is his best effort yet and by some distance.
Every track on The Navigator is 24 carat gold. This isn’t just one the finest albums of 2017, it may even be the greatest release of the entire decade. Simply phenomenal.
A Fever Dream continues Everything Everything praise-worthy wordplay, powerful commentary and quirky mix of modern terminology meets erudite phrases.
Finally there’s the title track, which gives the album the huge, epic, sky-scraping finale it deserves, making Every Country’s Sun the most perfect expression yet of Mogwai’s quiet-louder-LOUDEST aesthetic. All killer, nae filler.
It’s a lazy comparison given that everyone who writes about Desperate Journalist makes it ... they do sound like The Smiths, because they’ve grasped exactly what The Smiths were about – not a jangly indie band fronted by an Oscar Wilde wannabe, but a loud, powerful rock beast who also had no fucking choice.
Just like on, Too Bright, this album is another leap forward, only this time round he hasn’t just outdone himself, he’s outdone everyone else. No Shape is an astonishing record.
The lyrics aren’t exactly always upbeat, but if Interplanetary Class Classics doesn’t make you want to at least throw some shapes, then there really is no hope for you. 2017 really is turning into a sterling year for stellar albums, and this is no exception.
The brilliance Zauner hinted at on Psychopomp has been fully realized on Soft Sounds. This revealing and heartwarming record finds Zauner mastering her craft through the therapeutic experience of making music.