Ghostemane struggles to keep things lively on ‘N/O/I/S/E’

words fae liam toner (@tonerliam)

With songs like Mercury: Retrograde going viral, Ghostemane‘s spooky aesthetic and rapid-fire flow have made him an artist worth keeping tabs on.rating 5

Over the past few years, the Florida rapper has managed to gather a great deal of attention in the modern trap scene, in no small part due to his sound encompassing influences from industrial to hardcore, all the way to Memphis rap which was all wrapped up in a black metal aesthetic.

His aforementioned popular single came from his 2017 album Plagues and although the album would show a lot of potential for the young artist due to his uniquely dark style, Plagues would still leave much to be desired for. Coming into 2018 and with his newest album N / O / I / S / E,  there was a feeling of cautious optimism that all Ghostemane’s talents and unique qualities could come together and result in something truly great.

Unfortunately,  N / O / I / S / E falls flat throughout most of its runtime with there being one element that seems to be holding Ghostemane back, that being songwriting. His tenth release actually features great production, arguably some of his best, but the bare bones of each track aren’t as fully developed as it could be which is quite a shame.

Many of the tracks are short in length and don’t develop into much else after a couple of verses: the track Flesh starts with Ghostemane’s signature dark ambient styled atmospherics and into a hardcore breakdown section. This intro serves the track well, putting things into full swing, but after only about 30 seconds of the young star actually rapping, the track falls silent and then goes back to hardcore breakdown section before the track fizzles out at a measly 1:19. This track could stand out as one of his best if he took more time to flesh out the track (no pun intended) with another couple of verses or a vocal hook but the track finishes almost as soon as it starts and it comes across as such a missed opportunity.

A fundamental flaw with this record is that while Ghostemane’s blend of genres is very well done, it seems he is too stuck to the traditional hip-hop way of songwriting. A hip-hop track can be based around one sample for the whole track and still be amazing. However, with Ghostemane’s shorter song lengths and minimal rapping on each track, each song struggles to go anywhere properly exciting. This can be seen on the track The Singularity which sees Ghostemane dip his toes into a fully industrial/goth style song which bares obvious similarities to some Nine Inch Nails work. The song is based around a simple four on the floor kick drum beat which goes between Ghostemane’s singing and then the same beat but much more pummelling and distorted. The song is very interesting on first listen but ends in just over two minutes and no change is made in the basic melodic idea or the structure of the song. This again leaves the listener with a dissatisfied feeling and it’s this feeling that carries on throughout most of the album as almost all of the tracks suffer from these same flaws.

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This ultimately makes the album a bit of a slog due to these criticisms being apparent on nearly every song. The instrumental tracks Intro.Desolation, Androids Dream of Electric Sheep and My Heart of Glass all suffer as well, with the latter being based around a simple guitar riff that seems to build up tension in its repetition only for the tension to blend into more industrial noise which leaves the album on an anti-climactic end. However, this is quite a fitting end for an album that left this impression track after track.

Overall N / O / I / S / E proves to be a disappointing release that could have been so much more. This tends to be a common theme through most of Ghostemane’s work and it’s genuinely a bit sad because he really does have a unique and interesting sound going for him – sadly, he fails to deliver something truly special or consistent.

 

 

Album Review: iridescence by Brockhampton

words fae owen yule (@OwenYule)

During the recording process of iridescence, BROCKHAMPTON talisman Kevin Abstract rating 8noted that the group felt like they were back in their Saturation I days, yet, so much has changed. No longer are the group creating their music from a home studio in California; no longer are the group broadcasting out with the eye of the music world; no longer are the group working as independent artists; perhaps most significant of all, no longer are the group operating as an 18-man collective.

It goes without question then that iridescence marks a substantial transition in the boy band’s career and so, it comes as no surprise that said changes are reflected in the content of the music. In spite of all success and triumph that BROCKHAMPTON have earned since the release of SATURATION I, Iridescence relays feelings of anger at the world: soundscapes of aggression are facilitated by bombastic drums that often play in syncopation and at varied tempos, giving the LP an intense and abrasive quality. This aggression is perhaps at its most resounding on BERLIN, where each bass note thumps like an uppercut to the chin with the support and reinforcement of growling muscle cars. Nonetheless, this ferocity is only fully actualised by the vocal performances of the group, specifically, Merlyn and Joba who both give their best performances for Brockhampton to date. On WHERE THE CASH AT, Merlyn gives a performance with a cadence that accentuates the rapacious desire evident in the track title, while Joba’s rapping on J’OUVERT escalates in volume perpetually through the verse before culminating in maniacal screams.

Although the album frequently indulges in forceful noise, it succeeds in interpolating feelings of vulnerability and sweet balladry singing. This is a juxtaposition which at this point is well refined by the boyband. One moment they are seething and the next, romantic. The contrast is not only a testament to the myriad of talent in the group but also their versatility.

