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Ummm aren't you forgetting azealia banks's fantasea second wave as anticipated albums of 2015?

ummm no I didn't, I chose not to include it. It's 15 albums, can't have all of them on here.

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This new track by Unknown Mortal Orchestra is the best thing you will hear all day, probably.

Listen here

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15 albums to be excited about in 2015

Tame Impala, TBA

Lana Del Rey, Honeymoon

Purity Ring, Another Eternity

Sky Ferreira, TBA

Solange, TBA

Laura Marling, Short Movie

Sufjan Stevens, Carrie & Lowell

Bjork, Vulnicura

Deathcab For Cutie, Kintsugi

Radiohead, TBA

Grimes, TBA

The xx, TBA

Florence + The Machine, TBA

Frank Ocean, TBA

Adele, TBA

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Great blog I found you through the little joy blog:)

wonderful! And thank you!

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Top 10 (+5) songs of 2014

by Tata

Ruído/mm – Inconstantina

This is a song by a very nice Brazilian instrumental band and it is a very good taste of what their fabulous album “Rasura” (Sinewave). I've already seen the band live once and really hope I can see them again to feel these new songs. 

Jenny Lewis – Head Underwater

“The Voyager” (Warner Bros) was a wonderful gift to our ears, full of sincere lyrics and melodies we don't want to stop jamming to. In Head Underwater, Jenny sings “I put my head underwater, baby/ I held my breath until it passed” and it is impossible to count on the fingers how many ways most of us feel this way.

St. Vincent – Birth In Reverse

St. Vincent released an excellent album in the beginning of the year and this is the best kind of music to party to and to have fun during shows (hopefully I'll do next year!). It is no coincidence that both, disc and song have appeared in numerous lists of best of the year. It would be a sin if it hadn't. So, thank you very much, Annie!

The Black Lips – Funny

This twelfth place could have belonged to any of the previous songs, it is just the enthusiasm that Funny by Black Lips the reason to give them this step ahead. It is always a test of autocontrol when I'm listening to this song in public because I seriously want to scream “COME SUCK SOME MILK FROM MY TITTIES” and... yeah... I can't. Still love when songs have this effect on people, though.

Owen Pallett – I’m Not Afraid

Owen and his violin are like a one machine working in perfect harmony, having as a final product the honesty of his songs and all the feelings that they contain. In I’m Not Afraid, there's a part on not having children that is so comforting, still full of one king of sadness I can't escape from.

Tobias Jesso Jr – Just A Dream

This song is not an official release of the year, it is just a demo. But I simply couldn't ignore it. Tobias is just a guy like me and you and everyone else who have been through tons of bad things -- sometimes all at once. However, he had the sensibility of sitting at a piano to start composing and singing. Lucky us, he decided to share it with the world.

Interpol – Anywhere

Honestly, we couldn't feel very confident about Interpol since their 2010 album and the departure of bassist Carlos Dengler. Four years passed and they released "El Pintor" (Matador) proving that they are very well, thank you. There is only one song I don't like very much in the album, and choosing one song was tough work, but here you have it, Anywhere wins.

Jack White – Lazaretto

Mr. White is a genius and we all know it, there are no news left to tell. The album's title track is just as fabulous as the whole thing, the entire experience: for the ears and for the eyes too (why not? the ultra LP is just brilliant). As days pass by only increases the certainty that I'd love to live in this man's brain.

Ty Segall – Feel

What I love the most in this song from "Manipulator" (Drag City) is the fact that it's mostly guided by its instruments -- acutally that's the main strength of Ty Segall's work. There are amost no lyrics and so many climaxes that you're really dragged by it and is barely impossible to deviate your attention from what you're listening to.

The Growlers – Chinese Fountain

The band that gave us one of the greatests albums from last year couldn't do different this year. Again I picked a title track to the list because this describes so well nowadays immediatism “Everybody’s sick and tired of waiting/ Couldn’t get any harder to be patient”, also this part “The internet is bigger than Jesus and John Lennon/ And nobody wants to know where we’re headed”. Los Growlers are on point, in all possible meanings.  

