secrets of the moon - TL:DR (That's Long, DID Read)

the semi-obligatory album of the year type thing (2022 edition)

It’s been a few years since I did an ‘album of the year’ post here, because in general I have to write them for other places and get a bit bored with the process, but this year I thought I’d do something a little different.

But first: albums of the year 2022

My album of the year, by a big margin was Diamanda Galás’s extraordinary Broken Gargoyles. I’ve written about it at length here and here, and had the privilege of discussing it with Diamanda herself here, so won’t say too much about it, except for one observation. People usually use the phrase ‘life-affirming’ to describe records that are joyous, uplifting or leave you with feelings of positivity and contentment. All good things, but Broken Gargoyles is not that album. Instead, it’s life-affirming in the sense that it heightens the sense of being alive and even interrogates the idea of what it really means and how it feels, to be human. It’s thrilling and sometimes beautiful, but also harrowing; and how many musicians even attempt anything like that?

My other favourites this year included Shiki by the Japanese avant-garde black metal band Sigh. It follows in the eclectic footsteps of their past few albums but whereas they blended bits of black metal, prog rock, jazz and so on with sometimes great, sometimes patchy results, Shiki blends them in a far more cohesive and successful way where every song is everything and not this genre-with-a-bit-of-that.

I also loved Beth Orton’s Weather Alive, which I wrote about here, and a very late entry in the AOTY stakes (I literally heard it this week for the first time) is Hjartastjaki by Isafjørd. One genre I have very rarely liked or understood the appeal of is post-rock, but this – a collaboration between Addi of Sólstafir (who I do like – they played one of the best sets I’ve ever seen by anyone at Eistnaflug Festival in 2011) and Ragnar Zolberg – gripped me from the first listen and I currently can’t get enough of it. Even though it’s not at all like it in any way, something about it – maybe just the epically mournful atmosphere – reminds me of Disintegration by The Cure, which is never a bad thing.

So much for 2022. But how much importance should one place on the album of any given year? Albums, like movies, books or any other form of entertainment stay with you if they are any good, and your feelings about them change over time. And some of my favourite albums of all time were released before I was even born, so their context presumably doesn’t necessarily contribute to their impact, on a personal level at least. I’ve been writing for myself since I first started my old blog in 2012 so for a kind of half-assed ten-year anniversary I thought I’d revisit my older albums of the year and see which ones had staying power for me. I’ll limit it to a few from each year so it doesn’t get out of hand.

Strangely I didn’t do one for my own site in 2012 and I don’t have the list I did for Zero Tolerance magazine that year to hand so let’s go from 2013 to 2019, since 2020 is only two years ago and ‘the test of time’ hasn’t completely been passed or failed yet…

2013

My favourite album of that year was Ihsahn’s Das Seelenbrechen, and it’s still one of my favourite albums. I rarely listen to it all the way through at the moment, but various tracks, such as Pulse, Regen and NaCL are still in regular rotation

Others:
David Bowie – The Next Day: I loved this at the time and it felt like a return to form of some sort, but now, though there are some great tracks, it feels a middling Bowie record
Ancient VVisdom: Deathlike – good kind of pastoral black doom/blues (!?) album but haven’t listened to it probably for years at this point
October Falls – The Plague of a Coming Age – very nice, interchangeable with any other October Falls record. They are all nice, I don’t listen to them very often
Sangre de Muerdago – Deixademe Morrer No Bosque: I still play bits of this dark Galician folk album from time to time. It’s great but I’ve never got around to listening to any of their other stuff
Manierisme – フローリア I LOVED Manierisme, and the atmosphere and noise of it still really isn’t like much else. But it’s so harsh in its peculiar way that I rarely listen to it now
Beastmilk – Climax: worth mentioning this because Finnish post-punks Beastmilk (who changed their name to Grave Pleasures and lost their appeal for me pretty quickly) were a much-hyped band that year. It still sounds like a pretty good gothy post-punk type of record, but I had to check it out to remind myself of that

2014

My favourite album of 2014 was Mondegreen by the avant-garde string quartet Collectress and I still love it and listen to bits of it quite often
Most of 2014’s list are just names to me now, though I’m sure they are pretty good: I quite liked Scott Walker & Sun O)))’s Soused but have never revisited it. I thought Mirel Wagner’s When the Cellar Children See the Light of Day was great but don’t really remember it – must check it out again. Nebelung’s Palingenesis has some really nice songs on it that I listen to occasionally.

