Albums of the Year Number 7: The Suburbs by Arcade Fire In my flat, this has proved a rather controversial choice. Although I enjoyed The Suburbs a lot, my partner is not keen. If I’m honest though, I can see where she’s coming from. The bad news is that this album is another point on Arcade Fire’s consistent downward trajectory. The best album they’ve released is still Funeral, and by some margin. And The Suburbs is, unfortunately, also not as good as Neon Bible. Funeral was a solid album full of outstanding tracks. Neon Bible was a slightly patchy album with some outstanding tracks. The Suburbs is a slightly patchy without any particularly outstanding track. But the news isn’t all bad. I like Arcade Fire a lot, and them on a bad (or at least unremarkable) day is still far better than a lot of indie music that’s out there. Their formula of dispensing with the irony and really seeming to enjoy what they do goes a long way for me, and they’re still the masters at taking a simple song premise and just letting it charge off to its natural conclusion. And although there aren’t any tracks to the standard of Keep the Car Running or Intervention on this album, We Used To Wait and Sprawl II are still damn fine songs. But the thing is, I’ve probably listened to this album more than any other this year. Firstly because despite a few reservations, I like it a lot. Secondly, though, it’s because I was expecting that a few listens in it would all come together and I’d realise that this was actually a masterpiece. But it never did. So sure, it’s a fine record, and far above the standard of many artists out there. It’s charmingly nostalgic and feels like a real album, rather than a disparate collection of songs that just happened to be written at the same time. But it’s still a disappointment. Indeed, if Arcade Fire don’t stop this downward spiral of theirs sooner or later, they’ll become the dull, formulaic band that their harshest detractors already think they are.

Albums of the Year

Number 7: The Suburbs by Arcade Fire

In my flat, this has proved a rather controversial choice. Although I enjoyed The Suburbs a lot, my partner is not keen. If I’m honest though, I can see where she’s coming from.

The bad news is that this album is another point on Arcade Fire’s consistent downward trajectory. The best album they’ve released is still Funeral, and by some margin. And The Suburbs is, unfortunately, also not as good as Neon Bible. Funeral was a solid album full of outstanding tracks. Neon Bible was a slightly patchy album with some outstanding tracks. The Suburbs is a slightly patchy without any particularly outstanding track.

But the news isn’t all bad. I like Arcade Fire a lot, and them on a bad (or at least unremarkable) day is still far better than a lot of indie music that’s out there. Their formula of dispensing with the irony and really seeming to enjoy what they do goes a long way for me, and they’re still the masters at taking a simple song premise and just letting it charge off to its natural conclusion. And although there aren’t any tracks to the standard of Keep the Car Running or Intervention on this album, We Used To Wait and Sprawl II are still damn fine songs.

But the thing is, I’ve probably listened to this album more than any other this year. Firstly because despite a few reservations, I like it a lot. Secondly, though, it’s because I was expecting that a few listens in it would all come together and I’d realise that this was actually a masterpiece. But it never did.

So sure, it’s a fine record, and far above the standard of many artists out there. It’s charmingly nostalgic and feels like a real album, rather than a disparate collection of songs that just happened to be written at the same time. But it’s still a disappointment. Indeed, if Arcade Fire don’t stop this downward spiral of theirs sooner or later, they’ll become the dull, formulaic band that their harshest detractors already think they are.

Albums of the Year Number 8: The Defamation of Strickland Banks by Plan B Concept albums are a tricky business. It’s hard enough at the best of times to make one that doesn’t make you sound utterly pretentious. When you add into that the idea you’re making a Motown-infused album about a man falsely accused of rape, I think most people would have suggested to Ben Drew that it might be worth barking up some other tree. But this album not only works, it’s great. Drew has a beautiful, soulful voice and one that we didn’t hear much of on his first album. At its highest register his voice sounds so close to cracking that it provides a real sense of emotion. The songwriting is so solid and polished that the final result sounds more like a best-of singles collection from a band with quite a considerable career. That said, it doesn’t feel disjointed, the concept flows remarkably well and never feels forced. I have a lot of favourites but if I was forced to pick a couple of tracks, both Writing’s On The Wall and Prayin’ are excellent, and the latter also has a great video. Next year’s The Ballad of Belmarsh is apparently going to fill in the gaps in the story. I for one can’t wait to hear it. Spotify Link

