dailytracksblog - Tumblr blog

[dailytracksblog]

ALBUM REVIEW: DAUGHTER, NOT TO DISAPPEAR

I’m the first to admit that I was underwhelmed by Daughter’s debut album, If You Leave, in 2013. After two killer EPs, the LP just didn't do it for me. So, after going off the band for a while, I was pleasantly surprised by the release of their latest single, ‘Doing The Right Thing’. It’s a beauty. Not To Disappear is the perfect soundtrack for that 3am comedown after an night out where you’re so tired, but not too tired to concentrate, and you’re around 70% sober. You’re drunk enough to let yourself emotionally respond to lyrics you don’t relate to at all, and Elena’s voice will carry you to bed.  

Okay, so you won’t be able to master the punchy bridge “You better, you better, you better / you better make me, me better / me better / you better make me better” of ‘Numbers’ - the other lead single - even when you’re 100% sober. However, this bridge stands out to me from the entire album, as well as the angelic “be what you want, I can be what you want” that runs throughout my third and final highlight track of the release, ‘Fossa’.

If ‘Still’ was one of your favourites from If You Leave, you’re guaranteed to fall in love with the entirety of this album. It’s lead by delightful drumming tracks and precise bass that trump their previous efforts without question. Although obviously still a singer/songwriter album, this release heads more towards a folk/rock mood than their first more-so stereotypically singer/songwriter sounding album, which will undeniably please a wider audience. Heck, when you hear the opening riffs of ‘New Ways’, you might not even recognise that it is Daughter. However, the closing track ‘Made of Stone’ reminds you that Daughter are still Daughter: that this record is an evolvement, not a change.  

‘No Care’ is a little busy for me: considering Daughter’s reputation for almost hesitant music, this track is so up-tempo and full of competing instruments that I can’t seem to enjoy it as much as the other songs. However, it did make me reflect on the fact that Daughter is only a three person band. It’s amazing how they can manage to achieve diversity among their songs, let alone the depth that they all bring. If you didn’t know any better, you’d imagine 10+ people all in the studio collaborating. So with just three members, their talent becomes oh so apparent.

So, give this record a listen. Catch them live if you can. Support their art - they deserve your attention!

[dailytracksblog]

Weekly playlist #3!

Check it out !

Featuring Natalie Prass, First Aid Kit, and some oldies with Daughter and Chet Faker. 

[dailytracksblog]

ALBUM REVIEW - Rhye, ‘Woman’

You know how you can never picture yourself sitting on the couch listening to jazz music and drinking wine when you’re your mother’s age? It’s the jazz music part of that vision that you can never envisage. But this album, Woman by Rhye, is our generation’s replacement album to drink wine to. And it’s perfect.

His aptly named opening song, ‘Open’, introduces the lead singer’s unique voice after one of those oh-so-satisfying grand string instrumentals. “I know you’re faded… but, stay” - Rhye’s romantic lyrics galvanise all ten tracks on this album that are just so dang smooth that it’ll have you subconsciously swaying. Averaging 3 minutes each, the songs are short: though they don’t feel it at all.

Woman was released way back in 2013 on the 1st of March, but purely by word of mouth I know that this beauty needs far more recognition: hence the late write-up. Rhye are a duo based in LA, obviously masters at downtempo, alternative R&B. This is their debut, despite killing it as a pair since 2010. They’re signed to Innovative Leisure (Tijuana Panthers, Tropics) and have toured all over America and Europe, dabbling their way into Australia occasionally.

The title track, ‘Woman’, was an interesting choice. It’s the closing track, and is laced with electronic notes, rather than the piano and strings that open the album. In this sense, the album seems to progress: a satisfying curation. But don’t let ‘Woman’ be the first song you listen to of Rhye’s. Listen to the album in order and you’ll thank yourself for it. However saying this, I’m thankful in a way that ‘Woman’ was chosen as the title track, because this lends for the album artwork. A simple black and white image, “Rhye” branding is nowhere to be seen to distract from the simplistic shot of a female from the shoulders up. I can’t imagine any other image reflecting this album, so although it’s not a highlight track for me, ‘Woman’ was a good choice as the lead title song.

