We Have Sound

25. Metronomy – Metronomy Forever (Because Music)

Joe Mount has been a busy boy over the past couple of years – most notably his songwriter/production duties on Robyn‘s sublime Honey last year (#2 on my album countdown) – and his return with Metronomy Forever is everything we could have hoped for.

Clocking in at a hefty 55 minutes and 17 tracks the album is surprisingly (but pleasantly) packed with bangers. “Salted Caramel Ice Cream” was unavoidable on 6Music for a few months, and although intensely cheesy I can’t help but sing along every time I hear it.

But the true highlights on this album are the motorik “Insecurity”, power-punk-pop “Lately” and plodding “Walking In the Dark” – which are all masterful examples of pop songwriting paired with pristine production.

There are clear pop-punk influences on this record, which would usually jar with me, but in the hands of Mount are completely palatable and fun. There are also extended, instrumental tracks such as the sub-aquatic “Miracle Rooftop” (which uses the same mix technique as many tracks on Honey), which don’t feel out of place and make Metronomy Forever feel like a consistent and thoroughly enjoyable body of work.

There is a definite connection between this record and the vibe of the band’s 2008 album Nights Out – with the squelchy basslines and drum machines – but this is the grown-up older brother who’s married and settled, but is still willing to mess about and have a bit of a laugh.

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26. A.A. Bondy – Enderness (Fat Possum)

Modern life is rubbish and A.A. Bondy wants to tell you about it. Enderness is his first record in 8 years and it is a damning indictment of many facets of life in 2019; social media, murder for entertainment and celebrity culture to name but a few. And maybe the powers that be didn’t like it, because his house burnt down immediately after he finished recording it… but then that’s a conspiracy theory – and I don’t think he’s a fan of those either.

But this is a wonder of a record. The music is sparse but intensely groovy, built on drum machines, droning synths and sporadic guitar lines Bondy’s vocal performance is very much at the fore.

Lyrically the closest comparison I can think of is Father John Misty‘s tongue-in-cheek sincerity – with killer lines like: “let the monkey have a hit/someone famous takes a shit” on “Diamond Skull”, one of my favourite tracks to be released this year.

Another highlight is the hauntingly beautiful “Fentanyl Freddy” with its reverb-doused piano line and electronic claps – followed by “Pan Tran” which wouldn’t sound out of place on the Twin Peaks soundtrack.

This record is probably best described as gothic, electro-Americana anti-pop and if that doesn’t tickle your fancy then what will? Check it out below:

27. Penelope Isles – Until the Tide Creeps In (Bella Union)

Penelope Isles are a Brighton-based four-piece fronted by supremely talented sibling songwriters Lily & Jack Wolter (it’s their dad on the album cover) who released their debut album Until the Tide Creeps In on the amazing Bella Union records back in July.

This is pure, timeless indie rock’n’roll that could have been released at any point in the course of pop history – but luckily for us it landed in 2019 – and what a delight it is!

Album opener “Chlorine”, with its fuzzed up guitar, super-melodic vocals and descending guitar solos, is a stone cold classic of the loud-quiet-loud oeuvre of Pixies/Nirvana.

But the band really come into their own with the simply stunning “Not Talking” which could be taken from any of Grizzly Bear or Deerhunter album in the past 10 years – the musical bridge between the first & second verses is sublime and recalls Radiohead at their most blissed out.

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28. Carla Dal Forno – Look up Sharp (Kallista)

This album is a proper grower. Released back in October I listened to this once through and a few days later had a sudden urge to revisit it – I think it must something about the haunting production that is really seductive.

Dal Forno is an Australian but now based in London, and it is another London resident who this record most reminds me of – Kelly Lee Owens. I was obsessed with Owen’s debut album but where that record ascended into electronic euphoria, Look up Sharp slowly descends into smoky, lo-fi folktronica (think Bibio).

There are also elements of one of my all time favourite bands, the Reykjavik trio Samaris – particularly with the expansive soundscapes throughout this record. It feels like Dal Forno is Samaris’ musical cousin who lives in (slightly) more temperate climes with the added warmth on some of these tunes perhaps more reminiscent of autumn rather than the Icelandic winter.

The stunning “Took a Long Time” is my pick of the tracks, with its snaking bassline, whirling synths & dreamy vocals. Check it out below and let me know what you think in the comments.

