1. ‘Heavy Heavy’ by YOUNG FATHERS
This sizzling Scottish trio nailed it big time with their 3rd LP. Heavy Heavy is one of those rare remarkable records that arouses from start to finish, with the cliché no fillers, all killers all over it. You hear its sonic brilliance, you feel its dauntless vocality, you realise quickly that this album is special, very special.
(Photo by Turn Up The Volume – Antwerp 2023)
An undisputable first-class work where vitalizing soul, ecstatic pop melodiousness
and self-willed hip-hop come together in an organic way. A spiritual happening.
Funk-punk drunk virtuosity with astonishing vocal teamwork.
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2. ‘Sea Of Mirrors’ by THE CORAL (Liverpool, UK)
The seasoned psych-folk-pop-rock ramblers launched their 11th album, named
Sea Of Mirrors last September. Unquestionably one of their best in their succesful
career.
(Press photo via Maintain Perspective PR)
Expect a non-stop sequence of reflective pop fantasies, of tantalizing tunes
with a laid-back resonance and meditative musings that cause a welcome,
lazy state of mind.
Blissfully feelgood vocality, with a melancholic timbre, everywhere.
Gently weeping strings. A seamless sonic marriage of acoustic and electric guitars.
It’s vintage The Coral as we know them, but even more yearning for romanticism than before. So they left their island and travelled to their fictional Western reality where all
sorts of misfits try to survive. Americana, the Liverpool way.
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3. ‘Fronzoli’ by PSYCHEDELIC PORN CRUMPETS
The turbulent psych-rock team from Perth, Australia hit bullseye with
their 6th full lenght Fronzoli (meaning ‘something unnecessary added
as decoration’).
Press photo
Uppercut after uppercut, corker after corker, jackhammer after jackhammer and two breathers with Cpt. Gravity Mouse Welcome and the short acoustic beauty ‘Illusions of Grandeur’). Your ears need to be in great shape to absorb
this whirlwind record.
If PPC were animals they would be hungry wolves wandering in the deserts of Australia looking for prey. Their melting pot of glam metal, pithy punk, high-voltage pop and other noisy shout-outs results in an ecstatic body of infectious. Btw, am I the only one who thinks McEwan‘s voice resembles Arctic Monkey’s Alex Turner one (now and then) and vice versa, of course.
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4. ‘War Is Obsolete’ by THE BARBITURATES (Northern Island)
These Northern Irish political punk guerilla’s launched
a fully topical record titled War Is Obsolete
this year.
Here’s a message from their HQ in Londonderry.
“Some of The 1% are investors in the great big industrial war machine – the clearing / repairing of war torn cities / countries and rebuilding them along with there big pharma – food n supplies companies ect they make massive profits on all levels of war from the bullets n bombs fired to the food n medicine and everything you can imagine in between – this collection of sound scapes and anti war songs on this guerrilla ontological discordant meditation Ep are our SMALL way of trying to help raise money for the innocent human beings being punished and hurt because of other people’s ignorance – hate – fear – oppression!! ALL THE PROCEEDS OUR DIGITAL SALES NOW AND UNTIL THINGS INPROVE WILL GO TO THESE PEOPLE!!”
The Barbiturates care about our messed-up society, about humanity, about the weak, the poor and the outsiders, about tolerance, about inclusivity, about the desperate need for global peace. Couldn’t agree more.
Unfortunately, all the caring in the world can’t avoid (another) dirty war. After Russia invaded Ukraine early last year, Israel and Palestine started a filthy, deadly war in Gaza two weeks ago. Horrible, just horrible, again. One day a devastating world catastrophe will end it all.
War Is Obsolete is an intruiging, versatile and bone-chilling journey. Sonically with its experimental electronica psych jams and ambient, spacey orchestrations. The evil terror caused by war-and-power greedy scumbags needs to be stopped. The late great pacifist John Lennon never understood these murderous maniacs either, as we know it.
Purchase this record, digitally, 5£ or more.
All proceeds got to PCRF – Palestine Children’s Relief Fund.
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5. ‘Ignore Grief’ by XIU XIU (California)
This Californian experimental act, founded in 2002 by singer-songwriter Jamie Stewart surprise every time they come up with new music. Also with Ignore Grief, already their
13th full length, XX impress mightily.
(Press photo)
Ignore Grief is not happy music, it’s grim reality music, it’s mind-boggling music.
Inventive, capricious and ideal as the soundtrack for one of David Lynch‘s hallucinatory films. Although after a couple of spins, you’ll find out that Xiu Xiu‘s spellbinding sonic exorcism is more accessible than you thought at first. Their orchestral manoeuvres in
the dark are flabbergasting.
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6. ‘One Man Band’ by MILES KANE (UK)
British retro-mod rocker Miles Kane, half of The Last Shadow Puppets
(the other half being his great friend and Arctic Monkeys’ maestro Alex Turner)
released his 5th LP, titled One Man Band’ last summer.