Halfway through the album DISTRICT evolves in to a slow finger-picked sprawl of melody so dreamy that we almost forget the track was once grimy and whiplash-inducing with its bass; momentarily before transitioning in to the short and soothing THUG LIFE, the album opens with a track that utilises a power drill sound effect to reinforce its abrasive aesthetic; SAN MARCOS marks one of the boybands most melodic and soulful tracks in their discography as it helps bring the album to a close in its latter stages. This contrast in tones is reflective of the group’s measurement in extremes. When it comes to their ideology there is no half-stepping and emotions all across the spectrum are fleshed out and brought to fruition wether it’s positivity or turmoil.

But if there’s a singular resounding force that comes through the lyrical qualities of iridescence, it’s honesty. As a rapper, Abstract works in a similar vein to Kanye West – a rapper that he has openly spoken off with ardour – in that his use of complex wordplay and flows are negligible or even non-existent. Instead, his appeal is derived from the honesty and heart in his lyrics that throughout this album continue to explore his inner conflict in addition to attempts to normalise homosexuality within hip-hop culture. However, in terms of rapping procedure, Dom McLennan continues to shine as the groups most poetic. On this LP he reaffirms his status as the groups most lyrical member with a plethora of verses throughout the album that showcases his technical skill. But again, in spite of all complexity, his raps come from a visceral place and never come across as masturbatory. On the albums closer Fabric, Dom tells us that he ponders how he can “change the world that I move through” and with such poignant explorations of mental health issues throughout the album, it’s hard to argue with the legitimacy of his sentiment.

The album hits are at its most moving in its latter stages, most notably with the long-awaited CDQ of the previously live performed,  TONYA. It is a track that is somber yet grandiose, it is a dissection into the psyche of the group, a step into the spiraling staircase of wallow and self-doubt, a summation of the hurt and anguish weighing on BROCKHAMPTON. With that being said, however, the album closes with FABRIC echoing the mantra that “these are the best days of our lives” and maybe that’s what Abstract referred to when he called back to the Saturation I days. That feelings of enthusiasm and hope are not only alive but reminiscent of those during the formation of the group’s breakout album. That feeling of hope and enthusiasm are here for the boybands future… a future that we can’t wait to see unfold.

 

Mitski is full of paradoxes on glorious return “Be The Cowboy”

From the outset of Be The Cowboy, Mitski warns us she is volatile. The first single to be released from the album, Geyser, uses this natural force to set the tone for what is to come. The beauty of the geyser is its coexistence of power and powerlessness – that inevitable surge of strength is made all the more violent by its unpredictability.

It is a turbulent thing to be a young woman; sometimes chaotic, often vulnerable. On this album, Mitski’s voice can express this clearly, mostly without the distortion that marked her previous two albums and sounding more defiant than ever – but always just on the cusp of losing control. “I’m a geyser,” she sings, “feel it bubbling from below.” So when the emotion does come, bright or dark, we cannot say we weren’t warned.  

The premise behind the album’s title is Mitski’s desire to embody the power of a cowboy – the unapologetic white male figure who behaves with complete authority and no consequence. In this spirit, each short track on the album is brief but explosive, making its mark before swaggering off into the sunset. In interviews, however, Mitski has made it clear that this choice is more pragmatic than artistic. A notably different concept from, for example, a 13-minute Father John Misty think-piece on self – she wastes no time in order to fight against marginalisation and make her voice heard. What we are left with is succinct, but loses nothing in musical or lyrical complexity, marked by the same hard-hitting mixture of vulnerability and strength that defined her 2014 breakout Bury Me at Makeout Creek and 2016’s compelling Puberty 2.

Cracks in the cowboy façade are not weaknesses but highlights, as our protagonist lets us glimpse the excruciation of trying to craft an image and maintain control when the game is rigged against you. On country-tinged Lonesome Love, our cowboy berates and praises herself in equal measure, casually delivering the album’s best line with “nobody butters me up like you / and nobody fucks me like me.” On Pink in the Night, she captures the anxiety of a perfectionist losing control: “I know I’ve kissed you before, but I didn’t do it right / can I try again,” repeating the latter phrase until the song ends, a geyser trying in vain to stem the emotion which can’t help but erupt.


In calms between storms, we are treated to theatrical little vignettes such as the fond and reminiscent Old Friend, or the Broadway-ish Me And My Husband, where our protagonist considers the deceptive calm of domesticity and the warring desires to be both everything to everyone and nothing to no one: “I’ll steal a few breaths from the world for a minute / and then I’ll be nothing forever.

Be The Cowboy is teeming with such paradoxes. A Pearl is dazzling, exposing the powerless terror of pushing someone away by being too distant: “I’m sorry I don’t want your touch / it’s not that I don’t want you,” before the music swells and Mitski admits the impossibility of letting go of a love so tempestuous. Such moments of vulnerability expose the cost of cowboy-ism; it is hard to wreak your own havoc without catching a couple of blows.

