VOLUME

Pram Town is a catchy acoustic concept album from ex-Hefner frontman Darren Hayman, in conjunction with his Secondary Modern outfit. Broadly based around the Essex new town of Harlow, it’s an intriguing procession through some of the ups and downs of suburban life, replete with great lyrics.

Alan Morton-Smith, Music OMH

Losing My Glue [3:06]

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High Tide are certainly among the forefathers of heavy metal; as early as the late Sixties, they rocked heavier than almost anybody else. They are certainly among the forefathers of Goth - Hill’s pessimistic, depressive lyrics and intonations copped directly from Jim Morrison and married to this mammoth heaviness point right there sharper than almost anything else at the time, apart from maybe some proggish stuff like early King Crimson. And the trippy guitar-heavy space-rock of Hawkwind certainly owes these guys a thing or two as well.

George Starostin

Death Warmed Up [9:06]

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It is difficult to name another lyricist as apparently decisive and yet as audibly unconvinced by his own statements as John Darnielle; his ability to describe the vapour of something and yet sound as startled as we are by his own accurate dissection is the most engaging aspect of his songwriting.

Lauren Strain, Drowned in Sound

Ezekiel 7 and the Permanent Efficacy Of Grace [4:48]

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Along with Randy Newman, Van Dyke Parks, Harry Nilsson, and some others, David Ackles helped widen the definition of contemporary singer-songwriters in the late 1960s. This was a group of performers open to incorporation of many non-rock pop and theatrical influences into their work, and not based in folk-rock, like so many of the other early singer-songwriters were. His quartet of albums won him a cult audience that included Elton John and Elvis Costello.

Richie Unterberger

Love’s Enough [3:19]

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Encouraging Words was about as fine an album as Apple Records ever issued by anyone who wasn’t a member of the Beatles, and it’s also better than many of the Apple albums issued by the ex-bandmembers; but it’s also among the most obscure of any album that the label ever issued by a major artist.

Bruce Eder, All Music Guide

Sing One For The Lord [3:49]

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In a week when indie bands are falling over themselves to get their music onto tacky television commercials (cough, Wilco, Deerhoof, Architecture In Helsinki…), Shellac,  three snarky curmudgeons from the cold Midwest can still be relied upon to fly the flag for rock’s awkward, anti-commercial underground.

David Jones, BBC Collective

End of the Radio [8:23]

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For all the hoop and hah about so-called stoner rock bands bringing back the glorious mess of the late ’60s and early’70s jam few bands actually live up to the promise. Most crumble under the weight, become parodies of the music or deliver material that’s morphed into some sort of neoism. Thankfully, the lads from Earthless are having none of that.

Jedd Beaudoin, Sea of Tranquility

Sonic Prayer [21:12]

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John Vanderslice’s Pixel Revolt is an album of profound personal disquiet, set against a sociopolitical backdrop that is often openly hostile toward such efforts at introspection. It’s a work that absolutely rewards intense scrutiny, charged with probing political insights, cockeyed cynicism of popular culture’s creeping influence, and moments of disquieting black humor.

Jonathan Keefe, Slant Magazine

Peacocks in the Video Rain [4:25]

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They’ve listened to plenty of Temptations, Eddie Floyd, Oscar Peterson and even Earl Klugh. What’s impressive is the way they disguise, alter, mix and match all these influences into a durable, cohesive compound. Like Boy George on Kissing to Be Clever, lead singer Mick “Red” Hucknall and his hair are featured alone on the album’s front cover. But Simply Red can do without the comparison, or categorization.

Rob Hoerburger, Rolling Stone

Sad Old Red [4:33]

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This two-record set, the product of almost two years’ labor, is the band’s Tommy, Beggar’s Banquet and Sgt. Pepper rolled into one: Physical Graffiti is Led Zeppelin’s bid for artistic respectability. True, Led Zeppelin misses the swagger of the Stones, the kinetics of the Who. But on Physical Graffiti, Led Zeppelin performs rock with creativity, wit and undeniable impact.

Jim Miller, Rolling Stone (1975)

Trampled Under Foot [5:35]

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It’s acoustic folk-pop, done in a style you may be all too familiar with, but its maker, one Stephen Steinbrink of Phoenix, AZ, has a control over the pop form that is enviably rich. He’s a great songwriter without relying on deception or style, and his best songs are instantly memorable. Ten short offerings from an unimpeachable young talent. Outstanding.

Dusted Magazine

In June [3:47]

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In many languages of the world to play is synonymous with playing music. This equivalence is also evident in Guissona, a little village in Catalonia, Spain, where Joan Pons (El petit de Cal Eril) sings natural songs that travel to unexpected places. He talks about little things and animals of all kinds. About working hard or not doing anything. About the fog and the sun.

I tantes figues [5:22]

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Vandaveer’s sophomore effort, Divide & Conquer, touches upon similar themes found in its elder sibling, winding timeworn themes of love and death, malice and goodwill, sin and perseverance into (mostly) four-minute vignettes. Divide & Conquer offers up a flourishing chamber folk companion to its bedroomy lo-fi folk/pop predecessor.

Music Remedy

Turpentine [4:32]

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Veckatimest works like a cash-back bonus, the more you give in to it, the grander the return. This album envelops Grizzly Bear’s focus and their specific ideation. Realize that Veckatimest will not be a wild ride, but simply a remarkable listen that exceeds all expectations. Have patience with Veckatimest, for there is time, so much time.

Ryan Flatley, Sputnik Music

Fine For Now [5:31]

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