Albums of the Year

Number 8: The Defamation of Strickland Banks by Plan B

Concept albums are a tricky business. It’s hard enough at the best of times to make one that doesn’t make you sound utterly pretentious. When you add into that the idea you’re making a Motown-infused album about a man falsely accused of rape, I think most people would have suggested to Ben Drew that it might be worth barking up some other tree.

But this album not only works, it’s great. Drew has a beautiful, soulful voice and one that we didn’t hear much of on his first album. At its highest register his voice sounds so close to cracking that it provides a real sense of emotion. The songwriting is so solid and polished that the final result sounds more like a best-of singles collection from a band with quite a considerable career. That said, it doesn’t feel disjointed, the concept flows remarkably well and never feels forced.

I have a lot of favourites but if I was forced to pick a couple of tracks, both Writing’s On The Wall and Prayin’ are excellent, and the latter also has a great video. Next year’s The Ballad of Belmarsh is apparently going to fill in the gaps in the story. I for one can’t wait to hear it.

Spotify Link

Albums of the Year Number 9: Harlem River Blues by Justin Townes Earle Those who are a fan of Steve Earle will recognise much in his son. Not least the fact that he’s named after his father’s hero Townes Van Zandt. And when you hear this album there’s much, much more to link the two. Justin’s voice has much of Steve’s gravelly timbre, breaking with what feels like perfect emphasis. There’s the clear country roots with a rock sensibility, and there’s the stories of the working man, topics that would feel as at home in a Springsteen song as anywhere. And his arrest following a drunken argument with a concert promoter earlier in the year wouldn’t look entirely out of place in his father’s biography. There’s something unique about Justin though, and you can hear it in the title track, which although clearly firmly rooted in the country/folk/rock tradition, also drips with a stunning gospel backing. Later, ‘Move Over Mama’ shuffles along in a much more traditionally rockabilly feel than you’d be likely to hear from his father (although it’s not entirely unknown). However much of an overlap there is between Justin Townes Earle and his father, though, this is an excellent, polished album that feels like Tennessee just taken wholesale and bottled ready for export. Spotify Link

Albums of the Year

Number 9: Harlem River Blues by Justin Townes Earle

Those who are a fan of Steve Earle will recognise much in his son. Not least the fact that he’s named after his father’s hero Townes Van Zandt. And when you hear this album there’s much, much more to link the two. Justin’s voice has much of Steve’s gravelly timbre, breaking with what feels like perfect emphasis. There’s the clear country roots with a rock sensibility, and there’s the stories of the working man, topics that would feel as at home in a Springsteen song as anywhere. And his arrest following a drunken argument with a concert promoter earlier in the year wouldn’t look entirely out of place in his father’s biography.

There’s something unique about Justin though, and you can hear it in the title track, which although clearly firmly rooted in the country/folk/rock tradition, also drips with a stunning gospel backing. Later, ‘Move Over Mama’ shuffles along in a much more traditionally rockabilly feel than you’d be likely to hear from his father (although it’s not entirely unknown).

However much of an overlap there is between Justin Townes Earle and his father, though, this is an excellent, polished album that feels like Tennessee just taken wholesale and bottled ready for export.