Remember My Name is the record’s angriest song, but also the most defeated, expressing the typically female exhaustion that comes with wringing yourself out for a lover; a friend; an audience: “I need somebody to remember my name / after all that I can do for them is done.Washing Machine Heart could be the prelude to this emptiness, its insistent beat backdropping an infatuation both mundane and all-consuming: “will you kiss me already / and toss your dirty shoes in my washing machine heart/baby, bang it up inside.

Nobody is a glorious centrepiece – birthed out of the excruciating solitude of a Christmas spent alone in Malaysia, the chorus is twistedly jubilant, repeating the empty pronoun until there’s nothing left to do but sing along. Mitski recently toured with Lorde, and it would fit that Nobody is a banger whose ideology is firmly in sync with the spirit of Melodrama: taking the sad, messy, tender parts of existence (particularly young female existence) and making them danceable. At times it borders on satirical – those upbeat disco guitars have no place backing such melancholy, and there is something delicious about the absurdity of a cheesy pop clap at the end of the repeated “still nobody wants me.” It is a neat little triumph that laughs at the double bind of a soul unable to control its outbreaks of emotion, but at the mercy of the impulse to make the pain marketable.

As the album nears its close, Blue Light seems to recall the opener of her 2012 debut Lush, ‘Liquid Smooth’ – a piano ballad expressing the theatrical desperation of young loneliness (‘what am I to do with all this beauty?’) expressing all the anxiety of a young woman plagued by the pressure to gather her rosebuds while she may. Be The Cowboy’s version is shorter, simpler, yet all the more manic with its urgent guitars: “I’m going crazy / I’m walking round the house naked,” distilling the turbulence of young female emotion in few words.

Mitski has a chameleon skill for seeing the same issue from polarised angles. Where the ephemerality of youth and love is desperate on Blue Light, the song hasn’t even reached two minutes in length before we are swept into the introspective Two Slow Dancers, a vignette of an old couple dancing with sad resignation to very same passing of time that was cause for a tailspin only one track earlier. It is a surprising lull with which to close the album, a slow but spirited surrender to those forces which can no longer be fought against.

Mitski’s latest is an album of paradoxes. In fourteen short songs, she asks us to understand (or at least gaze upon – she doesn’t want our pity) what it is to be both too naïve and too old, too distant and too close, too restrained and too chaotic. This is her best work yet, establishing herself as an artist who contains multitudes. Be The Cowboy gives us a lucky glimpse of just 30 minutes of them. – lizzie mccreadie (@franzgaffka)

rating 9

 

Miles Kane returns to form with Coup de Grace

words fae Oliver Butler (@notoliverbutler)

Appearing from the wilderness when we needed him most, Miles Kane has returned to sprinkle his whimsical indie magic over us with new album, Coup De Grace. As per usual, it’s a smorgasbord of interesting & exciting tracks, with the odd filler track hither and dither.

It’s been five long damn years since the release of the patchy but palatable Don’t Forget Who You Are, with Miles having fun in The Last Shadow Puppets, or just generally enjoying being a rockstar, including playing in a Beatles tribute band with Matt Bellamy of Muse. How do you spend your free time?

In an interview with Annie Mac prior to the release of lead single Loaded, the Scouse sonic sorcerer hinted that we’d see a plethora of influences, most interestingly, something that sounds like the Ramones. To which you probably screamed “Bollocks! Miles Kane? Punk? Get away with you”, or more likely went “nice, that’ll be good, maybe”. However, for the percentage of you that screamed bollocks, prepare to be blown away by album opener Too Little Too Late.

It’s Miles Kane alright, but it’s a raughty (raunchy and naughty) punk track to get the album off to a strong start. It’s classic punk, with the frantic, yet simple chords and the structure of the chorus. It’s hard to say the Ramones are an influence on your album and back it up, but with Too Little Too Late, it walks the walk. It’s not a loose bastardisation of a punk song, with the chorus being crooned in Miles’ familiar style, and up-pitch guitar. It sets the standard for the rest of the album, but fortunately, everything else is up to code and doesn’t slip straight down the cliff after the opener.

Even in the weaker parts of this album, even the most casual of Miles Kane fans can take heart knowing that where the tunes are good, the Greatest Showman himself will take these tracks and turn them up to 11 on the live stage. And that’s pretty fucking comforting, knowing how good these songs sound, they’re going to sound twice as better live.

As we do these days, plenty of singles were dropped prior to the album’s release, so let’s take a gander at some brand new bangers. Cold Light Of Day is stunning and follows the same sort of punk-based blueprint as Too Little Too Late, but this is more classic Miles Kane. Again, with many modern albums, it’s hard to work out if it’s an advance in production techniques and sound, or whether everyone’s stepped their game up, because Coup De Grace is miles (HA!) better than Don’t Forget Who You Are, which, although with a few fillers, it was largely killer. Whisper it quietly, but this is even better than Colour of the Trap.

