Scottish rockers the Twilight Sad are back with another set of sunken-hearted, sky-scraping guitar anthems. Nobody Wants To Be Here And Nobody Wants To Leave, the follow-up to 2012′s No One Can Ever Know, finds the band weaving post-punk and new wave elements into their shoegaze-inflected epics, topped off as always by James Graham’s world-weary vocals. We posted early singles “There’s A Girl In The Corner” and “Last January,” and now you can stream the whole album below. Do it!
Philip Selway is probably the last member of Radiohead anyone expected to go full singer-songwriter, but with sophomore solo release Weatherhouse, the longtime drummer affirms that he’s more than capable of stepping out from behind the kit. Recorded with Bat For Lashes touring member Quinta and Four Tet’s former Fridge bandmate Adem Ilhan, the album is more confident and ambitious than Selway’s promising 2010 debut Familial. It’s a pop record with an artful touch that further develops his tender emotional spin on the expansively moody sounds Radiohead fans know and love. On his day off from working on Radiohead’s latest album, Selway called from the UK to discuss Weatherhouse, his Tonight Show appearance with the Dap-Kings, and how one of his songs shares a name with one of this year’s biggest hits.
Lone’s Reality Testing jam “Restless City” was released as a single this week with a remix by Head High as the B-side. To complement the single, the original “Restless City” how has an entertaining animated video by RUFFMERCY and Patch D. Keyes. It’s a real sensory overload, with imagery speeding in and out of the frame before you can wrap your mind around it. That makes it a good match for Matt Cutler’s brisk, brainy techno production. Even the dark-hued color palette is a perfect fit for music that casts such a dusky tone without compromising its playful spirit. Check out the video below, where you can also hear the Head High remix.
Whoops, you’re right. I got my Mels mixed up.
Sorry, guys. There was a quick turnaround for this, but that’s no excuse for typos. I think they’ve all been corrected now.
As noted in the edit above, I neglected to mention that Lindsey Stirling got extremely popular by playing classical violin over top of dubstep beats. IMO Clean Bandit is way better than this bullshit: https://www.youtube.com/watch?v=aHjpOzsQ9YI
Ugh, thanks. That’s fixed now.
Adjusting that now. Sorry for the misprint; we got faulty information.
You’re right, and that would definitely fit with the climate change motif I’m picking up.
That’s fair. I should have noted that she doesn’t really have much competition. La Roux was OK. Elusive Chanteuse was OK. Ariana Grande’s album was strong — better than Mariah’s IMO, even if Mariah’s had more character. Love “Chandelier” but didn’t really care for Sia’s album. Shakira had at least one great single (“Empires”) but her album was stuffed with so much filler. Sheezus was more interesting to me conceptually than as actual music. If we’re expanding this beyond female pop stars, I probably need to spend some time with 5 Seconds Of Summer’s LP as I wrote on them when they only had an EP out. Sam Smith’s album was not what I hoped it would be. Ed Sheeran’s “Don’t” is growing on me, but c’mon, Ed Sheeran did not make the year’s best pop album. Loved the Bleachers album, which I covered in this column, but I wouldn’t classify it as “pop” in the same sense as the rest of these. I continue to ride for Coldplay’s Ghost Stories, which I think ranks with their best work, so I guess that puts them in this conversation. Beyoncé wipes the floor with Tove’s album, but yeah, it’s a 2013 release.
It’s kind of crazy to think about someone paying hard-earned money for a new Train album, but then again I’m kind of surprised it didn’t debut at #1.
They do literally wear blue collars there
Oh, thanks for pointing that out. Here in Ohio the news about young Andrew hasn’t reached us yet!