Death From Above 1979 – Virgins

"My ears are bleeding. Still not loud enough." I couldn't describe it better than this youtube comment (thanks, MrMcBobb). This works for the entire "The Physical World” (Last Gang), what a fab comeback to DFA. “Don't ever change/ Bad is good enough” is sung during the chorus and these lines echo inside an empty space of my brain day and night. “There's nothin' sacred to me/ I lost it in the back seat” and, well... DFA, come to Brazil.

Peace – Lost On Me

Foward walk clicking fingers. Foward walk clicking fingers. Foward walk cliking fi... Yes, I'm narrating the music video to this song that is absolutely fantastic. Of course the song is equally good. And I'm pretty sure Peace will be hugely known one day, because they do deserve. That's my bet. 

Karen O – Body

KO means knockout and that's not a coincidence. In her first try with a solo work, the majestic KO released the beautiful "Crush Songs" (Cult). The album is a gemstone and Body translates well the cuteness and the explosive power cointained in its essence.

Dum Dum Girls – Lost Boys And Girls Club

"Too True" (Sub Pop) was one of the first new things I listened to this year and it was immediate love. The album is like a radio station playing 80's songs late at night, exactly like the ones I'd listen to before sleep when I was I child. And the lyrics “There's no particular place we are going/ Still we are going” has been my motto now. I'm definitely in this club.

Julian Casablancas + The Voidz – Human Sadness

No other song could have the first place but Human Sadness from “Tyranny” (Cult), which is also my album of the year. When I first listened to this song I couldn't stop thinking "this man is crazy, these men are crazy, they are driving me crazy" and just couldn't stop repeating its 11 minutes either. In 1hr we can only listen to this song 5 times and we do not feel tired of it, there is no unnecessary parts in it. Probably, maybe, we need to be in the same (or at least similar) level of mental weirdness to these guys to like these songs this much. These are the most consistent information you'll find in this paragraph, if there are any.

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2014 top 5 albums of the year

by Janie

5. Mac DeMarco - Salad Days: an album of jams that last less than three minutes each, does the job when you're looking to relax and possibly drink alone or pass around a blunt with a few friends. Nothing complicated here - just a collection of feel-good tracks.

4. The Horrors - Luminous: This album debuted somewhat quietly, which is a shame considering it's one of this British group's best yet. Shimmery and loud, Luminous is a fantastic album filled with glorious guitarwork (thank you Joshua Hayward) and catchy riffs. 

3. Jack White - Lazaretto: Jack White's been having an incredible year, from producing a vinyl that's been the best selling since Pearl Jam's Vitalogy. As usual, White embraces his Nashville roots with some sultry country songs, interlaced with the guitar and drum-heavy hits we love.

2. Perfume Genius - Too Bright: Mike Hadreas has once again produced an album that is flawless from beginning to end. Bold and - yes, bright - this album gives you what you love about Perfume Genius (the tenderness, vulnerability, the honesty!) and introduces you to another side you didn't know you needed (the boldness, the sass, the weirdness!). And their live shows are just the same - go prepared with tissues if you dare.

1. Julian Casablancas + The Voidz - Tyranny: If you know me, you saw this coming. And why not? Julian Casablancas again reminds us why he's a musical genius. A completely unexpected endeavor into the realm of punk and underground rock, he forays into a territory in which he essentially creates a new sound altogether. This album has everything from the epic 11-minute Human Sadness (which all songs will be compared to from now on) to his delve into Turkish pop in Dare I Care, to the ominous and sexy Xerox. You won't find two songs that sound alike on here, and yet they seem to fit together perfectly. I don't know what's going on inside of that greasy head, but I love it.

