Tuesday, 15 December 2015

Top 25 Albums of 2015 - No.20 to No.16

Continuing the countdown from 20 to 16, this section provides a nice mix of Folk, Pysch and Garage Rock. Time is getting the better of me so rather than struggle over the words I'm quoting from online reviews.

20. Föllakzoid "III" - Drowned in Sound review - It’s the band’s stated aim with this record to show what can be done with a minimalist techo approach to their craft, and as the lead guitar swirls in and out during this track’s sixth minute it is impossible to say anything other than that Föllakzoid have scored a resounding success.

19. Dead Rat Orchestra "Tyburnia" - The Dead Rat's have been on a run of fascinating projects recently and show no signs of slowing down. Tyburnia is the soundtrack to James Holcome's film of the same name, charting the history of public execution and the echoes of those events on contemporary times.

18. Trembling Bells "The Sovereign Self" - Line of Best Fit review - A glorious collage of musical artistry, drawing from darker regions than did any of its predecessors, it’s a work of extraordinary ambition, integrating aspects of Classical Greek tragedy, unorthodox religious imagery and some of the more jagged, acid-tinged pastoralism of drummer-vocalist Alex Neilson’s late 1960s psych-folk heroes the Incredible String Band.

17. Barrence Whitfield & The Savages "Under A Savage Sky" - Allmusic review - The production captures the raucous sound of the Savages' live show with good and greasy accuracy, and when Barrence sings "It's no sin to lose control," he's neatly summed up what's great about this band -- and this album. Those who still believe that rock & roll can and should make you move ought to put Under the Savage Sky on their playlists pronto; it's the raw real thing

16. Moon Duo "Shadow of the Sun" - Pitchfork review - Although Shadow of the Sun is rooted in psychedelia, there are elements of proto-punk all over it, darkening the songs and making them more human. "Wilding", the album's standout opening track, resembles one of Jonathan Richman’s more uptempo songs, tinged with a tinny Haight-Ashbury tambourine and some wigged-out synths. Johnson’s solos, which can occasionally wander, are concise and focused here, setting an energetic stage for what’s to come.


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