My albums of the year

Now playing: “Pretty Thoughts” by Galimatias & Alina Baraz

As 2014 draws to a close, I’m not only in disbelief at how quickly it’s gone (or do I feel like this every year?), but also at how it’s been a year of change.The first half was hell, the second half a lot better. Now I’ve experienced my first term at uni, I realise how much I hated being at school. I struggled – there was no sense of freedom whatsoever, I wasn’t studying the subjects I liked, I was rubbish at working under time pressure. But coming to uni was the complete opposite. It’s corny but true that uni kind of gives you the opportunity to be yourself, and I feel more “myself” than I’ve ever been.

On another note, 2014 has been full of great album releases, ones that have helped me through the year. Here are my favourites (in brief – I mean, do I look like a music critic?):

“Liminal” by The Acid

The Acid seamlessly combines delicious electronic bass with a Radiohead-flavoured vocal tenderness whilst guitars float melancholically. It’s really nice to listen to if you’ve ever been interested in Brit electronic pioneers like The XX, James Blake and Thom Yorke’s other project Atoms for Peace.

“So Long, See You Tomorrow” by Bombay Bicycle Club

I think this is hands down Bombay’s best album – or at least their most experimental and flavourful. Their combination of sounds – a musical concoction of instrumentation, less reliance on guitars as they have done in previous albums, seem to cleverly weave in a homage world music, whilst still remaining to their melodic roots. A real treat to listen to – if you didn’t think you liked Bombay, listen to this and think again.

“The Unknown” by Dillon

One of my favourite albums to listen to, the album title is apt – Dillon is “unknown”, and the underlying theme behind this musical masterpiece does seem to explore the unknown. This is done through its composition; Dillon’s bare, fragile vocals, at first reminding me a little of Lykke Li’s, but still unique, paired with sparse instrumentation – piano chords appearing here and there, moody bass and electronica glitching in the distance…it’s minimal. The lyrics in each song tell me this music is for reflection and contemplation. Listen if you like James Blake (again, haha).

“Ultraviolence” by Lana Del Rey

Was very, very excited when I heard early this year that Lana would be releasing a new album. The title intrigued me; I had no idea what to expect. Ultraviolence is a gorgeous combination of soft rock, Del Rey’s GODDESS voice and the theme of money, corruption and power. It neglects the theatrical hip-hop glamour of Born To Die in exchange for something sadder. Del Rey portrays a disheartened seductress; her vocals are still as luscious as ever but they’re hushed. Ultraviolence is ethereal, dreamy and nostalgic, but dark undertones prowl throughout the album nevertheless.

“Tremors” by SOHN

The first track off of Tremors, “Tempest”,  already has me looking forward to the rest of the album. SOHN’s smooth falsetto, along with an electronic feast of rhythms and synthetic melodies (hello, James Blake), subtle Auto-tune tweaking (hello, Bon Iver) comes together for a crisp and impressive production. The songs, which are actually memorable (thanks to the pop structure), create a serene atmosphere of cool. A masterful piece of work.

“No Mythologies To Follow” by MØ

I listen to this album religiously. It’s versatile glitchy electro-pop with guts, but elsewhere bluesy songs like “Never Wanna Know” show off MØ’s sultry vocal ability. Loaded with guitar riffs, ecstatic shouts and cheers, and siren-like harmonies, No Mytholigies To Follow is empowering, uplifting and full of sass – a “fuck you” to the “haters”.

I look forward to what 2015 has to come (like, I turn 20 years old :O), and I wish you a happy New Year!

thestylebanks x

Year of the Girl

This year hotly-tipped solo female artists have been dropping highly-anticipated LP’s like no other. This year’s one for the girls – mysterious siren BANKS released her album Goddess (aptly-named) just two days ago, whilst Lana Del Rey (can she be my guardian or something) (I ship her and James Franco) returned with Ultraviolence. These girls embody female empowerment with their voice, lyrics and musical composition, even when they express vulnerability or heartbreak. GRL POWER 2014 – 4EVER

 

BANKS – Goddess

Ever since I heard This Is What It Feels Like I knew the song was just a taste of BANKS’ potential and her power to blend dark R&B vocals with soft, glitchy electronics so so smoothly. She kept releasing singles that were absolutely sublime and explored the raw truth of relationships and matters of the heart. Her music is definitely very personal to her, and for her to expose her experiences through her music is really beyoodiful ❤

Highlights: Alibi; Waiting Game; This Is What It Feels Like; Drowning; Warm Water

 