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20.nov . São Paulo@Cine Jóia 21.nov . Fortaleza @ÓrbitaBar 22.nov . Macéio @OrákuloChopperia 23.nov . Recife @CatamaranTours 26.nov . Porto Alegre @AuditórioAraujoVianna 28.nov . Popload Festival 2014 @AudioClub 30.nov . Rio de Janeiro @CircoVoador

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New track from The Dead Weather!

"Buzzkill(er)"

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Don't you dare miss their first television performance!

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The Growlers - Chinese Fountain

Sun-soaked, booze-filled, or reverb infused psychedelic surf rock are all words that have at some point been used to illustrate the indescribable but oh-so amazing sound of The Growlers. Call it what you want, but they’ve proven to keep their audience entranced and excited to hear what they’ll come up with next. Having already given the world four previous albums and several demos from their early days, the five members bring us Chinese Fountain, an eclectic but all too groovy rendition of their new perspective and growth as a band.

Brooks’ vocals show up quickly in the opener “Big Toe”, proving that his voice only gets better with each cigarette drag. Caught off guard by the entrancing melody and guitar riff of the next track, “Black Memories”, the words “oh fuck!” came out of my mouth (meant in the best way possible) and what ensued was bliss induced non-stop swaying and grooving. And the rest as they say, is history… Try to sit still and not dance to “Chinese Fountain”. I dare you.

If you continue listening to each song you’ll find a melting pot of sounds that they’ve somehow managed to fuse so well together to form this album. A little bit of disco, an incredible use of the synthesizer, maybe a little bit of reggae (in “Going Gets Tuff”), a hint of some western vibes (in “Magnificent Sadness”) that might give you the urge to surf with a cowboy hat on and a sense of nostalgia thrown in for good measure. Even the words are so effortless with lyrics about lovers and lines like “Love isn’t easy as it seems”, “You’re never too young to feel” and “Worry’s a bully that just won’t let me be”.

Sure, this album is different than their past work and some may even argue that it’s a bigger sound, but the essence and foundation of who The Growlers are is ever present and alive: the effortless rhythm and guitar twang, rough but melt-worthy vocals and the ability to put you in the most hypnotic trance that makes you want to sway from side to side forever. That’s the thing with this band—you never know what’s coming next, but if you can be sure of one thing, it’s that you’ll have a good time.

They seem to effortlessly embody a certain indescribable magic that can’t be explained no matter how hard you try. So what exactly does Chinese Fountain sound like? I’ll stop throwing out adjectives and give it to you straight… I don’t know what happened in the duration of those forty minutes, but what I do know is that I liked it and I’m going to continue to embrace it.

If you find yourself unsure of your feelings of this album upon first listen, I suggest you lighten up, grab a beer and a lover, head to the beach and give it another chance for the melodies and sunshine to soak in. Dance a little (or a lot) and thank me later.

Chinese Fountain is out today (September 22) on Everloving Records.

Ruby V. is a photographer from California who secretly wishes she was in a punk band

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Perfume Genius - Too Bright

Most listeners know that before they listen to a Perfume Genius album, you better be hydrated because you’re probably going to cry an embarrassing amount. Mike Hadreas entered the music scene quietly, with a beautifully written debut album that left you feeling like you’d just told secrets to a friend while huddled under the same scratchy wool blanket. Put Your Back N 2 It was the sophomore album that only cemented Hadreas’ command of his audience with powerful imagery and brutally honest and haunting lyrics. Now with Too Bright, you see a much more confident Hadreas - both in lyricism and in the way he addresses darker issues. 

The first two tracks are a great indication for what is to be expected throughout the rest of the album. From the gentle pianos that Hadreas makes use of from each former album in ‘I Decline’, to the commanding synths and lyrics of ‘Queen,’ it is reflective of the journey Hadreas has taken as a songwriter in the past few years. His confidence in addressing his audience is more obvious, as he flexes his artistic muscle in creating songs that you wouldn’t expect from him - in the track “Fool,” for instance, it shows Hadreas in a slightly poppy direction, which makes sense; his first album almost felt like reading a diary, and as if he didn’t expect for people to listen to it. This album is more aware of its audience and he uses his voice as more of an instrument this time around - listen to ‘Fool’ and tell me that one part - you’ll know what I mean - doesn’t sound like an angel falling backwards into a canyon!