There’s a slightly sentimental vein running through the album, not surprising considering that the writing process for this album was kick-started by Miles having a breakup. However, the first single off the album, Loaded is probably one of the weakest songs on the album, penned about the protagonist’s girlfriend failing to save him, and the first one he wrote off the back of his breakup. At the time it fairly whetted the appetite for a new album, but looking back on it now it pales in comparison to the rest of the album. Even having melancholic maestro Lana Del Rey co-writing the song couldn’t save it from being lackluster. It just doesn’t land, you know? It sort of just fades into the background.

[youtube https://www.youtube.com/watch?v=6e53GyXCgys]

Keeping the microscope on breakups and new tracks, you’ll be hard pressed to find a track better than Killing The Joke on this album. One of Miles’ strengths is playing a slightly soulful acoustic track, in the vein of Colour of the Trap and Out of Control. It’s quite emotional, and a little bit self-deprecating, it’s nice, there’s a sort of ballroom slow dance feel to it at the start, bathed in dim light, fading into nothingness. There’s even a shout out to Bruce Forsyth with “it’d be nice to see you, to see you nice” in the first verse. Want any proof it’s a good album? There’s a fucking Brucie Bonus on it, name another album with a Brucie Bonus on it.

The new, new songs have a lot of grunt to them, but if you’re looking for a high water mark, or a stand out track, you’re out of luck, because it’s a straight-up scrap between Cry On My Guitar; a dick swinging anthem that swaggers its way through your ears, or title track Coup de Grace, which has a real darkened boudoir feel to it. The vocal style on Coup de Grace particularly is very similar to his friend Alex’s vocal style on a recent album by Arctic Monkeys. Whether the chicken or the egg came first on this vocal delivery is insignificant, as the smooth, velveteen vocals on Coup de Grace really make it, layered over the deep, grooving bass like icing on a sponge cake.

[youtube https://www.youtube.com/watch?v=ffkom6CLA78]

It’s hard to find a weak point on this album, sure, you might find you spend less time with a track like Shavambacu, the title which reminds you of the “fre shavac ado” vine, rather than something like Cry On My Guitar, but is that a bad thing? No, Coup de Grace’s problem is that there are some inch-perfect tracks on there, which means the tracks that aren’t inch perfect don’t entice you as much. It’s a nice problem to have, that an album has so many perfect tracks, the really good tracks just seem a little less appetising.

Lyrically, you could say it leaves you wanting, but coming to Miles Kane for poignant lyrics and insights on the modern world is like coming to Socrates for his philosophy on drinking cans and wearing skinny jeans; you don’t really come to expect much substance from either. What you come to him for is some dancy tunes, the occasional acoustic banger, and the live show. However, lyrically, he told the BBC that “it’s very personal”, so the story we hear on the record may have completely different meaning to him than it does to us. It’s also quick to poke fun at the comment that he called it his “Adele album”, but from the content & theme of the tracks, it’s quite easy to see what he means; it’s inspired by heartbreak, something that Adele does second class to none.

Shavambacu is the album’s closer, and a common theme in these reviews is making sure the credits roll with a good track, and this is no exception. It’s quite melancholic, with a real “walking through London in the rain feel to it”. Lyrically it feels like the protagonist is pining for their love, and it’s quite a sweet song reflecting and lamenting on missing your lover. Absolutely no fucking clue what Shavambacu means, closest Google Translate offers is that shavambacu is a Malayan word, and is Malayan for shavambacu.

On the whole, the album feels like a complete departure from Don’t Forget Who You Are, and even Colour of the Trap. It still feels like it’s got the familiar Miles Kane feel, but tracks like Silverscreen, with a frantic tempo and strained vocal from Miles feel as far away from his blueprint as possible. However, in the unfamiliarity comes excitement; this is a new sound from Miles, and though “Coup de Grace” is French for “the final blow” (thanks, Google Translate!), fingers crossed that this isn’t the final blow from Miles, and we see something similar to this in the near future.

Album Review: Merzbow & HEXA – Achromatic

words fae liam toner (@tonerliam)rating 8

Recently a friend of mine asked me how people tell the difference between good and bad harsh noise music. A fair question as for non-listeners of the genre a top 10 list of the best noise albums must seem like a list of top 10 TV static screens or a list of top 10 loudest power drills. However, nearly 40 years into his career Japanese noise musician Merzbow has released almost 300 albums where some are considered absolute staples of the genre such as Pulse Demon and Venereology (not to mention his discography with numerous collaborators) whereas many more fall into forgotten obscurity.