2015

My album of 2015 was Life is a Struggle, Give Up by Oblivionized. Putting it on again for the first time in ages, it’s still an invigorating, unique semi-grindcore album. Also kind of harsh and draining, so not a frequent listen, but an album worthy of rediscovery nonetheless.

Much easier to listen to but at the time outside of my top ten is the great Hustler’s Row by

surprise sleeper – Hustler’s Row by Gentlemens Pistols

Gentlemens Pistols. I would not have predicted that this would be one of the records that I’d keep returning to but it is: people who love 70s hard rock of the Deep Purple/Rainbow type who haven’t checked it out are missing a treat.

Otherwise, loved Jarboe and Helen Money’s self-titled album, but it’s not very strong in my memory now. The Zombi Anthology by Zombi still sounds great but I rarely listen to it. Ratatat’s Magnifique still gets an outing every now and then, but SUN by Secrets of the Moon and Syner by Grift, both of which I really loved and still think are great, seem kind of hard going to me now.
I went through a phase of really loving Venusian Death Cell (and still do, but don’t listen much) and Honey Girl, “released” that year may be my favourite of his albums. Tribulation’s Children of the Night is fun too, in a very different and probably more accessible way

2016

I wouldn’t necessarily say I was aware of it at the time, but 2016 was a great year for music. My album of the year was Wyatt at the Coyote Palace by Kristin Hersh (which I enthused about here) and it became, as I thought it might, one of those albums I can still listen to at any time, pretty much: it’s great.
Otherwise, Zeal & Ardor’s Devil is Fine still sounds great (and is still my favourite Z&A release). I liked Komada by Alcest but now think it’s pretty dull. I was excited by some EPs by Naia Izumi too, but haven’t really checked out their work since then. I am, outrageously, still the ONLY person I know who likes Extended Play by Debz, and it’s still a unique little record and I love it.
I still think Das Ram by Rachel Mason – my other contender for AOTY that year – is great, but as with a few other things, it slipped off of my listening list at some point and I had to remind myself of it

surprise sleeper – Kaada/Patton’s Bacteria Cult

Kaada/Patton’s Bacteria Cult (Ipecac Recordings) is the Hustler’s Row of 2016, only in the sense that it entered my forever playlist without me expecting it to. I’m not sure a week has gone by since then that I haven’t listened to a song or two from this masterpiece

Honorable mentions

David Bowie – Blackstar
Leonard Cohen – You Want It Darker
Iggy Pop – Post Pop Depression
Jozef van Wissem – When Shall This Bright Day Begin
Japanese Breakfast – Psychopomp
Schammasch – Triangle
De La Soul – …and the Anonymous Nobody…
Kate Carr – I Had Myself a Nuclear Spring
Jeff Parker – The New Breed

2017

2017 had fewer standouts for me but my album of the year, the self-titled debut by Finnish alt-rock band Ghost World, which I wrote enthusiastically about here, still sounds fantastic. That said, though I was less enthused by the 2018 follow up, Spin at the time, that album is the one I listen to more now. But the best songs from Ghost World are still energised grunge-pop classics.

Otherwise, I liked Quinta – The Quick Of The Heart and a few of its songs are still played quite regularly.
I gave Invocation And Ritual Dance Of My Demon Twin by Julie’s Haircut a great review at the time but don’t remember it now, whereas I didn’t think Tarrantulla by Islaja would have much staying power, but bits of it still pop into my head and therefore onto my stereo every now and then.

2018

I was hugely surprised in 2018 to find that my album of the year was an electronic one, Swim, by Phantoms vs Fire, a cinematic masterpiece full of woozy retro-futuristic sounds and melancholy atmospheres. Even more unexpectedly, it’s gone on to be one of my favourite albums of all time and something that I regularly listen to. All of the other Phantoms vs Fire stuff is fine, but for me at least, this is the one.