‘Open’, is a definite highlight track. Another is the second track, ‘The Fall’. With a piano riff you’d find appropriate to play during a luxurious cologne advertisement, ‘The Fall’ makes me want to pour myself a glass of wine at 7:30 in the morning. An amazing thing about this album is that although all of the songs featured are in the same vein, none of them sound annoyingly similar. They’re all drastically different; yet if you like one song, you’ll love them all. ‘One Of Those Summer Days’ will send you to sleep in the best way possible, but ‘Hunger’ will pick you right back up again.  Sometimes - what I like to call drop tunes - songs like ‘One Of Those Summer Days’ don’t get received too well by me. They’re a dip in the album, and my attention wanders. But Rhye’s choice of drop tune turned out to be the most captivating track in the entirety of Woman for me. It’s slooooooow and sweet; the distant trumpet-like notes in the background giving more dimension to an otherwise purely vocally driven song. Brilliant.

Rhye will be making an appearance at Coachella 2016.

[dailytracksblog]

Live performance you HAVE to watch

This week I’m delighted to show you this acoustic live performance of their hit, ‘The Storm’ by Boy and Bear

Enjoy!

[dailytracksblog]

ARTIST OF THE WEEK: Angel Olsen

Today I am pleased to introduce you to, or celebrate the love you already have for, Angel Olsen. 28 and American, Olsen released her second and most recent studio album back in February of last year.

I think it's important to explicitly mention and pay attention to the title of her 2014 release: Burn Your Fire for No Witness. A lyric subtly featured in a verse of ‘White Fire’, this without a doubt takes my award for the best album title ever. Ever ever ever. A conversational lyricist, you’ll love Angel Olsen if you enjoy yourself some Courtney Barnett (not to be reductive!). The opening track to the LP is titled ‘Unfucktheworld’, screaming a “diary-entries-turned-into-lyrics-turned-into-album” process of curation, just how Barnett created her own Sometimes I Sit And Think, And Sometimes I Just Sit. This grungy, folk/rock style is exactly what Angel Olsen nails with the added charm of her captivating voice.  

Olsen released her first official LP back in 2011, titled Strange Cacti. This was then followed closely by Half Way Home in 2012, and finally her perhaps most critically acclaimed and recognised LP, Burn Your Fire For No Witness. She’s signed with the impressive Jagjaguwar (Bon Iver, Sharon Van Etten) and will appear at a few US festivals beginning in April of this year.

Olsen is one of those folk artists that - if you’re not first and foremost concerned with lyrics - you’re likely to skim over her clever, witty lyricism. ‘Hi-Five’ off her latest album is about as anthem-like as a folk/rock song can get (‘Are you lonely too? / Hi-five! So am I!’), but she stuns me within the same album with her poetic, heart wrenching confessions (‘I wish I had the voice of everything / to scream the stars out of our universe’)

She mostly tours as a four piece band, but is of no lesser value when she performs solo. Check her out on YouTube to see gorgeously unique voice in action! you’ll be mesmerised.

[dailytracksblog]

Weekly Playlist #2

Here!

Benjamin Booker, The National, Youth Lagoon and more

[dailytracksblog]

You GOTTA watch this:

Hey there! Day 3 already! 

I’ve been waiting to share this gem with everyone… the lovely Florence + The Machine performing their hit, Dog Days Are Over, performed way back in 2010 (as this is the best take on it I’ve seen thus far) 

Enjoy, loves! 

https://www.youtube.com/watch?v=wiDIObd8YaI

[dailytracksblog]

Album Review: Ben Howard, I Forget Where We Where

I’d been waiting almost bang on three years for this album, so as soon as I got the iTunes Preorder confirmation e-mail, all of my devices were synced within the minute. I put on my best quality pair of headphones, lay back in bed, and let it all come my way at the ripe hour of 6am.

'Small Things’. The perfect opener. The repetition of the particular lyrics, “Has the world gone mad? / Or is it me?” is key in introducing the apparent anxiety-driven album. The familiar bouncy acoustic sound plastered all over the debut album, Every Kingdom, was instead replaced with an emphasis on the reverb of the same guitar; which allows for a far more haunting feeling. Small Things, and the entire album, seem to be exploring the other side of Howard - the one that 'Promise’ (released in 2011) hinted at. Small Things also allows for a return of India Bourne, who I am also extremely fond of. The one thing I would want more of from this album, are more pronounced harmonies. Small Things can also be seen as a somewhat familiar sound for fans of Ben Howard, which is appropriate for the opening song.