This newest album titled Achromatic is another collaboration, this time with the group HEXA. HEXA are an industrial/dark ambient group featuring Jamie Stewart of cult indie experimentalists Xiu Xiu and Lawrence English. HEXA’s most recent output was a sort of soundtracking of David Lynch’s factory photography. The pair created music that was droning and mechanical, creating lifeless soundscapes that perfectly fit Lynch’s photography.

The title Achromatic itself is a good hint of how the album will sound. Western music typically is made up of twelve semitones and is the basis for all our scales and chords. These twelve notes together are known as the chromatic scale. What Merzbow is doing with this title is giving the listener fair warning that what they’re getting into is a piece of music that is devoid of melody and rhythm and is reduced to something that is purely textural and, thanks to HEXA, rather atmospheric.

The album is split into two parts. The first side Merzhex being produced by HEXA and the second half with the track Hexamer was produced by Merzbow. This choice was quite an interesting move as it gives each a distinctive sound and it allows the listener to see how each artist interprets the work. The core of this release is made up of a few elements: the sonic chaos of Merzbow’s feedbacking harsh noise and HEXA’s low droning synthesisers and distant industrial sounds.

Despite being a noise project Achromatic is basked in atmosphere (at times it sounds like field recordings are being used) and it’s this atmosphere that makes the album so interesting. The combination of the two artists sounds complement each other greatly and throughout listening I find myself imagining all sorts of scenes and environments. HEXA’s droning dark ambient elements form the base of the whole sound, creating an atmosphere and giving the music a sense of slow progression. Merzbow’s signature noise elevates the atmosphere to something truly otherworldly, at times it becomes quite hard to even tell the different elements apart as they combine to create a maelstrom of blaring sound. The combination of these sounds gives the album an ice cold and impenetrable vibe.

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Merzhex 2 sounds like being trapped in a huge glacier in the arctic. While trapped inside you can hear the winds batter off the sides and the slow rumbling bass synthesisers imitating the cracking, groaning sound of the glacier moving slowly across the Arctic. Merzhex 3 conjures up the image of a desolate and unforgiving frozen wasteland. H.P. Lovecraft’s ‘At the Mountains of Madness’ came to mind when listening to this track; a story where a group of Antarctic explorers discover a mountain range in a treacherous environment even larger than the Himalayas. In further discovery, they find a mysterious and ancient alien city where the explorers would discover secrets that would lead them to death or utter madness.
Since there is nothing else to go off except from basic titles this album is infinitely interpretative and allows the listeners mind to run free as they are engulfed by the cold sounds of buzzing and cacophonous electronics

Reviewing industrial and harsh noise music can be a fruitless activity. For a start, trying to describe the musical qualities of something devoid of musicality and essentially being a form of anti-music is slightly pointless and honestly, a wee bit daft. Noise also tends to be highly divisive and the idea that some people actively enjoy and even try to review, some would find laughable. To some listeners, the experience can be cathartic and mesmerising but to others, it’s simply one thing: not music, and in a way, they are correct. It would be untrue for me to claim that Achromatic is a brilliantly composed piece of music.

However, what Merzbow and HEXA have released here makes for an engaging listen that also works as a blank canvas to derive your own meaning from. Or maybe you’ll just think it sounds like a big loud pile of nonsense, either way, the combination of each artists sound and the excellent production make this one of the more stands out releases in Merzbow’s gargantuan discography and if you have an open mind then it’s well worth checking out.

Kevin P. Gilday & The Glasgow Cross meld indie music with spoken word on ‘Experience Essential’

words fae jen hughes (@dearoctopus4)rating 7

Experience Essential is the debut album from Kevin P. Gilday & The Glasgow Cross, a collaboration between spoken word performer Kevin P. Gilday and multi-instrumentalist Ralph Hector. It’s a kaleidoscope of poetry and colourful indie music, and one of the strangest albums you’re ever likely to hear. Picture this: you’re at a party. You are stoned, not enough to be out of it but just enough to go with the flow. You meet some guy in the smoker’s area, and you could sit and listen to this guy’s smooth accent all day. Because you’re a bit intoxicated, you don’t pick up everything but the nuggets you do speak to you on a deeper level. This is how best to describe this album.

It isn’t really rap music. Where rap music marches to the beat, spoken word floats alongside it at a leisurely pace. It does not try and stay on the beat because that is not the point. Each track is a window into Kevin P. Gilday’s life, from his experiences on Glasgow’s surprisingly enthusiastic poetry scene (The Plates Keep Spinning… pt 1 & pt 2; I’ve Fallen Out of Love With Poetry), his working class upbringing (To Live and Die in Denniston) to his political leanings (How To Spot A Tory) and his commentary on masculinity (Me, Masculine Me; Hitler’s Moustache). His poetry tends to be more humorous but also self-effacing and self-aware. The songs themselves tend to stick to only one or two musical ideas or motifs and don’t stray far from these within the track. Each track’s musicality is varied enough, and tracks don’t drag on for long enough that this would be a problem. To listeners whose primary interest lies in poetry, this is not a concern anyway as spoken word still takes precedence here.