Spotify Link

Albums of the Year Number 10: I Think Because I Can by Laura Marling Laura Marling’s not much of a groundbreaker, and this album is not at the forefront of what can be achieved with modern technology. But then it’s not supposed to be, it’s a strong, solid, beautifully written folk album. Marling’s vocal style is impeccable and although traditionally folky, also uniquely hers. This album might not quite be up to the standard of her debut, and there’s nothing that quite reaches the levels of Ghosts on that album, but the opener ‘Devil’s Spoke’ and the rather timely ‘Goodbye England (Covered in Snow)’ are excellent tracks in different ways, the former being a rhythm-driven folk bonanza, and the latter a touching and charming track about homesickness, and running away from love. Overall, there’s a lot to like in this album, and like Marling herself, it’s charming, understated and shows a still unfulfilled promise.  Spotify Link

Albums of the Year

Number 10: I Think Because I Can by Laura Marling

Laura Marling’s not much of a groundbreaker, and this album is not at the forefront of what can be achieved with modern technology. But then it’s not supposed to be, it’s a strong, solid, beautifully written folk album. Marling’s vocal style is impeccable and although traditionally folky, also uniquely hers.

This album might not quite be up to the standard of her debut, and there’s nothing that quite reaches the levels of Ghosts on that album, but the opener ‘Devil’s Spoke’ and the rather timely ‘Goodbye England (Covered in Snow)’ are excellent tracks in different ways, the former being a rhythm-driven folk bonanza, and the latter a touching and charming track about homesickness, and running away from love.

Overall, there’s a lot to like in this album, and like Marling herself, it’s charming, understated and shows a still unfulfilled promise. 

Spotify Link

Album Review: It’s Blitz by the Yeah Yeah Yeahs To be honest, I’d kind of lost interest in the Yeah Yeah Yeahs. They had a habit of releasing albums with a couple of leading singles which were excellent and then when the actual album arrived, it was dripping with filler and disappointment. So when Zero was released, and it was a perfect little blast of driving basslines and screeching guitars laced through with one of the catchiest tunes of last year, it was with trepidation that I (eventually) investigated the rest of the album. But this time around, pretty much everything about the album is excellent. It’s a properly crafted album too, with a beginning (made up of the two leading singles Zero and Heads Will Roll) a perfect transitional middle section and a genuinely moving ending, made of my two favourite tracks from the album, Hysteric and Little Shadow. So if you’re wondering why I’m reviewing an album that was actually released in March last year, my excuse is that the Yeah Yeah Yeahs had form on the disappointing album front. Not this time though. Spotify link

Album Review: It’s Blitz by the Yeah Yeah Yeahs

To be honest, I’d kind of lost interest in the Yeah Yeah Yeahs. They had a habit of releasing albums with a couple of leading singles which were excellent and then when the actual album arrived, it was dripping with filler and disappointment.

So when Zero was released, and it was a perfect little blast of driving basslines and screeching guitars laced through with one of the catchiest tunes of last year, it was with trepidation that I (eventually) investigated the rest of the album.

But this time around, pretty much everything about the album is excellent. It’s a properly crafted album too, with a beginning (made up of the two leading singles Zero and Heads Will Roll) a perfect transitional middle section and a genuinely moving ending, made of my two favourite tracks from the album, Hysteric and Little Shadow.

So if you’re wondering why I’m reviewing an album that was actually released in March last year, my excuse is that the Yeah Yeah Yeahs had form on the disappointing album front. Not this time though.

Spotify link

Album Review: Manners by Passion Pit Clearly I’ve finished my album reviews from 2009. However, end-of-year lists inevitably point me towards some albums that passed me by during the year itself, so over the next few months I’m going to put some reviews up that are, essentially, woefully out of date. The first of these is Manners by Passion Pit. Their debut comes from the ever growing collection of groups milking the 80s for every last synth, falsetto vocal and pop-driven indie hit they can find. However, from this hefty niche Passion Pit have put together a sound that’s very much their own. Mostly this is shaped by Michael Angelakos’ relentlessly Bee Gee-esque vocal stylings, but the samples, drums and soaring melodies, not entirely dissimilar from 2008’s M83 album, Saturday=Youth also play a huge role. A good, solid debut from an album which could be really interesting in the future. Spotify link

Album Review: Manners by Passion Pit

Clearly I’ve finished my album reviews from 2009. However, end-of-year lists inevitably point me towards some albums that passed me by during the year itself, so over the next few months I’m going to put some reviews up that are, essentially, woefully out of date.