Rivers In Your Mouth is next, which introduces us to more rounded harmonies - this time including Howard’s entire six-piece band - which was not as prevalent in the debut album. The sound created in The Burgh Island EP is also synonymous with this track, and the more pronounced vocals allow for a nice confident streak from the singer, different from his otherwise mumble (for a lack of a better word) present throughout the remainder of the album. A very subtle self-harmony is heard during the bridge of this song, which I can’t recall hearing at any point in Every Kingdom. India’s back again in this song, which I love also. I can find myself dancing to this song at times (I say, even though it only came out yesterday - hah!), which I can’t say for many other of his tracks. Overall, a good progression into the album and follow on from Small Things.

Next is the title track, I Forget Where We Were, which the echoing (of both the instruments and vocals) cause you to stop whatever you’re doing, and listen to what he’s got to say. To me, the lyrics constructed in this song paint a very bittersweet moment - I still can’t work out whether this song is supposed to be more positive or negative. Is the line, “I Forget Where We Were” a celebration of freedom and carelessness, or a depiction of frustration? This song in particular was what made me realise just how much Howard’s voice has changed. This is reflected in the songs, also. The choice of having this as the title track seems to be a no-brainer now. It is, without a doubt, the most powerful song on the album, and the title itself seems to encapsulate Howard’s feelings of discord and discomfort that the rest of the album hints at quite concisely.This album is a definite progression and maturation from his debut album, albeit - no better - just… different.

In Dreams, track number four, screams Mumford and Sons to me. Ben has been quoted to have heavily been listening to the likes of Talk Talk and Angel Olsen during the recording and writing process, which makes me reflect on just how much Every Kingdom reflects extreme John Martyn vibes. In Dreams serves as a bit of a throwback to Howard’s older days for me - the most prominent instruments are his acoustic guitar and the cello - which is exactly how he started off. It’s the shortest track on the album, skimming the three-minute mark, and reminds me that, yes, this is Ben Howard’s album. It’s still the same person.

Then we have She Treats Me Well. A definite shock to the system. A huge grin plastered on my face within the first ten seconds, and I could immediately envision Ben’s smile as he sung the most flattering words. It’s a nice break from this previous theme of anxiety, the line, “One day to the next for now [life] serves me very well” having me rejoice for his happiness. The opening drum riff is captivating, the harmonies are joyous… this song is faultless to me. It was an immediate favourite.

Time Is Dancing. Oh wow. Having this after She Treats Me Well hit me a little too hard. Nearly getting up to the 7 minute mark, this incredibly haunting yet happy song evokes a whole new range of emotions from me that I never knew I even had. To me, this song again seems to capture that moment of carelessness and freedom, that small amount of time. Like as soon as you wake up and you have that slight moment of ignorant bliss, or when you’re in another country exploring, and don’t have to worry about a single thing. The lyrics of this tune just give me so much satisfaction. The lines “Now I am better” and “Now I am finally colouring inside the lines that I live between” create a glorious contrast between the opening track and the frustration built up in Rivers In Your Mouth. I don’t have much to say about the almost anthem-like repeat of the chorus after the few seconds silence. All I have to say is that it was incredible. I don’t think it’ll ever get boring.

Evergreen is next, which is a lovely transition (literally) from Time Is Dancing. The continuation of these two songs is almost like a punch in the gut (in a good way - is that even possible?) with the lyrics and overall tone bringing us back to the troubled songwriter. I can’t figure out what this song means just yet, but the chorus makes me just want to envelope Ben Howard into a huge hug and give him a cupcake to make him smile. “Take me back to the catacombs (I am tempted by her love) / Bluest eyes against my own skin (I have never been so caught up) / Looking around I see memories (What it was oh what it was) / There in the crowd you said something / But I can’t remember what” I could feel my heart breaking after this chorus. One of the reasons I love Ben Howard so much is because of his lyrics. He is just such an amazing lyricist. He makes you yearn for a lover you’ve never had. He makes you want to curl up in bed and cry your eyes out… drape a huge blanket over your shoulders and find solace in your cup of tea. He makes me feel ten years older. He makes me nostalgic for something I’ve never experienced.

Moving on from that heart-tugging track (the drums make it that much more emotionally draining), I was slapped in the face again by the follow-up, End of the Affair. I would label this his most brave and talented song on the album. This track could take the most orthodox, manly-man on the most incredible emotional journey. I don’t even think I need to discuss this track much at all, it most definitely speaks for itself. It is so raw.