The spoken word/music combination is a hard sell and is difficult to pull off, especially if you’ve heard any of William Shatner’s cover songs: they are hilarious. While there are a few weaker tracks in Experience Essential, where the musical ideas do not work as well with the spoken word, the majority of the album is reasonably enjoyable. For the most part, Gilday and Hector can bring the two aspects together to a good standard, though there are some tracks that didn’t work well to the point where it distracted from what was being said. With these tracks, it’s a case of two ideas not working well as a combination but fine separately.

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Out of all the singles to be released, Atheist’s Prayer is a particular highlight. A smooth, melancholic synth accompanies Gilday as he asks the opening line, “Who do the atheists pray to?”. It sounds like rain and smoke. Gilday’s performance of this song is passionate, and the music reflects this as it crescendos and brings in guitar and drums. Arguably, the tracks released as singles aren’t the strongest on the album; for example, The Man Who Loved Beer, which was released first, gets things off to a shaky start as the music noticeably detracts from the spoken word. On the other hand, it’s possible that the upbeat rock music reflects the mood of the poem itself, so it could be there for good reason.

Other recommended tracks are mostly deeper cuts from the album such as The Vision (Jesus of Possil), How To Spot A Tory and There’s a Workie in My House, which touch upon themes of the divisive nature of social class. They’re both humorous but self-aware. The Vision talks about what would happen if the reincarnation of Jesus Christ visits Possilpark, Glasgow, whilst There’s A Workie in My House describes the time a repairman came to fix Kevin’s boiler, prompting him to reflect on his own career.

As a poet and a music enthusiast, it’s difficult not to admire that a fellow Glasgow poet is bringing two worlds together. If you’re a music fan who is looking for that gateway drug into spoken word, Experience Essential would be as good a place to start as any. Gilday’s poetry is genuine, relatable, not too reliant on references to classical texts or other poets you may not have heard of and – for the most part – unpretentious. As an added bonus, the music itself is pretty decent. There’s bound to be at least one track on the album you can relate to, so for that reason, it’s highly recommended to check it out and discover which track you relate to most.

TRANSISTOR’S 10 Best Albums of 2018 (Mid-Year Update)

intro and thumbnail fae liam menzies (@blinkclyro)

While we could start this off with some drivel about how 2018 has been fraught with political debate, general discourse and a shaky quality in memes, we know what you’re here for: a ranking of subjective apart, decided by people you don’t know and/or care about. We might not be in the same league as Pitchfork and the likes but we feel our contribution to the discussion is… somewhat worthy, plus, we’ve got some solid patter so why not get into the list season spirit early?

10 Father John Misty – God’s Favourite Customer

Josh Tillman is a man on a hot streak. Since leaving the Fleet Foxes in 2012, he has reinvented himself as folk rockstar Father John Misty – releasing 3 critically acclaimed records, 2012’s psychedelic Fear Fun, 2015’s wildly romantic I Love You, Honeybear and 2017’s world-weary Pure Comedy – which topped many end of year lists. However – Pure Comedy also proved somewhat divisive – with many criticising its 75-minute run time, filled mostly by less-than-energetic instrumentation.

Tillman’s response? He’s returned just over a year later with God’s Favorite Customer – his shortest record yet at just 39 minutes. GFC feels like more of a sequel to Honeybear than Pure Comedy, detailing a rough patch in Tillman and his wife Emma’s relationship when he was living in a hotel –hilariously depicted on lead single Mr. Tillman, with the lyrics coming from the perspective of a hotel receptionist concerned for Tillman’s welfare.

However, things get considerably darker on other tracks, like Please Don’t Die, where he details “pointless benders with reptilian strangers” and the chorus comes from the perspective of Tillman’s wife, begging him not to take his own life. Remarkably, on the darkest moments of this incredibly personal record, Tillman keeps up his absurd sense of humour which has been a staple of his FJM records. On the solemn The Palace, Tillman undercuts his confessional to declare “last night I wrote a poem/man I must have been in the poem zone” and perhaps even references the internet’s favourite Jeff meme. In a sentence – God’s Favorite Customer is hilarious, heartbreaking and incredibly catchy – all at the same time. It’s just what we expect of Father John Misty now. – Andrew Barr (@weeandreww)

HEAR THE ALBUM

9Jeff Rosenstock – POST

POST- is an album rife with conflict, vacillating between furtive political references and forthright internal turmoil. Yr Throat questions the efficacy of self-expression as the narrator’s body and mind lock into a stalemate: “What’s the point of having a voice when it gets stuck inside your throat?!” All This Useless Energy stages a contentious dialogue between under-informed neurotypicals and frustrated depressives: “You’re not fooling anyone when you say you tried your best.”  I’m worried of abandoning the joys that framed my life, but all this useless energy won’t hold me through the night.