29. Chali 2na & Krafty Kuts – Adventures of a Reluctant Superhero (Manphibian Music)

This has to be one of the most fun records of the year. The collaboration between Jurassic 5‘s inimitable Chali 2na & British mix maestro Krafty Kuts as their superhero alter-egos Purple Assassin & Scratchman is an absolute delight.

The world is screwed and they’re here to save (or at least entertain) us all. There are blistering Run the Jewels-esque smash hits such as “Distance” & “Black Vapor” as well as hilarious skits like “Superhero Kit”. But the album highlight is the diverse ensemble cast of “Superheroes Anonymous” with each relentless verse mediated by a very British counsellor who perfectly segues each verse into each other, taking the sting out of the track before the genre does a 180 and the next rapper lets loose.

This record isn’t going to win any awards, but it’s going to win a lot of hearts. It’s the most fun you’re going to have with a record all year – guaranteed.

Let me know what you think below – and tune in tomorrow for the next in our countdown!

30. Pixies – Beneath the Eyrie (BMG)

I love a great music documentary, particularly the Classic Album ones you occasionally get on BBC4, because you always end up truly appreciating an album a lot more. In the run-up to the release of Beneath the Eyrie Pixies trialled the record with a 10 episode podcast recounting how the songs were recorded & it was a great insight into the band.

Recorded with British producer Tom Dalgety (Royal Blood, Ghost), who also produced their 2016 comeback record Head Carrier, this record is a lot more nuanced than that record. Kim Deal’s replacement Paz Lenchantin now feels like a settled member of the group with lead vocal performances as well as co-songwriting credits on three tracks including lead single “On Graveyard Hill”.

My highlight is the three song run of the sweeping “Silver Bullet” followed by the surf-inspired duo of “Long Rider” & “Los Surfers Muertos”.

I can’t help but think this record would have passed me by without listening to the podcast, so I thoroughly recommend it. I was also able to catch them at Alexandra Palace in September where the relentless 3 hour, non-stop set was incredible. I’ve only seen them at festivals before and they are a completely different proposition in front of their loyal fans – wheeling out some proper deep cuts.

Let me know what you think of the record below – and come back tomorrow for the next instalment of the countdown!

31. Ibibio Sound Machine – Doko Mien (Merge Records)

So here we go with my countdown for 2019 – what a year it has been and we have a cracking list of albums to make our way through this year!

First up is the third album from London-based collective Ibibio Sound Machine, Doko Mien. The eight-piece are fronted by the enigmatic Eno Williams who demonstrates the versatility of her vocal performances on here – from powerful pop delivery to punky yelps, there is never a dull moment.

Their previous album Uyai made to onto my 2017 list, but this record seems much more focussed and accessible than that record. Flitting between synth-pop, jazz, afropop, electronic & punk could be difficult to weave together but ISM manage to keep a consistency to Doko Mien.

The album highlights for me are the sultry “I Know That You’re Thinking About Me” which is reminiscent of the desert blues of Tinariwen and the uber-funky, horn-blasted “Wanna Come Down” which wouldn’t sound out of place in a Red Hot Chili Peppers setlist.

Though much of the record is up-tempo, disco-infected stompers, ISM really demonstrate their songwriting chops with the tracks on the album where William’s vocals are brought to the fore and the music is more laidback & hazy – particularly on the stunning “I Will Run” & “Guess We Found a Way”.

Check it out below, let me know what you think in the comments and come back tomorrow as we continue the countdown with number 30.

Introducing We Have Sound

The new home of Tom’s Albums of the Year

Hello! Thanks for taking the time to come and visit my new blog.

My name is Tom and for the past 4 years I have been compiling and counting down my favourite albums of the year, writing about one a day for every day in December (kind of like an advent calendar of my 31 favourites).

The idea is for me to post my Albums of the Year on here as opposed to on Facebook – so please come back to visit the site everyday throughout December for the daily countdown.

My taste is pretty eclectic and the list will encompass rock, pop, jazz, electronic, hip hop… you get the gist. Previous winners have been Idles – Joy as an Act of Resistance (2018), Dirty Projectors – Dirty Projectors (2017), Father John Misty – I Love You, Honeybear (2016) & FKA Twigs – LP1 (2015)… so roll on 2019’s list.

Which of your favourite albums should be included? Comment below. There’s still time to change my mind… Bring it on!

P.S. it’s We Have Sound is because of the Tom Vek album (Spotify/Apple)