I was much taken with As Árvores Estão Secas e Não Têm Folhas by the Portuguese dark folk band Urze de Lume at the time but though I could still happily listen to it, I haven’t for a while.
By contrast, songs from all of these have unexpectedly been in regular rotation over the past few years: Ghost World – Spin
Just Like This – Faceless
Orion’s Belte – Mint
Oh, and Burn My Letters by William Carlos Whitten has been revisited far more than I expected and I expect his “Poor Thing” will remain in rotation for the foreseeable future

2019

In 2019, I loved another Collectress album, Different Geographies but it didn’t replace or match Mondegreen in my affections. I can’t seem to find my album of the year strangely, but it might well have been Youth in Ribbons by Revenant Marquis, still my favourite of that prolific artist’s releases.
I also loved but rarely if ever listen to Cryfemal’s Eterna oscuridad, Emma Ruth Rundle & Thou’s May Our Chambers… and Ulver’s Flowers of Evil, but the sleeper of the year was Henrik Palm’s Poverty Metal which I liked fine, but didn’t expect to still be listening to as regularly as I am.

surprise sleeper – Henrik Palm’s Poverty Metal

On the whole it seems to have been a year of songs rather than albums for me – I like the title track of Viviankrist’s Morgenrøde probably as much as anything from that year and bits of Cellista’s Transfigurations still sound great. But lots of the most-praised stuff of the year, albums by Alcest, Cult of Luna and so forth just don’t register with me now: still, can’t like everything.

Not the Releases of the Year 2016

‘Album of the year’ lists are fine for representing a specific time period in music, and interesting because of how personal and subjective they are – an element which becomes eroded by time, as is easily seen from the consensus found in the majority of ‘great albums of the 60s/70s/80s’/etc lists and the fact that ‘new’ classics from those eras can be discovered decades later.

Anyway; all of this is to ask what importance a ‘releases of the year 2016’ list can really have for someone (i.e. me) who was listening to Claire Waldoff on his way home from work. One way to find out is to look back over the last few years to see how many of my own previous releases of the year have stood the test of (a relatively short amount of) time to become actual favourites. So let’s do that.

My records (pun shockingly not intended) of such things only go back a few years and I am sticking to things that actually made it onto my lists and not the many things I have subsequently discovered from those years (2012-2015 I think), but blah blah blah; disclaimers aside, here’s what the stalwarts of the last few years (and 60 or so albums) look like, plus notes related thereto:

STILL CURRENT LISTENING

Ihsahn – Das Seelenbrechen (Candlelight Records)

What I said then:

Metal acts are all too often praised for bringing any kind of non-metal musical influence into their work (tentative, seriously out of date bits of techno or hip-hop are probably the least daring way to ‘innovate’); but with Das Seelenbrechen, Ihsahn made an album that wasn’t just ‘extreme metal with (whatever) elements’. The electronic, gentle and improvised parts of the album are no less natural than the heavy riffs, raw vocals and Nietzschean philosophy. Clever, extreme (in lots of different ways) but accessible, because at its heart are great songs which don’t necessarily belong to any particular genre.

What I say now: I think Das Seelenbrechen has gone on to become Ihsahn’s least popular solo album, but I stand by what I said and, for me this, together with the 2007 Hardingrock album, is the artist at his creative peak (so far). This year’s Arktis. is a great record, and arguably much more fun than Das Seelenbrechen, but also far more conventional. Not a bad thing, but Das Seelenbrechen sounded at times like Scott Walker and a group of jazz musicians playing metal/metal musicians playing jazz, Arktis. sounds like someone who loves 80s metal and rock interpreting it in their own style.

Collectress – Mondegreen (Peeler Records)

What I said then:

Experimental string quartet Collectress make music that has many moods but is always interesting. On Mondegreen, the sound ranges from the bustling, Steve Reich-ish ‘Spell‘ to the haunting, tense ‘Harmonium‘ to the wistful, minimalistic and strangely nostalgic-sounding ‘Owl‘. It’s a beautiful album, each song creating its own pervasive mood but somehow becoming an entirely coherent whole; and it sounds absolutely nothing like anything else I heard this year.