The first of these is Manners by Passion Pit. Their debut comes from the ever growing collection of groups milking the 80s for every last synth, falsetto vocal and pop-driven indie hit they can find. However, from this hefty niche Passion Pit have put together a sound that’s very much their own.

Mostly this is shaped by Michael Angelakos’ relentlessly Bee Gee-esque vocal stylings, but the samples, drums and soaring melodies, not entirely dissimilar from 2008’s M83 album, Saturday=Youth also play a huge role.

A good, solid debut from an album which could be really interesting in the future.

Spotify link

The Pootling Album Of The Year 2009: Sigh No More by Mumford & Sons So, I’ve been going on for a while, but I have at last reached my favourite album of the year. Oddly, it’s one that hasn’t been on as many end-of-year lists as I would have expected. Sigh No More is an astonishing debut album. At times understated and quiet, it’s also an album that knows how to throw a musical wall of sound at you at a moment’s notice. The first track of the album, also called Sigh No More, shows you everything they’re capable of. It builds slowly, with some light, delicate harmonies before, at the drop of a folky hat, throwing you the full works of drums, guitars, stand-up bass, banjos and everything else they can get their hands on. And wow, what a sound. Mumford & Sons started life as the backing band for equally talented Laura Marling. There’s no way that Marcus Mumford’s voice should have been left doing backing alone though. It’s a voice that’s affecting, dripping with emotion and just throatily magnificent. Few bands make an album so soaringly, achingly beautiful in their entire careers. Mumford & Sons have knocked one out at the their first attempt. Wow. Spotify Link

The Pootling Album Of The Year 2009: Sigh No More by Mumford & Sons

So, I’ve been going on for a while, but I have at last reached my favourite album of the year. Oddly, it’s one that hasn’t been on as many end-of-year lists as I would have expected.

Sigh No More is an astonishing debut album. At times understated and quiet, it’s also an album that knows how to throw a musical wall of sound at you at a moment’s notice.

The first track of the album, also called Sigh No More, shows you everything they’re capable of. It builds slowly, with some light, delicate harmonies before, at the drop of a folky hat, throwing you the full works of drums, guitars, stand-up bass, banjos and everything else they can get their hands on. And wow, what a sound.

Mumford & Sons started life as the backing band for equally talented Laura Marling. There’s no way that Marcus Mumford’s voice should have been left doing backing alone though. It’s a voice that’s affecting, dripping with emotion and just throatily magnificent.

Few bands make an album so soaringly, achingly beautiful in their entire careers. Mumford & Sons have knocked one out at the their first attempt. Wow.

Spotify Link

Albums Of The Year 2009: A Strange Arrangement by Mayer Hawthorne Motown-esque soul has been making a comeback for a while now. Amy Winehouse’s Back To Black, and Raphael Saadiq’s The Way I See It have been particular favourites of mine. But there’s always room for more Motown and Mayer Hawthorne’s softer, more laid back style brings something new to the table. If you’re not sure whether you need any 2009 Motown in your life, just listen to Maybe So, Maybe No and Make Her Mine - they’re perfect examples of soulful pop. Not overblown or bombastic, but just solid, fantastic pop. And the album’s full of examples just as good as these two. Hawthorne’s a man that just exudes talent from every pore, whether it’s singing, arrangement, instrumentation. Everything. Spotify Link

Albums Of The Year 2009: A Strange Arrangement by Mayer Hawthorne

Motown-esque soul has been making a comeback for a while now. Amy Winehouse’s Back To Black, and Raphael Saadiq’s The Way I See It have been particular favourites of mine. But there’s always room for more Motown and Mayer Hawthorne’s softer, more laid back style brings something new to the table.

If you’re not sure whether you need any 2009 Motown in your life, just listen to Maybe So, Maybe No and Make Her Mine - they’re perfect examples of soulful pop. Not overblown or bombastic, but just solid, fantastic pop.