As he said himself multiple times Kane loves the swinging 60s/70s pop, rock
and soul splendor. So again, you hear here those flamboyant influences from the past. And he always comes up with upbeat tunes that stick and put a big smile on your face. Guitar pop at its cacthing best.
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7. ‘Songs Of Silence’ by VINCE CLARKE (UK)
The synth-pop musician/songwriter who started his career with Depeche Mode,
who he left after their 1981 debut album to form Yazoo (1981–1983, 2008-2011)
with grand voice Alison Moyet and later on he started Erasure with singer/songwriter
Andy Bell launched his solo debut LP with Songs Of Silence.
TUTV: If you don’t pay attention to the author of this record when you’re listening
to it, there’s a great chance that you think that it’s another ambient Brian Eno album.
The relaxing ambient atmospheres Clarke creates (Cathedral / Passage / Imminent / Last Transmission) are similar to the ones Eno composes/composed (29 solo LPs, so far).
Clarke paints synth-scapes with an overall symphonic sonority, with both classical
and futuristic sounscapes. This is the sort of cosmic music that calms me down after a busy day. Its relaxing effect soothes my buzzing mind. Tranquillizing, instrumental (except for Blackleg which is infused with eerie chants) uncomplicatedness for dark winter nights.
Silent majesty.
Sonic ear-massage.
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8. ‘God Games’ by THE KILLS (US/UK)
Seasoned blues-rock duo THE KILLS – Alison Mosshart and Jamie Hince – are finally back with a new longplayer, their first in 7 years, following the swirling Ash & Ice album in 2016.
(Photo by Turn Up The Volume – Amsterdam, 2016)
God Games features fewer fireworks than on previous LPs, but the pair still move and groove with sonic fervour and melodramatic tunes, as we know them. Sultry, delirious and passional.
When Mosshart sings the blues, her heart-and-soul vocality draws all attention. Her tantalizing timbre and her midnight hour tone combined with Hince‘s edgy riffs and roasting hooks are what made me a Kills fan from day 1.
This 12-track record is a slow grower. Take your time, it’s all worth it.
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9. ‘Praise Of The Iconoclast’ by MORLOCKS (Sweden)
Swedish post-punk-Goth turbo MORLOCKS were formed last century by mastermind J.Strauss, and had several line-ups over the years. The trio operate around the borderlines between the collective subconscious, paradoxical multiverses and the bad conscience of the world, as we know it.
They travel either like sinister prowlers through the shadows, or like a raging
bulldozer, sneaking and bolting through and between the Cold War, radioactive wastelands, the catacombs of Rome and unspeakable dimensions beyond
the Unknown Kadath.
They care about humanity, they haunt everybody who doesn’t care, and they
embed their anger, frustration and hope in titanic, intimidating and cast iron
industrial bombast with loud and clear messages. Think Rammstein and NIN
having a sonic fight with riot guns. Doomsday is just around the corner and is
orchestrated by Morlocks.
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10. ‘Islands In The Sky’ by DEATH VALLEY GIRLS (California)
The L.A. garage rock fury led by vocalist/guitarist/organist and natural-born
charismatic front-Amazon Bonnie Bloomgarden triumphed with their 5th LP
this year.
(Photo by Turn Up The Volume – Brussels, 2023)
Islands In The Sky is, without a shadow of a doubt, according to my trained ears, their
best achievement (so far). When you combine pop/rock songwriting quality, richly layered orchestrations, Bloomgarden‘s full-hearted vocal dynamism and tons of tunes (if anything else tunes are key) wrapped up in party-igniting vibes, you have a winner.
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11. ‘Good Busy’ by THE IRRATIONAL LIBRARY (The Netherlands)
Dutch humanistic rock unit The Irrational Library is a pretty special affair.
A band with its roots firmly planted in both the regional and international
counterculture. They produce a raw, dirty groove influenced by punk,
provo, punk icons and spiced with sultry saxophone here and there.
Their poetry is packed with social criticism. They drew my ears’ attention with their 2021 album We Are… Doomed. An open-minded-plainspoken-asskicking-anti-establishement-and-other-scumbags opus.
The same biting spirit is present on their brand new full-length GOOD BUSY. Moody reveries and blasting belters alternate creating an overall stirring/roaring record in the end with, once again, a main role for highly dedicated and caring America-born frontman-punk-rapper-poet-storyteller Joshua Baumgarten.
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12. ‘The Crack And The Light’ by CMON CMON (Belgium)
Belgian guitar pop/rock band CMON CMON started their second coming
about two years ago, driven by sheer love for music. Writing it, recording it,
sharing it, playing it live, and enjoying it along with their fans.
No masterplan whatsoever to conquer the world, no commercial pressure.
They restarted with one and only one goal. Making the best album their
experience and their hearts and souls could come up with.