Just when you get comfortable in the familiar embrace of Mike’s humble piano and pure voice, you are faced with ‘My Body,’ where the vocal distortion almost sounds like he’s being exorcised, as he pointed out on his twitter. And I was kind of scared to listen to this song the first time I heard it around 12:30am, just saying. ‘Grid’ is along those similar lines, where he experiments again with almost out-of-body screeching and howling - but things get beautifully strange around ‘I’m A Mother,’ where the vocals are so distorted that it’s difficult to understand the lyrics and instead you’re swallowed into a deep tide of beckoning synths.

In the title track, you are surrounded by a gentle, glittery piano that almost feels like a hymn. If Perfume Genius was church, I’d be there every day also singing, “I’m fiiiiiiiiiiiiiiiine, I’ll staaaaaaaaaayyy.” 

Mike does a beautiful job on this album dipping his toes into new territory while maintaining a careful balance of what he’s already loved for. He manages to retain his previous reputation of the beautiful, honest, and haunting while introducing a new weird element to it. I think many people are wary of artists who enter the scene with a perfect album, and often wonder if that was luck by chance or actual talent. I’m sure, after hearing this album, that Perfume Genius is here to stay.

Buy Too Bright here

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Julian Casablancas + The Voidz - Tyranny

Julian Casablancas is a name that rings synonymous with “rock n’ roll.” From The Strokes to his solo record, he’s well aware of the reputation that precedes him. However, Julian Casablancas + The Voidz with their new album, Tyranny, should come with a warning label that says ‘Shed All Preconceived Notions Like a Leather Jacket on a Hot Day (which, actually, wouldn’t make sense if you were Julian because he thinks it’s okay to wear leather jackets in 100 degree heat, seriously).

Julian + the Voidz have released an album whose sound is grittier, weirder, and more unexpected than anything he’s done before. Far from the polish and sheen of his solo Phrazes For The Young (2009, Cult Records), Tyranny is the proof that you can steer far from your comfort zone and still achieve incredible results. Listening to this album is like running through an unsafe city late at night, adrenaline pumping and your heart ready to burst out of your chest. 

The album opens with the ominous-sounding Take Me In Your Army, which includes the lines ‘this is not for everybody, this is for nobody’ - which is a fair warning to listeners who were expecting something a bit more typically Julian. This track is the distinct mood setter for the album, with its disembodied vocals, disjointed keys, and nervous drumming. It leads perfectly into track two, “Crunch Punch.”

Crunch Punch is a song used in the Voidz teaser for the album, and it’s just as good as people were hoping. With an awkward pause practically as soon as the song starts, Julian’s vocals are hidden under a heavy, grating guitar and drum that are taken over that catchy keyboard riff. 

M.utually A.ssured D.estruction is like a right hook to the jaw - swift, powerful, and catches you off-guard. The guitar work is more aggressive and the lyrics are barely discernible but it does the job. Don’t be surprised if you find yourself moshing to this song alone.

The obvious centerpiece to Tyranny, Human Sadness, is a masterpiece. Some people complained that it’s needlessly long, has too many ideas, or it’s just too weird. To them I give a firm and resolute “fuck you.” Any artist that can bypass that radio-ready 3.5 minute mark for a song - and make it as beautiful and cohesive as Human Sadness - deserves to be hugged by many, many puppies. Especially when that track ends up being nearly 11 minutes long. Listen to the sorrowful and mourning guitar, interplaying with the heavy effects applied to the vocals. This song will completely change your life around 5:30. 

The driving, persistent, almost menacing baseline in Where No Eagles Fly draws you into a track that’s temptingly danceable. Julian proves he can still shout-scream on this one while he sings about predators and meat - while also luring you in with the signature deep Casablancas voice during the rest of the song. 