And the album’s full of examples just as good as these two. Hawthorne’s a man that just exudes talent from every pore, whether it’s singing, arrangement, instrumentation. Everything.

Spotify Link

Albums Of The Year 2009: The First Days Of Spring by Noah And The Whale A lot of the best albums are break-up albums. Whether that’s because musicians only have time on their hands when their relationships are on the rocks, or because it’s just better fodder for album material, break-ups produce the best albums. The First Days Of Spring is an oustanding example of the genre (if you can call it a genre - it seems a little callous). The break-up in question is that of Charlie Fink, the lead singer, and Laura Marling. Her absence both in the solid sense of their being no female vocals, and in the sense of her being the subject of a lot of the songs, makes this a very different album from 2008’s Peaceful, The World Lays Me Down. Not only that, but it’s in a different league of quality. Peaceful…’s a fun little album, poppy bright and enjoyable, but ..Spring is an accomplished work of art. Although the album’s much darker, it’s not dark throughout, and there are moments of fun poppiness, such as Love Of An Orchestra, and, to a lesser extent, Blue Skies, both of which are outstanding tracks. However, it’s a proper, complete, listen-to-it-in-one-go album. And a great, great one at that. Spotify Link

Albums Of The Year 2009: The First Days Of Spring by Noah And The Whale

A lot of the best albums are break-up albums. Whether that’s because musicians only have time on their hands when their relationships are on the rocks, or because it’s just better fodder for album material, break-ups produce the best albums.

The First Days Of Spring is an oustanding example of the genre (if you can call it a genre - it seems a little callous). The break-up in question is that of Charlie Fink, the lead singer, and Laura Marling. Her absence both in the solid sense of their being no female vocals, and in the sense of her being the subject of a lot of the songs, makes this a very different album from 2008’s Peaceful, The World Lays Me Down. Not only that, but it’s in a different league of quality. Peaceful…’s a fun little album, poppy bright and enjoyable, but ..Spring is an accomplished work of art.

Although the album’s much darker, it’s not dark throughout, and there are moments of fun poppiness, such as Love Of An Orchestra, and, to a lesser extent, Blue Skies, both of which are outstanding tracks. However, it’s a proper, complete, listen-to-it-in-one-go album. And a great, great one at that.

Spotify Link

Albums Of The Year 2009: Bitte Orca by Dirty Projectors There aren’t many bands that have what you’d call a unique sound. There are many that are clearly recognisable, yes, but not many that really sound nothing like their contemporaries. Of these, there’s a still smaller minority that manage to achieve it by creating something that’s actually listenable. Dirty Projectors shine on both counts. They’re a prolific lot, releasing an album or two a year since 2002. A lot of the previous ones were more interesting than they were enjoyable to my ears, but this is a really cracking album. Temecula Sunrise with its intriguing rhythm pattern and the unforgettable Stillness Is The Move are my two favourites, but there’s more than enough on this album to keep you intrigued for a long while. Spotify Link

Albums Of The Year 2009: Bitte Orca by Dirty Projectors

There aren’t many bands that have what you’d call a unique sound. There are many that are clearly recognisable, yes, but not many that really sound nothing like their contemporaries. Of these, there’s a still smaller minority that manage to achieve it by creating something that’s actually listenable.

Dirty Projectors shine on both counts. They’re a prolific lot, releasing an album or two a year since 2002. A lot of the previous ones were more interesting than they were enjoyable to my ears, but this is a really cracking album. Temecula Sunrise with its intriguing rhythm pattern and the unforgettable Stillness Is The Move are my two favourites, but there’s more than enough on this album to keep you intrigued for a long while.