What I say now: I still feel the same about the album, but what strikes me most now is the way each piece of music conjures up its own visual world; it has a strange, benign doll’s house feel to it, theatrical and haunted without being spooky.

David Bowie – The Next Day (ISO/Columbia)

What I said then:

A great album (if not a ‘return to form’ exactly, since his form has been pretty dubious for a long, long time), with a few lesser moments (the 90’s-ish indie-ish attempts at being modern grate a bit) which don’t however spoil the whole.

What I say now – This is an odd one, in that the album disappeared from regular rotation for a good year or so, only to be rediscovered with so many other Bowie albums, after his death. Still, I don’t think it’s one of his best overall (certainly less good than Blackstar), but the best songs are ‘classic Bowie’

Sangre de Muerdago – Deixademe Morrer No Bosque (self-release)

What I said then:

Moody, windswept and mysterious Galician folk music; beautiful, desolate and organic.

What I say now – One of the ‘lesser’ albums of the year at the time, but it has outlasted many records that I preferred back then. The slightly hushed quality and campfire sound effects etc give it a unique charm; I keep meaning to check out more of their work (and have listened to bits and pieces) but I kind of like having this one perfect album.

John Baizley, Nate Hall & Mike Scheidt – Songs of Townes Van Zandt Vol II (My Proud Mountain)

What I said then:

Powerful versions of Townes Van Zandt’s earthy folk/blues songs, all the better for the starkness of the recordings.

What I say now – another one that was a bit of a sleeper; I liked it, listened to it a lot, and moved on. But at some point it suddenly felt very relevant and I feel like I know/feel the songs much better now.

Nebelung – Palingenesis (Temple of Torturous records)

What I said then:

This instrumental ‘dark folk’ album is probably one of my most listened-to albums of the year; beautifully atmospheric music that seems imbued with the essence of autumn.

What I say now – not much to add to that, really. This year the band released a re-recording of their checked out the recent re-recording of their 2005 debut, Mistelteinn and it’s really good, but I prefer the purely instrumental album.

Sonny Simmons & Moksha Samnyasin – Nomadic (Svart Records)

What I said then:

There’s a very Miles Davis-y feel to this album, despite the psychedelic and drone elements. The blend of Simmons’ sax with Moksha Samnyasin (Michel Kristoff’; sitar, Thomas Bellier; bass, Sébastien Bismuth (drums, electronics) is what great free jazz is about; not aimless noodling, but intuitive, almost telepathic interplay and the exotic atmospheres and intense moods that result.

What I say now – Nomadic ended up being one of those albums where what were initially my least favourite tracks have ended up being my favourite ones. Its richness keeps it alive.

Secrets of the Moon – SUN (Lupus Lounge)

What I said then:

There’s not a lot of emotionally complex black metal music out there; a shame, because the expressive possibilities of the form are arguably greater and more powerful than any other metal genre. Also a shame, because, as with any genre of music, the best black metal transcends its idiom and is simply great music; and such is SUN, the sixth album by the always-dependable Secrets of the Moon. ‘Dependable’ is rarely used as a huge compliment for a band, but although the last few Secrets.. albums have been powerful and mature, none of them really suggested an album as immense as SUN. Inspired to a large extent by the suicide of ex-bass player LSK, it’s a work full of strange, desolate yet apparently hopeful imagery. Mysterious, elusive, it’s an album whose emotional punch is as unexpected as it is tangible.

What I say now – SUN was consistently an album whose songs popped up on shuffle and amazed me with their greatness. Although a black metal album of sorts, it doesn’t really follow any of the genre’s conventions; what I said above, in fact.

——————————————————————————————————————————————–

ALSO-RANS & ODDITIES

Ancient VVisdom – Deathlike

I loved this at the time, but even then I preferred their debut A Godlike Inferno – and now I find I still listen to that, but rarely Deathlike…

Boards of Canada – Tomorrow’s Harvest

The downside to BoC’s more ambient approach with this album is that it is great while it’s on, but I rarely think about it between times

Manierisme – フローリア

I have failed to convince people of Manierisme’s genius more than almost any other band. And I still think Jekyll is a genius, but the balance of horribleness to sepia-toned nostalgia isn’t as successful here as on his earlier work.