Father Electricity is a groovy tune that makes you feel like you’re at a sweaty party, surrounded by people who are so high they don’t know their own names. The tribal drumming (thank you, Alex Carapetis) is the thread that ties this track together, making it listenable. It’s a surprisingly mellow song, with a discordant keyboard solo that also somehow seems to work - at first. Then out-of-tune vocals start and you just want it to stop, really. This song is an example of Julian attempting too much at once; Julian can do chaos in songs very, very well - (See “River of Brakelights” or “Ize of The World”) but this is not one of them.

Johan Van Bronx (formerly known as ‘Ego’, RIP) is one of the songs I was most excited to hear in its studio form. The track starts off promising, with a memorable guitar riff that has you tapping your feet and hands against the nearest surface; the tireless baseline is invigorating and almost hypnotizing. My only criticism is that this song is a tad long and could stand to have a little variety over the 6 minutes it spans. It’s exciting listening Julian venture into this musical territory further, which is something he dipped his toes in for Phrazes.

While Business Dog has a promising start, it almost reminds me of a Green Day song that’s been through a shredder. Too fragmented; it lacks cohesion and direction. Thankfully, Xerox is the next track, which saves the mood. Xerox is a beautifully written song, with Julian singing in a style that feels almost comforting and familiar. This song is entirely about mood- it takes on an eerie quality, like a classic horror movie, as if you’re watching a movie from the 60s about a serial killer. 

Julian cited 70s and 80s Turkish pop as one of his influences for Tyranny, and Dare I Care is the most obvious example. The incoherent lyrics sound as if they’re in another language (which kind of adds to the coolness factor) and really picks up around 2:30 and doesn’t stop. 

Nintendo Blood is one of the tracks on the album that just doesn’t do it for me. It has some really fantastic bits, but it does not come together. The last minute of the song, for instance is incredible - Julian’s falsetto reigns in as one of the reasons to wake up in the morning and damn if he can’t build a crescendo - but it it lacks flow.

Off To War… (it pains me that he uses an ellipses in a track) is full of remorse, regret, and sorrow. It’s hard to decipher anything besides “I wait for the light to shine/I wait for the light to shine.” Julian is notoriously excellent at knowing how to end an album, and this is no exception. It ends with the feeling that there’s more to come - almost as if he’s saying “to be continued.” 

There’s a lot to be said about the direction Julian has taken with Tyranny, but mostly he’s taken a refreshing approach to the way he makes music. His desire to create a sound that is weird has been achieved, and in the process he was able to maintain some of his pop sensibility while marrying his love for classic punk bands. Julian’s musical evolution has taken some unexpected, wonderful turns, and hopefully there is plenty more to experience in the future.

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Interpol - Twice As Hard

With scenes of boxers training in slow motion, Interpol added some intensity for El Pintor's closing track. Just love when music videos do that. The video was directed by the man himself, Paul Banks.

Read our El Pintor review here

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"Fact: sometimes the only thing you need to really get yourself going in the morning is a heavy dose of guitar-driven, sundrenched indie rock. And fortunately we've got just that right here, in the form of The Growlers' new album."

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After two solid albums, Too Bright is something shockingly new for Perfume Genius: a set of muscular, magnificently controlled songs that explore darkness inside and out.

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A quite accurate situation.

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"…This week my dear friend Karen is putting out her first solo album of precious, personal love and heartache gems titled Crush Songs. They are songs made so intimately and spontaneously alone in her bedroom a few years ago that they feel more like unguarded whispers from her heart than a traditionally produced album. So on Sunday, during a ten-minute break as we were rehearsing and lighting at the Met, we made a very impromptu ‘music video’ for Karen in the spirit of her album. She is going to see this for the first time as you do. I hope you enjoy.”

- Spike Jonze’s sweet video for Karen O, feat. Elle Fanning