I was pleased to hear Conrad next, as it was album to lift me up somewhat. To me, this song seems to be discussing the relationship he is in (or was whenever this was written) and about how the two of them together, bring out the best in each other.. how they are completely comfortable and confident with each other. The line “We will never be the change to the weather and the sea and you knew that” gives me this idea - perhaps he is talking about how they, as a couple, aren’t too spectacular to onlookers, but their relationship is amazing for the both of them. Heck, I could be completely wrong, but that’s what I take from it. I think this song has the most potential to captivate people who may have never heard of Ben Howard before, and is the perfect mix between his electric and acoustic styles.

And last, but not least, All Is Now Harmed, the closing track. I was caught off guard by the drums at the beginning of this track, as I’d never heard Howard put anything like this to his name before. This is another one that seemed lyrically powerful to me, and definitely extremely moving. This is a fitting closer to the CD (Am I In Your Light? closes the vinyl edition) as it draws back on this elusive theme of anxiety, which, despite more positive tracks, is dominant over the album. The band contributes beautifully to this track, and the scratchy, quiet, distant chorus draws your wondering attention back in, and allows you to concentrate on those oh-so-beautiful lyrics.

Ben Howard, you and your band have done it again. I had no doubts about you bringing out another stellar album. Sure, this may test Howard’s fanbase, but so it should. He’s come back with a bang, and will have a huge crowd waiting for that fog to lift.

Please don’t leave us hanging for another three years.

[dailytracksblog]

Artist of the Week - Lewis Watson

ARTIST OF THE WEEK - LEWIS WATSON

Choosing which Artist of the Week to feature first on this blog was a pretty difficult thing to do. I don't think even I could have predicted that I would choose Lewis Watson. He's not one of my all-time favourite artists (yet), I haven't seen him play live, I don't know too much about his climb to recognition. But I do respect him. A lot. And owing to this revelation, I realised that there are few artists that I whole-heartedly respect and decided that someone who has gained this respect should be my first feature.

It's a shame that I wasn't able to start this blog earlier to bring these wonderful talents to your lives years ago. I almost feel guilty. Having already released his debut album last year; today, I am pleased to finally introduce you to Lewis Watson. What a little gem.

23 and British, Watson seems to be doing everything correctly. A second album on the way, and he has recently taken up the mammoth task of daily vlogging (youtube.com/lewiswatsonvlogs). He has taken his already admirable fan interaction to a fantastic new level. However I must admit, I made a silent pact with myself about strictly sticking to music talk for this blog (because who should really care about who a singer is dating or what high school they attended when there is such glorious music to concentrate on?) but I can't bring myself to skim over his loyalty to fans of his art. Day 35 of his vlogs has just gone live as I write this, and Watson has made a trip down to a pub to have beers with a small group of Swedish listeners he'd never met before (from what I’ve gathered). How cool.

When you give Watson's 'the morning' debut a listen, it's hard not to imagine a stereotypical introverted bedroom recluse going through a quarter-life-crisis triggered by a break-up. So much so, that I unconsciously read the album title as 'the mourning' upon my first listening. However, his vlogs completely threw this one-dimensional judgement of mine out the window, and this is why I implore you to give the videos a watch.

A standard 11-track LP, this compilation of introspective acoustic tracks inspire me to look over old family photo albums and bathe in nostalgia. I'd label his song-writing on par with that of big-man Mr Sheeran. Believe me. This comparison is not an exaggeration. With poetic, conversational lyrics running throughout, special little melodic gems sky-rocket Watson's talent pool to crazy awesome heights. 'Windows', in particular, captured me with its effortless story-telling mood ("It sounds weird but your picture's still hung up / Hell, I only came 'cause you asked me to"). But it's clear that Lewis shouldn't quit music and become a modern poet. He has to stick to music - sonically, the album is almost on par with is virtually faultless lyrics. The almost hesitant melodies galvanising 'the morning' make me think of Keaton Henson (ignoring the haunting nature of Henson, of course). Check out 'outgrow' to see what I mean.

My mind inevitably wanders almost always when listening to solely acoustic albums. However, Watson drags my attention back in with the opening of 'stay' and again with 'close'. With a three-person band, Watson's album understandably sounds rather stripped back at times. Although I'm one to obsess over intricate production, lyrics are of the utmost importance to me, so if you're one to be swayed by a fantastic lyricist, you'll love this guy no matter what.

DISCLAIMER: If the grammar in this article offends you, I apologise, however a trademark of Lewis Watson is a lack of capital letters on all of his branding!

[dailytracksblog]

WELCOME!

Happy New Year - here’s the first post of many:

WEEKLY PLAYLIST #1

This week: SOAK, The Paper Kites, Tom Francis, Sharon Van Etten and moooooore!