Eleni & Souzana Vougioukli – To Be Safe

I’d absolutely still recommend this brilliant and beautiful album to anyone, but it ended up having less longevity for me than I expected

Beastmilk – Climax

See above; a very good album, but retro gothy rock felt surprisingly fresh when Beastmilk (now Grave Pleasures) released their debut; now it doesn’t

Nick Cave & The Bad Seeds – Push The Sky Away

Possibly I am just spoiled for choice with Nick Cave, but at the time I thought this would take its place with Tender Prey, The Good Son, Henry’s Dream etc, but I listen to those regularly, this only every now & then

Absentia Lunae – Vorwarts (ATMF)

It’s not that I don’t like this fine black metal album, it’s just that I want all of their work to grip me in the same way that their mighty In Vmbrarvm Imperii Gloria does. And it doesn’t, quite.

Mirel Wagner – When the Cellar Children See the Light of Day (Sub Pop)

I remember this being great, and I think it is – but I haven’t really gone back to it since the initial excitement wore off.

Scott Walker & Sunn O))) – Soused (4AD)

My initial (but positive) impression that this is somehow just slightly less good than either Scott Walker or Sunn O)))’s usual records has grown – it’s not as good.

YOB – Clearing the Path to Ascend (Neurot Recordings)

Don’t get me wrong; this is one hundred percent a fantastic album, it’s just that its main legacy for me has been to send me back to Mike Scheidt’s criminally underrated 2012 solo album Stay Awake

Jarboe and Helen Money – Jarboe and Helen Money (Aurora Borealis Recordings)

Pretty simple – great record, but I wore it out by listening to it too much. It may come back though.

Odessey & Oracle – Odessey and Oracle and the Casiotone Orchestra (Folkwit Records)

Same – brilliant album, but extremely strongly flavoured in a way that makes it not for all moods…

Valet – Nature (Kranky Records)

A good album that I barely remember; will have to check it out again at some point, though.

Right; time to get on with the albums of the year….

Inevitably, the releases of the year 2015 (grand finale!)

Kristian Harting – Summer of Crush (Exile on Mainstream)

Danish singer-songwriter Kristian Harting’s 2014 debut album, Float, was an intriguing, atmospheric collection of dark and sometimes harrowing but somehow insubstantial (in the ethereal, rather than qualitative sense) songs. Summer of Crush is both more conventional (the songs are more complete, the tunes more tuneful) and also more accomplished. There’s a cinematic, sweeping, Bad Seeds quality to some of the material here, which heightens the enigmatic quality of the songs, while also rendering them more solid and memorable than his previous work. A masterly album – haunting without being grim -which will hopefully get the exposure it deserves and significantly raise the profile of this unique and talented artist.

Aphex Twin – various releases

Not new as such, but throughout the year, Richard James released over 200 unreleased Aphex Twin tracks through his Soundcloud account and although the sheer quantity of music released makes it hard to evaluate as a whole, much of the material was every bit as beautiful, enigmatic and unique as his more orthodoxly released music.

Haar – The Wayward Ceremony (ATMF)

This excellent debut album by Edinburgh black metallists Haar is inventive, intelligent and utterly free from the many clichés of the genre. Philosophical, perfectly contructed and brilliantly played, this was one of the debuts of the year.

Louise Le May – A Tale Untold (Folkwit Records)

A haunting collection of songs which can be (and is now being) lazily compared to Kate Bush. Beautifully composed and arranged, it’s an immersive, dreamlike record that has a rich and varied texture, but ultimately relies on Le May and her stunning voice for its poignant, evocative impact.

Myrkur – M (Relapse Records)

M effortlessly overcame the hype and anti-hype surrounding its release, instantly establishing Myrkur as a major player on the black metal stage; beautiful folk and classical-influenced melodies, Danish folklore and black metal that sounds like Ulver used to; this was something like a master(mistress?)piece.

WAIT! NEARLY FORGOT!:

Obsequiae – Aria of Vernal Tombs (20 Buck Spin)

If this album hadn’t already been so widely acclaimed it would have feature here in more detail. A brilliantly conceived, played and recorded work, Tanner Anderson is one of the very few musicians in black metal who has both a deep knowledge of medieval music, and no desire to utilise it in a cosplay-ish kind of way.