Whatever the meaning you choose to ascribe to the term “post” (Post-Obama, Post-Trauma, or for the overdramatic, Post-America) POST- refers to the end of an era. Every generation grapples with its social and political conventions, and now the Millennials have been called to action. A daunting task, to be sure, for a throng of young people consistently written off as thin-skinned, lazy, and disinterested. But with Jeff Rosenstock at the forefront of punk’s socially-inclined philosophes, we’re sure not to be tired and bored with the fight. May we never be again. – Sean Hannah (@shun_handsome)

8Ty Segall – Freedom’s Goblin

Last January, Ty Segall quietly delivered one of the finest records of 2017. That is, of course, quiet as in it was met with little fanfare. The music, on the other hand, was a short, sharp shot of frenetic energy that blew the new year’s blues away with consummate ease. And now, almost a year to the day, a new project, entitled Freedom’s Goblin, has been unleashed upon the world to do the same. A double album of 19 tracks, the record sees Segall at his most dynamic, hopping nimbly from futuristic disco to some of the fuzziest rock seen since Dwayne Johnson grew out his beard last year. In lesser hands, this sort of smashing together of styles could have resulted in a disjointed mess of a record, but instead, the constant variation creates an exhilaratingly sprawling joyride of ups and downs that at the very least, will leave you with a gigantic ear-to-ear smile.

According to the man himself, the concept of the album was to effectively eschew one altogether, and it undoubtedly has been a resounding success. Not all of the tracks work, Shoot You Up, for example, sounds a little too similar to last years Break a Guitar to really satisfy, but the general level of consistency across such a mammoth and diverse tracklist is nothing short of astounding. Segall tips his toes into disco, metal, and a whole host of other styles and comes out of the other side a bona-fide genre-hopping hero.

This may well be the musician’s finest release yet, at the very least standing toe to toe with some of his previous classics. It’s a treasure trove that demands multiple listens to uncover its hidden gems, of which there are a great many, but it’s difficult to imagine anyone begrudging a few extra listens to really get to grips with it when the music is this good. – Rory McArthur (@rorymeep)

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7 A.A.L – 2012-2017

Returning with a surprise album under his Against All Logic (A.A.L) moniker, leading electronic producer Nicholas Jaar ditches most of the experimentation for what could be pretty much summed up as a deep house album. Now, as this Jaar, this isn’t your chart-ready, sanitised house. Here, Jaar again samples with aplomb, but unlike other releases where the samples are manipulated into something totally new, here Jaar lets these groove-laden samples sit by themselves, letting the samples play out, with expert flourishes of percussion and electronic trickery to flesh out the instrumentation.

It might be contentious to some to include what is essentially a compilation album of previous songs onto this list, but it is for good reason. Here, Nicholas Jaar has arguably made a house album that will transcend normal genre barriers; this is an album that will go down in the history books as one of the best house albums ever made. Funk and soul samples are paired with some of the smoothest percussion heard this year, to make an album that is oozing style, charisma, and panache. – Charlie Leach (@yungbuchan)

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6UMO – Sex & Food

On their newest release, Unknown Mortal Orchestra hone in on the best aspects from each of their previous projects and produce some of their best work yet. The album swings from 80s pop to the psychedelic rock of the 60s and 70s so effortlessly and constantly applies a modern spin to each song, whether it be from the lyrics or production. On ‘Sex and Food’ an excellent mix between a vintage sound and modern ideas if found, as UMO refine their sound and deliver a cleaner than usual selection tracks that may be some of their best yet.

The brilliant songwriting and interesting production of Unknown Mortal Orchestra are sounding as good as ever with this latest project. Sex and Food sees new inspirations emerge and blend with the signature sound of UMO to continue the great track record that the band have formed since 2011. The album also finds more of a cohesive and clean sound than some of the distortion-heavy releases prior to this, which works well with the grooving baselines and beautiful melodies that can be heard throughout the project. Overall, it seems that Unknown Mortal Orchestra have matched, if not exceeded, the quality of Multi-Love, and continue to add to their already intricate and unique sound with a great album that continues to impress. – Ewan Blacklaw (@ewanblacklaw)

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5Confidence Man – Confident Music For Confident People

When Australian dance-pop four piece Confidence Man burst onto the scene amidst a flurry of Triple J hype and YouTube comment section detractors with a stunning live rendition of their first single, “Boyfriend”, few expected them to capitalise on that potential and become 2018’s most surprising success story.  It goes without saying that a key component to this sudden rush in popularity is down to their near-flawless debut LP, which is in itself the most fun you’ll have with an album all year.  It kicks off the party with “Try Your Luck”‘s earworm of a melody and doesn’t let go until the final echoes of “Fascination” fade out into the night as you stumble out, breathless and hungry for more.

