It’s Best Albums time! Honorable mention to The Bug, St. Vincent, The Hold Steady, Nothing, and The Men (which may be something like 15-11, or maybe not). Here we go…
10. We Come from the Same Place by Allo Darlin’ – Lately I find it so easy to fall for quiet, charming pop. My working rationale: it serves as counterbalance to the (often) high-energy and aggressive sounds of my usual favorite groups. British group Allo Darlin’ hooks and adores right into your heart with beautiful guitars, cheerful singing, and an airy sense of forward motion.
It’s their light percussion that I’m most fascinated by in retrospect, almost completely opposite of recent love The National (a drums-first kind of band). Here, the rhythm operates behind the scenes, brushed and skittering along. It’s an essential choice, giving the ringing guitars room to move and the cooing vocals places to fill.
09. LOSE by Cymbals Eat Guitars – For me, the inroad to LOSE was the wonderful guitar aggression. The one-two opening punch of “Jackson” and album highlight “Warning” are as powerful a pure rock performance as you’ll find in 2014. After you’ve been hooked, you’re in line to enjoy the rest of the album-long ride.
Cinematic centerpiece “Laramie” ebbs and flows with changes in instrumentation and tempo. “Place Names” builds slowly before crackling to life in a blaze of energy. Closer “2 Hip Soul” lets Sonic Youth noise give way to a solitary piano. While I come back to the guitar pieces most often, the rest of LOSE is a fantastic car ride.
08. Manipulator by Ty Segall – Do you like rock music? Do you like raw, aggressive, potent, fuzzed out, psychedelic guitar rock music? Are you willing to overlook a bit of excess to get that in one album? Oh good, then this is exactly the thing for you! No doubt fans of the genre will find a ton to love here, and fans of Segall himself are probably over the moon and back a few times. Segall’s spacy voice and guitar heroics are in fine form yet again. Also nice? The sonic palette covers some decent territory while staying self-consistent over the album (the bassy tracks, occasional strings, and slower songs help keep up variety).
The main drawback? The length of the collection. At just under an hour, Manipulator drags. It’s hard to pinpoint any exact weak point. Instead, the issue is fatigue factor. You could probably take any 10-12 of the 17 tracks and make a superb record. Of course, if you’re into this sound, the massive boost to your collection is more than reason enough to jump at Manipulator.