The best new albums of the month, April 2014

Happily, April was a much stronger month than March, and I ended up having to wade through 35 mostly decent new releases to make this month's ten. It was fairly tight though and I wouldn't be surprised if some albums I've skipped over return to favour with me in the next while.

The Skull Defekts 'Dances in Dreams of the Known Unknown'

my review (the 405)
"The album is a thrill from start to finish and is perhaps surprisingly accessible, particularly if you are aware of their previous work. There is great tension between the riffs and the melodies and the way the guitars are just seconds away from dipping into something truly edgy and discordant. The Skull Defekts are a lot more interesting and original than those bands simply retreading garage rock in the name of psychedelia. They understand the power of repetition when used correctly - think of the Fall, Can, Sonic Youth - and Higgis's presence completes the band and makes it possible to deliver an album as trippy, yet somehow coherent, as this one."

Fennesz 'Bécs'

Although he always seems to be busy and productive, this is the first full Fennesz album since 'Black Sea', and on it he makes some of his prettiest noise since 2002's masterpiece 'Endless Summer'. Existing fans will not be disappointed, unless of course they were looking for a dramatic progression, because 'Becs' builds on what Fennesz does best but doesn't push the boundaries too hard. If anything, it is more stripped back and at some points there is something resembling raw guitar, stripped of effects. It's a beautiful album.

Protomartyr 'Under Color of Official Right'

There's a bit of a buzz about these people at the moment, and rightly so. 'Under Color...' expands on their impressive debut and it crams 14 songs into its 34 minute duration. The band take a similar approach to Fugazi in that they manage to create space and atmosphere on even short songs, as the drums deliver an unconventional pattern which the rest of the band fill in. The lyrics seem worth investigating as well, but it's early days for me with this one, but I know it's strong enough to make the ten.

Avey Tare's Slasher Flicks 'Enter the Slasher House'

my review (the 405)
"Overall Enter the Slasher House is perhaps too subtle to sit amongst the likes of the Cramps, Goblin and Zombie Zombie playing John Carpenter, on your future Halloween playlist. The eeriness only really emerges after a few listens, and the same could be said for the contributions of Angel and Jeremy, but it would be a shame if people just viewed this as an Animal Collective side project, as there is plenty to investigate here."

Wye Oak 'Shriek'

To paraphrase LCD Soundsystem, they've sold their guitar and they're buying synthesisers. Whilst that's not 100% true, this new album from Wye Oak sees them change their sound dramatically, towards something very synth-based. This is fine because they have managed to write some brilliant songs for 'Shriek' which would sound good no matter what they are played on. This isn't the Wye Oak you know but it may still be the Wye Oak you love.

Shonen Knife 'Overdrive'

It didn't seem that long ago that the Knife were professing their love for the Ramones with their 'Osaka Ramones'. With 'Overdrive' - their 20th album in 33 years! - they have drawn on classic hard rock as their main influence. There are shades of Thin Lizzy on the opening 'Bad Luck Song', and things get a bit heavier for 'Like a Cat' and 'Ramen Rock', though the catchy 'Dance to the Rock' is a perfect balance between their own sound and the pop-rock they are paying homage to. Obviously a bit heavier than its predecessor 'Pop Tune' that's no bad thing, and they still manage to leave you smiling as always.

Woods 'With Light and With Love'

Their previous album 'Bend Beyond' saw them emerge into something more coherent than their early folk-jams would have hinted at, and this new one sees them take that a step further. FM country-rock and the Byrds loom large over this, and the band take those influences and update them. The title track in particular sees them achieve the best balance yet between the psychedelic guitar solos that lift their live shows to another level, and their skills in writing a strong tune.

Pixies 'Indie Cindy'

There are probably half a dozen Pixies-influenced indie-rock albums that could have nudged their way into this list, but to be honest none of them are as good as 'Indie Cindy'. I was firmly in the "no Pixies without Kim" camp and nearly didn't listen to this at all, but I'm glad I did. Those guitar lines and those clever little melodic twists that they were so good at are all present and at times they sound sublime.