In the rest of its forty minute runtime, Confidence Man cover a lot of ground for a band who could have been a one trick pony, taking the best bits of house, techno and disco and repackaging them in a contemporary format that recalls the best of Daft Punk, LCD Soundsystem, and Fatboy Slim.  Along the way, they will make you dance, laugh, sing, dance some more, and be oh so grateful that they exist in such dour times like this. – Josh Adams (@jxshadams)

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4Arctic Monkeys – Tranquility Base Hotel & Casino

After 2013’s still-quite-good-but-underwhelming AM, you’d be forgiven for writing ArcticMonkeys off for good, god knows I did. But now the naysayers as a collective have egg on their ruddy faces! The Sheffield 4 piece are back in town, and they are back with a vengeance. Tranquility Base Hotel & Casino is the self-inflicted kick up the arse the band had simply to give themselves after the AM album cycle left them positively stagnant.

Gone are the grease and leather jackets from AM, replaced with a Hugh Hefner-esque robe, a stiff whiskey and a wee pipe. TBH+C is lounge music for the modern era. A trip through an astral Las Vegas through the eyes of an aging patron. It’s straight out of left field and it’s all the better for it.

Each song weaves into the last effortlessly. This isn’t an album you can put on shuffle, it’s as deliberate as it is sexy. There’s no banger single on here (bar maybe the album’s centerpiece Four Out of Five), but what you, dear listener, gets instead is an album from a band finally totally free from the shackles of indie rock, and finally comfortable in their own skin. Tranquility Base Hotel & Casino sounds, to me, like the album Alex Turner and the boys have wanted to make for a long, long time. It is truly out of this world. – Jake Cordiner (@j4keth)

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3 Parquet Courts – Wide Awake

Who would’ve thought that four white guys playing in a punk outfit in 2018 could sing about how “woke” they are and make it sound convincing? Parquet Courts have long played the role of rock and roll philosophers; co-songwriters Austin Brown and Andrew Savage often dive into popular rock fodder like relationships, travel, and technology, detailing each phenomenon with an enlightened, if blunt, sentiment. And on Wide Awake!, the group return with their trademark urban nervousness, this time with a wider musical palette, courtesy of guest producer Danger Mouse.

Removed from the context of the music, Brown, and Savage begin to sound like paranoiacs, their lyrics veering close to the basket cases spouting off outside of grocery stores and banks. “Lately I’ve been curious/ Do I pass the Turing test?” Savage sings on Normalization, his voice not so much panicked as it is angry, demanding. But for all the furor, the Brooklyn quartet remain woke, even if it’s the kind of social awareness that keeps you up at night: “Mind so woke cause my brain never pushes the brakes!” As always, Parquet Courts make anxiety catchy—to them, the human condition is a mix of mundanity and revulsion, terror and desensitisation, and on Wide Awake!, it’s never without a strong hook.

Oh, and fuck Tom Brady. – Sean Hannah (@shun_handsome)

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2Young Fathers – Cocoa Sugar

One of the most exciting acts Scotland has seen in years, Young Fathers returned this year with the much anticipated Cocoa Sugar, an album which continues to showcase their ability to create an explosive collection of innovative and experimental tracks. On Cocoa Sugar, Young Fathers are catchier and poppier than before but sacrifice none of their talent for packing so much intricate detail into short but powerful blasts of music.

The Edinburgh hip-hop trio are as versatile as ever here as well, going from almost spiritual places on tracks such as In My View and Lord to the grit and sinister tones of Wow, Wire, and Toy. Cocoa Sugar gets more impressive with each listen and it’s most impressive aspect is just how layered each track is with its intertwining vocals, driving beats, backing choir and many minor details that you appreciate more and more with each listen. – Ethan Woodford (@human_dis4ster)

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1Car Seat Headrest – Twin Fantasy

What to say about Twin Fantasy that hasn’t already been said? Will Toledo’s lo-fi opus is a source of inspiration to all indie fans of this generation. Toledo’s enormous presence mixed with honest but cryptic storytelling led his diehard fans to pick and dissect every bit of truth behind the album. Usually, this kind of reaction would generate a pretty negative feeling towards the album from the musician’s standpoint, but the art Toledo created in 2011 stood the test of time.

Prompting him to redo the album completely; submerging himself in lyrics and feelings from years prior. This led him to create what is arguably his most grand record to date, labeled as (Face to Face). The structure from the original album is there but everything has been redone in the best possible way. There is enough for fans of the original to feel it has been done justice, but it also stands on its own enough to attract new fans. It’s the perfect love letter to what Car Seat Headrest used to be, written from where the band is now. – Ryan Martin (@ryanmartin182)

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