A balanced mix of amplified guitar-infused dream pop tunes with a melancholic
and soothing touch. References? R.E.M, Dinosaur Jr., Teenage Fanclub, Sparklehorse
and The Chills, to name a few. I’m sure you get the sonic picture.
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13. ‘A Headlong Fall Into The Vast Ocean Of Anxiety’ by EYEMOUTH (Sweden)
Expect atmospheric synth-scapes for soundtracks of sci-fi movies, mellow Pink Floyd echoes, dark-electro-wave surrealism, and an overall synth-symphonic sonority.
All mesmerizingly orchestrated with both classical and venturesome music structures. Now and then composer Marcus Lilja‘s ghostly voice adds an extra mysterious touch to
the instrumental grandeur at play. The power of nature in selectronic motion. Cinematic music that triggers your imagination.
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14. ‘Back In The Room’ by THE DHARMA VIOLETS (Wales)
THDV embed 60s psychedelia in a blistering mix of flaming garage rock mania,
swaggering mid-tempo grooves, an impressive, amplified slo-mo jam right in the middle and a stunning opener with horns snippets of Primal Scream‘s e-tastic classic Loaded.
Overall I hear Beatles-like harmonies, multi-layered guitar extravaganza à la Black Rebel Motorcycle Club, steady drums/bass horsepower, sizzling six-string solos, psyched-out space steamrollers, 24 Karat riff-rushing rockers, some slow ones, and echoing vocals
from the eight miles high past. Final result: a hell of a must-hear record that I added to
my best-albums-of-2023 list. The Dharma Violets should be huge. FACT! Don’t miss them.
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15. ‘Secret Life’ by FRED AGAIN… and BRIAN ENO
Weird collaboration? No, certainly not. The very popular EBM/house/hip-hop/DJ Fred and the legendary ambient wizard Brian Eno complete each other here perfectly. They create a sonic labyrinth where Eno‘s hallucinatory ambient waves progress in slow motion, causing a trance trip in a foggy environment while Fred‘s phantasmal vocals seem to come from an unknown universe.
Secret Life is a hushed, soothing companion for late-night mind entertainment after
another busy day and too much noisy music. Soothing, calming and triggering lazy dreaming.
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16. ‘Shook’ by ALGIERS (US/UK)
With Shook this American/English outfit drew tons of critical praise. Rightly so.
It’s a tremendously varied work. They jump from zestful hip-rap-hop to forceful
post-punk-rock, to soulful lullabies, to arresting spoken-word protest, to sparkling
gospel. 54 minutes long, but you get sucked in every second. Wowzers!
(Press – FB Algiers)
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17. ‘Venom’ by WARGASM (UK)
London‘s nu-rap-metal sensation WARGASM – Milkie Way and Sam Matlock – shocked the indie punk world with their debut album, titled Venom.
Press photo
A vicious motherrocker of an album. A monstrous collection of left/right uppercuts.
A schizophrenic series pf brain-breaking slegdhammers you can win sonic wars with. Holy smoke!
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18. ‘The Death Of Randy Fitzsimmons’ by THE HIVES (Sweden)
The Swedish amazeballs punk clowns The Hives are back in town. They unleashed
their new LP, called The Death Of Randy Fitzsimmons (I have no clue who that guy is?)
last summer.
📸 Bisse Bengtsson
Be ready for a tsunami of Molotov cocktails, punk-o-rama riffage, and yell-along
refrains spit out by primal screamer Pele. No rest for the wicked. Beware, this explosive record can damage your speakers. On the other hand, it’s the ideal soundtrack for banging your poor head against the kitchen wall and/or jumping up and down like a kangaroo on ecstasy.
Alert your neighbours before you start the deafening razzmatazz
and watch out for the anti-decibels police. Lots of LOUD fun.
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19. ‘This Stupid World’ by YO LA TENGO (US)
Yo la Tengo is all things indie. They follow their own capricious path, for almost
40 years now. They create uncomplicated melodies and then give them an edgy touch
that guides them in different directions. From acoustic to electric and back.
Different moods, different sonic tones. It’s old news that we live in a stupid world where political me, myself, and I leaders use the 2000-year-old trick of divide and conquer. YLT know too, of course, but reality as it is, obviously inspired them to make another rad record.
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20. ‘Clear Pound Road’ by KRISTIN HERSH (US)
The stirring Throwing Muses legend Kristin Hersh released
her new solo LP, titled Clear Pound Road last September.
(Photo by Turn Up The Volume – Belgium, 2022)
Expect Krautrock dynamics with an acoustic guitar and a mellow cello. Song by song,
the repetitive/rotating rhythms have a magnetic power. 10 intro/outro-spective sparks glowing, like the lights on the LP’s cover. Hersh‘s voice is singular, a bit hoarser than before, think Marianne Faithfull. I love both voices
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