EMA 'The Future's Void'

There is nothing on here as stunning as 'The Grey Ship' (from previous album 'Past Life Martyred Saints') but then EMA doesn't strike me as the kind of person who would repeat herself. Instead she kicks this off with 'So Blonde', a ghastly yet ironic dig at that bombastic LA pop-rock sound. It's all uphill from here thankfully, and a lot of the album focuses on the cyber side of things - hinted at by the cover pic of her with an Oculus Rift headset. We can't see her eyes, and she is looking at another reality. '3Jane' deals with voyeurism and web-exploitation in a subtle way, and 'Neuromancer' is maybe the most successful blend of her words and her new electronic direction.

Thee Oh Sees 'Drop'

The first recording under Thee Oh Sees name since John Dwyer announced their hiatus in December, so it will be interesting to see where they go from here. Musically 'Drop' follows on from where predecessor 'The Floating Coffin' left off, although the rough edges and wig-outs seem more tempered these days. Coupled with the lack of further news about their future and the fact that the album is just over 30 minutes in length, 'Drop' feels like a bit of a tease. It's a good one though.

The best album releases of the month, June edition

Can 'Lost Tapes box set'

June was another month where the best new release was old. However, unlike My Bloody Valentine's reissues, CAN's Lost Tapes Box Set consisted of three hours of unheard music. I cannot recommend it highly enough, the quality is consistent throughout the epic running time, and as a long standing Can fan I was thrilled to hear bits of familiar tunes incorporated into other pieces. It is extraordinary to think this has remained hidden for the best part of 40 years, it is literally a gem.

Piano Magic 'Life Has Not Finished With Me Yet'

my review (the 405)

"Overall this is a desolate but beautiful record. Piano Magic have successfully introduced new elements into their sound and have made them gel. After eleven albums and sixteen years, this latest effort can comfortably sit amongst their best work."

Japandroids 'Celebration Rock'

Anthemic punk rock album of the season for sure. This duo's second full length album begins with fireworks and delivers some cracking songs; some brand new, others such as 'Younger Us' will be familiar from the singles series which they have been releasing over the last while.

Patti Smith 'Banga'
This is the most impressive album that Patti Smith has made in years. It has catchy tunes ('April Fool') as well as longer pieces that touch on spoken word and experimental rock ('Tarkovsky' 'Constantine's Dream'). She is in great voice and the production works well, though I reckon there are more strings on this than on any of her previous releases. Tom Verlaine plays inspiratonal guitar throughout as well.

Tom McShane 'The Ural Winter'

my review

"At the heart of The Ural Winter there is some strong songwriting, so I reckon it would still have satisfied as a conventionally recorded album, but by bringing people together on that summer's day in 2010, a certain spark happened; something that made the music more alive. This is a downbeat, melancholic album that manages to feel raw and alive and is well worth your attention."

Shonen Knife 'Pop Tune'
my review

"At its heart it is a pure pop record, a summery carefree rush through the simple pleasures of life. I still think they could have taken the Ramones influence one step further and shortened some of the songs, but overall this is both an invigorating listen and an impressive statement from the band. Shonen Knife were always touted as an influence by bands such as Nirvana, L7 and Redd Kross, and whilst recent records have been good, Pop Tune helps us see just why this band packs such an influential clout."

Guided By Voices 'Class Clown Spots a UFO'

Sometimes the prolific nature of Guided By Voices can be frustrating. 'Class Clown..' is their second album of 2012 and apparently there is another one to follow. It's a good album, as is its predecessor, 'Let's Go Eat the Factory', but the thing is if you put them both together you get a great one. Still, out of all the reformed bands that have returned in recent years, they are the one that I am most pleased to see back.

Peaking Lights 'Lucifer'

Building on the buzz created by the superb '936', I think 'Lucifer' is more of a grower. Musically it tiptoes around the crossroads between dub reggae and dream pop. Their use of lo-fi electronics and extended melody lines give it a special edge. Worth it for 'Dream Beat' alone.

