Lana Del Rey‘s ‘Ultraviolence‘ told the tale of the further demise of the Hollywood dreamers fate. In beautiful and powerful ballads, the characters tale of failed romance and crushed dreams is melancholic yet almost a reinforcement on the themes of ‘Born to Die‘. One more album in this vein could show Lana Del Rey is not a character but a true reflection on Lizzy Grant.
It’s hard to believe this is Todd Terje‘s debut given how prolific he has become. ‘It’s Album Time’ combines a unique take on modern dance music, and most importantly, an infectious playfulness that makes this both an entirely unpredictable but joyous album.
I’ve been waiting for a band as good as Jungle for about a decade. A band that’s 1 part concise and avante garde pop and 2 parts pure groove. It could be used as reference to a history of the best and sexiest basslines, whilst being one of the catchiest and slick of all pop packages.
FKA Twigs ‘LP1‘ was probably the most intelligent and tender record of year. A smooth Delivery of avant-garde art as intimate as the recorded sound can get and heartbreakingly vunerable. This is a perfect modern record to which many artists could learn valuable lessons from. ‘Water Me‘ was so soul bearing it hurt.
With a notably rich, soulful voice, Chet Faker slid onto the scene by way of Flume. Embracing electronic influences, and infusing R&B vocal lines, the Australian singer carved a space for himself with his first full album ‘Built on Glass‘. The dark atmospheric beats and sweet slow grooves leave a taste in your mouth we haven’t come across since The Weeknd first hit the scene. It’s all too fitting that he hashtagged #sex onto multiple soundcloud tracks he posted from the album.