Dillon – The Unknown

If you had to compare Berlin-based singer Dillon to anybody you could say she’s a James Blake – Lykke Li hybrid. But she’s totally unique, ethereal and understated. I only came across her in the ‘Listeners Also Bought’ section whilst iTunes browsing. I heard Thirteen Thirtyfive and it was charming and endearing. Then I listened to her second album The Unknown. Her distinctive voice, filled with cold bass, minimalist techno and sparse, melancholic piano chords, tells a story of the trials and tribulations of human existence, in an beautifully abstract and visually-exquisite way (need to tone down the adverbs/adjectives lol). Like the album title suggests, she explores the unknown, in a deeply philosophical and inquisitive way. Out of all these albums, I recommend you listen to Dillon because she is the most underrated and unknown out of all these leading ladies. Out of all the artists I’ve discovered this year, Dillon is one of the brightest-shining gems.

Highlights: The whole album is beautifully consistent…but if I had to pick: A Matter Of Time; You Cover Me; In Silence; Don’t Go

 

FKA twigs – LP1

Ethereal and other-worldy, FKA twigs is out of this world. Her vocal range is incredible and on this album she showcases her breathy, sultry melodies and sings REALLY REALLY high effortlessly. Like BANKS, FKA twigs propelled herself from relatively unknown artist to R&B-electronica heavyweight seemingly overnight. Her sound is just unique and hyper-cool. Believe the hype!

Highlights: Two Weeks; Video Girl; Give Up

 

MØ – No Mythologies To Follow

I first discovered Danish delight MØ when her track Waste Of Time was soundtracked on the Koppardberg cider advert…after that it was off to the races because I’ve listened to all of her songs religiously and still do to this day. Waste Of  Time is one of my favourite songs because frankly, it’s sassy and it’s one-of-a-kind. And that’s MØ (Karen Marie Ørsted), she seems real sassy, relatable and just goes with the flow! (I like to think I basically know her personally from the times she’s favourited and retweeted my tweets. Humble brag.) Somehow No Mythologies To Follow truly resonates with me – somehow it reminds me that I’m not alone? Don’t Wanna Dance is so infectious, it makes me want to sing and dance, and I don’t really like to dance! The power of music. I’m in love with her voice and the energy she puts into her songs. The songs on the album are diverse and beat-driven, with sporadic guitar melodies and glitchy electronics. She’s fun, unstoppable and kick-arse, and I might be obsessed with her.

Highlights: I sing every one of these songs when I’m home alone. From start to finish the songs are diverse but equally likeable…Red In The Grey; Pilgrim; Waste Of Time; Walk This Way; Slow Love

 

Lykke Li – I Never Learn

2014 has also been a year for sad, sad girls. If you listen to Lykke Li’s third album, I Never Learn, you can hear the sheer heartbreak. It’s even in the album title; Lykke must have been truly disheartened. It’s a big jump from her debut and sophomore albums, named Youth Novels and Wounded Rhymes respectively, which were more light-hearted and playful. I Never Learn is much more mature, sombre and moving. This is really soulful, and whilst being melancholic there is an underlying glimmer of salvation and hope, demonstrated in songs such as Silverline.

Highlights: No Rest For The Wicked; Just Like A Dream, Silverline, Gunshot

 

Lana Del Rey – Ultraviolence

I didn’t know what to expect of Ultraviolence, yet the lead-up to its release, with West Coast, had me craving it bad. Stylistically, it’s quite unlike Lana’s debut Born To Die, in the sense that it shakes off the hip-hop element and polished glamour in exchange for a more undone, understated and 70’s-inspired tone. Perhaps it’s the production (Ultraviolence was produced by Dan Auerbach of The Black Keys) or her recent disillusionment of life; perhaps not ‘recent’ as such – who knows, maybe she’s felt this way for a long time, but I’ve read the seemingly notorious yet insightful The Guardian interview with the singer. You know, the one where she states “I wish I was dead already.”, and that she does’t enjoy her success? It’s difficult to tell whether what she reportedly said in the interview were taken out of context or she truly does feel this way. Maybe she’s content, but it sounds as though some misery has been poured into the album. Ironically, this misery is going on to become a commercial success and make a lot of fans happy.  Ultraviolence is brooding, giving off a casual Californian vibe, documenting cynical aspects such as Money, Power (and), Glory through a dreamy, black and white filter. Despite Lana’s divine, sultry vocals seeming slightly hushed, they very much soar above the slow tempos, soft rock, and bluesy guitars (badly generalised of me) and – which took me by surprise – electric guitar solos! A world away from Born To Die, Ultraviolence showcases Del Rey’s artistic evolution and prowess in the most exquisite way.

Highlights: Cruel World; Shades of Cool; Brooklyn Baby; West Coast; Sad Girl; Money Power Glory

 

Over and out, internet x