Ty Segall Band 'Slaughterhouse'

Another madly prolific act, like GBV, Ty Segall has committed himself to releasing three albums this year. I only heard this last week so I haven't had a chance to really get into it, but my initial impressions are that it is one of the best things he has put his name to. Steeped in even heavier psych-rock than his recent collaboration with White Fence, this sounds amazing when played loud. I haven't even got my hands on a proper copy yet, so I'm looking forward to that.

Liars 'WIXIW'

THe deliberately obtuse title (it's pronounced "wish-you") belies the fact that this is one of Liars most accessible and less abrasive records. Surely they can now be considered one of the most important acts of the last decade - every album is different and they have always challenged their listeners. Produced by Mute boss Daniel Miller, synths are more to the fore here, and the noise overload of old has been swapped for a subtle, more electronic feel. Like all Liars records, this rewards repeated listening.

The Walkmen 'Heaven'

A mature, grown-up record, by all accounts. Perhaps this status is underlined by the picture of the band posing with their children on their laps on the back cover. Dad-rock indeed. It turns out this is one of the Walkmen's best albums, its a grower, and the songs kind of creep up on you, rather than grab you straight away.

A Place to Bury Strangers 'Worship'

my review

A Place to Bury Strangers no longer seems like a flat-out noise assault, and ultimately Worship sounds more like themselves than a homage to anyone. It actually sounds great too, and I really like the band's own production work. It is clinical and cold rather than warm and fuzzy but that suits the material. This isn't woozy shoegaze to lose yourself in, it's much more edgy and abrasive than that, and I reckon it works.

review: Shonen Knife 'Pop Tune'

With a collection of songs bristling with pop-punk hooks, and lyrics concerned with the simple pleasures of sunshine, pop music and all-you-can-eat restaurants, it is sometimes hard to believe that Shonen Knife have now attained veteran status with the release of Pop Tune - their 18th album in their 30th year as a band.

After a flirtation with pop-metal on their previous couple of albums, Pop Tune is a return to melodic pop-punk, perhaps inspired by their recent release as the Osaka Ramones and definitely under the influence of '60s girl groups and garage bands. The striking sleeve art (above) by up and coming illustrator Mami Salto suits the feel of the album perfectly.

It's infectious from the word go, with the two minute anthem 'Welcome to the Rock Club' underlining the pop-punk influences. I'm surprised that the songs aren't actually shorter as the brief buzz-pop approach suits them really well. The catchy title track itself only makes it past the three minute mark because of a strategically placed key change.
'Osaka Rock City' has a great anthemic chorus and is more in tune with the Ramones than Kiss, and 'All You Can Eat' is a light hearted pop song where Naoko sings in detail about the delights of those restaurants. As always, there is something uniquely charming about Shonen Knife when they write songs like this.
Things get a bit gentler on 'Paper Clip' which is lovely acoustic based pop and, along with the more uptempo 'Mr J' reminds me of the lighter moments of the Kinks.
'Psychedelic Life' is also moves away from the basic pop punk template, and again the lyrics raise a wry smile "burning incense, and having some peppermint tea... I feel like a bohemian", and what sounds like a wooden flute solo underlines the sixties vibe .
'Ghost Train' is a straight forward idea that again would benefit from a bit of brevity, although the band sound great on it.
'Sunshine' is a pretty acoustic based song, more gentle and reflective than anything they have done for a few years, with lead vocals from bassist Ritsuko.
Given the 70's hard rock feel of their recent album Free Time, I was pleasantly surprised by Pop Tune. At its heart it is a pure pop record, a summery carefree rush through the simple pleasures of life. I still think they could have taken the Ramones influence one step further and shortened some of the songs, but overall this is both an invigorating listen and an impressive statement from the band. Shonen Knife were always touted as an influence by bands such as Nirvana, L7 and Redd Kross, and whilst recent records have been good, Pop Tune helps us see just why this band packs such an influential clout.

Pop Tune is released in the UK/ Europe on Damnably. Shonen Knife are on tour in the UK and Ireland during the first two weeks of October.