Spotify Link

Albums Of The Year 2009: Lungs by Florence + The Machine It’s difficult to know whether proper albums are declining in number. It’s true that a lot of albums nowadays appear to be built around a couple of successful singles without much of an overall feel or structure. Not this album, though. Lungs blasts in with Dog Days Are Over and Rabbit Heart, a couple of excellent singles in their own right, but from there it ebbs and it flows but with no drop in style or quality. Florence herself has a strong, but not overpowering voice, firmly in the Kate Bush mould, but to my ears, not as annoying. A lot of artists peak with their debut album, but I hope that’s not the case here. If this is a taster of things to come Florence + The Machine could be up there with some of the best UK artists around. Spotify Link

Albums Of The Year 2009: Lungs by Florence + The Machine

It’s difficult to know whether proper albums are declining in number. It’s true that a lot of albums nowadays appear to be built around a couple of successful singles without much of an overall feel or structure. Not this album, though.

Lungs blasts in with Dog Days Are Over and Rabbit Heart, a couple of excellent singles in their own right, but from there it ebbs and it flows but with no drop in style or quality. Florence herself has a strong, but not overpowering voice, firmly in the Kate Bush mould, but to my ears, not as annoying.

A lot of artists peak with their debut album, but I hope that’s not the case here. If this is a taster of things to come Florence + The Machine could be up there with some of the best UK artists around.

Spotify Link

Albums Of The Year 2009: The Bright Mississippi by Allen Toussaint The band that Toussaint has assembled for this album are clearly musicians at the very top of their game. Toussaint’s piano itself is faultless and dripping with character. Frankly, this is as good as New Orleans jazz gets and it’s not far off being as good as any jazz gets. It’s an album that deserves many, many listenings. Each time you’ll pick up a slightly different detail, each one more pleasing than the last. There are snatches of extremely familiar melodies, which evolve and turn into something entirely new. All underpinned by some of the best piano playing you’ll hear this year. It’s an album that feels pretty modern but is packed fit to burst with a century or two of musical history. Stunning stuff. Spotify Link

Albums Of The Year 2009: The Bright Mississippi by Allen Toussaint

The band that Toussaint has assembled for this album are clearly musicians at the very top of their game. Toussaint’s piano itself is faultless and dripping with character. Frankly, this is as good as New Orleans jazz gets and it’s not far off being as good as any jazz gets.

It’s an album that deserves many, many listenings. Each time you’ll pick up a slightly different detail, each one more pleasing than the last. There are snatches of extremely familiar melodies, which evolve and turn into something entirely new. All underpinned by some of the best piano playing you’ll hear this year. It’s an album that feels pretty modern but is packed fit to burst with a century or two of musical history. Stunning stuff.

Spotify Link

Albums Of The Year 2009: Hymn To The Immortal Wind by Mono Do you like Sigur Ros? How about Mogwai? Do you like your guitar music lyricless, but lengthy? Do you like it when an 11 minute extravaganza of light noodling ploughs into a wall of feedback? If you answered ‘no’ to any of the above questions, I have to warn you, you probably won’t be keen on this album by Mono. If, like me, you answered yes to all of them, then you’ll find Hymn To The Immortal Wind to be a beautiful, e-bow and overdrive-strewn gem of an album. Spotify Link

Albums Of The Year 2009: Hymn To The Immortal Wind by Mono

Do you like Sigur Ros? How about Mogwai? Do you like your guitar music lyricless, but lengthy? Do you like it when an 11 minute extravaganza of light noodling ploughs into a wall of feedback?

If you answered ‘no’ to any of the above questions, I have to warn you, you probably won’t be keen on this album by Mono. If, like me, you answered yes to all of them, then you’ll find Hymn To The Immortal Wind to be a beautiful, e-bow and overdrive-strewn gem of an album.

Spotify Link

Albums Of The Year 2009: Dark Was The Night by Various Artists Most charity albums are for a good cause, but end up being a bit worthy. Even some of the best ones (1995’s Help album for example) tend to be a bit on the patchy side. A few great tracks taped together with an awful lot of filler. COngratulations to Aaron and Bryce Dessner of The National, then, for putting together an album that’s not only for a good cause (raising funds and awareness for HIV and AIDS through the Red Hot Organization), but is also quite spectacularly brilliant. Almost all of the best artists operating in the US appear on the album. The National themselves are there, as are Bon Iver, Grizzly Bear, The Decemberists, Iron and Wine and Sufjan Stevens - and that’s just the first disc. Once you pop in disc two (imagine that you’re listening to it in the past where you have to change discs) and you get Arcade Fire, Beirut, Sharon Jones, Cat Power and Conor Oberst. And these aren’t tracks that would otherwise have become b-sides - they’re outstanding examples of tracks by bands at the tops of their collective game. The opening track, Knotty Pine by Dirty Projectors and David Byrne sets the standard extraordinarily high, and the rest of the album lives up to it wonderfully.  Feist and Ben Gibbard’s cover of Vashti Bunyan’s Train Song, for example is probably my favourite Feist track ever. So go and buy the album, and while you’re listening to it, you can feel warm and fuzzy in the knowledge you’ve done something good for others, as well as nourishing yourself with some of the best music released this year. Spotify Link

Albums Of The Year 2009: Dark Was The Night by Various Artists

Most charity albums are for a good cause, but end up being a bit worthy. Even some of the best ones (1995’s Help album for example) tend to be a bit on the patchy side. A few great tracks taped together with an awful lot of filler.

COngratulations to Aaron and Bryce Dessner of The National, then, for putting together an album that’s not only for a good cause (raising funds and awareness for HIV and AIDS through the Red Hot Organization), but is also quite spectacularly brilliant.

Almost all of the best artists operating in the US appear on the album. The National themselves are there, as are Bon Iver, Grizzly Bear, The Decemberists, Iron and Wine and Sufjan Stevens - and that’s just the first disc. Once you pop in disc two (imagine that you’re listening to it in the past where you have to change discs) and you get Arcade Fire, Beirut, Sharon Jones, Cat Power and Conor Oberst.

And these aren’t tracks that would otherwise have become b-sides - they’re outstanding examples of tracks by bands at the tops of their collective game. The opening track, Knotty Pine by Dirty Projectors and David Byrne sets the standard extraordinarily high, and the rest of the album lives up to it wonderfully.  Feist and Ben Gibbard’s cover of Vashti Bunyan’s Train Song, for example is probably my favourite Feist track ever.

So go and buy the album, and while you’re listening to it, you can feel warm and fuzzy in the knowledge you’ve done something good for others, as well as nourishing yourself with some of the best music released this year.

Spotify Link

Albums Of The Year 2009: Two Suns by Bat For Lashes Natasha Khan’s debut (2006’s Fur and Gold) had some sparkling moments, but was a flawed album that didn’t quite maintain the quality throughout. Two Suns is still far from perfect, but is a much better, much more engaging and consistent album. Daniel and Siren’s Song are excellent tracks, but it’s Good Love that’s a really beautiful and tender track that shows off Khan’s warm vocal style and simple backing and is the highlight of the whole album. The final track, The Big Sleep, a duet with Scott Walker is a disappointing end to a great album, however. I’m not sure quite what riles me about it, but despite this, the album overall shows that Khan still has a lot more to offer. I think album three is when she’s really going to live up to her promise. Spotify Link

Albums Of The Year 2009: Two Suns by Bat For Lashes

Natasha Khan’s debut (2006’s Fur and Gold) had some sparkling moments, but was a flawed album that didn’t quite maintain the quality throughout. Two Suns is still far from perfect, but is a much better, much more engaging and consistent album.

Daniel and Siren’s Song are excellent tracks, but it’s Good Love that’s a really beautiful and tender track that shows off Khan’s warm vocal style and simple backing and is the highlight of the whole album.

The final track, The Big Sleep, a duet with Scott Walker is a disappointing end to a great album, however. I’m not sure quite what riles me about it, but despite this, the album overall shows that Khan still has a lot more to offer. I think album three is when she’s really going to live up to her promise.

Spotify Link