OLD ALBUM OF THE YEAR: contender# 5

Hardingrock – Grimen (Mnemosyne, 2007)

This collaboration between StarofAsh, Ihsahn and fiddler Knut Buen is a perfect mix of tradition, experimentation, electronica, folk, rock, metal and spoken word elements that sounds like nothing else. I wish they’d do it again.

So, that 2015 top five again…

I tried to put them in some kind of order but couldn’t decide which was the best. I think Jarboe/Helen Money has the edge but it would depend what kind of mood I was in, so here they are in no order again:

1. Jarboe & Helen Money – s/t
2. Secrets of the Moon – SUN
3. Oblivionized – Life Is A Struggle, Give Up
4. Enslaved – In Times
5. Kristian Harting – Summer of Crush

There were of course many, many more excellent releases in 2015;

VERY HONOURABLE MENTIONS:

Le Butcherettes – A Raw Youth (Ipecac Recordings) – great, scuzzy, post-Iggy punk with a hint of Birthday Party-like drama; great stuff.

Godhole – Godhole (Mind Ripper Collective) – this double EP by Edinburgh trio Godhole announced the arrival of a major new talent on the powerviolence/noise scene

Mongol Metal (compilation) (Mongol Metal) – great trio of bands mixing the styles of Mongolian folk music with various shades of metal

Horna – Hengen Tulet (World Terror Committee) – Excellent Horna album, to me not quite as good as Sanojesi äärelle, but great nonetheless

Orwell – Exposition Universelle (Folkwit Records) – complicated to play but easy to listen to, Exposition Universelle is a multilayered and very French progressive/baroque pop album.

Scythian – Hubris In Excelsis (Hell’s Headbangers) – a brilliant album which could easily have made the list had I not forgotten about it until now

My Dying Bride – Feel The Misery (Peaceville) – Especially impressive as I’ve never really been a fan of the band, this is an immense, cathartic work of art

Sufjan Stevens – Carrie & Lowell (Asthmatic Kitty) Stripped back to (almost) its basic elements, this is an incisive indie folk masterpiece

Drowning The Light – From the Abyss (Dark Adversary Productions) – The best work so far by the Australian BM terrorists; big, confident and (at times) surprisingly subtle

Shining – Everyone, Everything, Everywhere, Ends (Season of Mist) – you have to respect Kvarforth for not caring that I want him to make another Halmstad. Wish he would though – but this was good.

Sleater-Kinney – No Cities to Love (Sub Pop) – the ten year hiatus since The Woods seems to have been good for the alt-rock stalwarts – as good an album as they have ever made

Barshasketh – Ophidian Henosis (Blut & Eisen Productions) – a strong album, especially notable for the way the band makes a coherent whole out of unpredictably serpentine song structures

Vargnatt – Grausammler (Eisenwald Tonschmiede) – Derided by some for its pleasant qualities, this was a perfectly balanced work of nature-inspired black metal

Faith No More – Sol Invictus (Ipecac Recordings) – Okay, it wasn’t Angel Dust (or even the best album Mike Patton has made in the last 10 years) but it was Faith No More, and pretty good overall….

Inevitably, the releases of the year 2015 (part two)

Secrets of the Moon – SUN (Lupus Lounge)

There is not a lot of emotionally complex black metal music out there; a shame, because the expressive possibilities of the form are arguably greater and more powerful than any other metal genre. Also a shame, because, as with any genre of music, the best black metal transcends its idiom and is simply great music; and such is SUN, the sixth album by the always-dependable Secrets of the Moon. ‘Dependable’ is rarely used as a huge compliment for a band, but although the last few Secrets.. albums have been powerful and mature, none of them really suggested an album as immense as SUN. Inspired to a large extent by the suicide of ex-bass player LSK, it’s a work full of strange, desolate yet apparently hopeful imagery. Mysterious, elusive, it’s an album whose emotional punch is as unexpected as it is tangible.

Ken Camden – Dream Memory (Kranky Records)

Experimental guitarist Ken Camden’s Dream Memory is as ethereal and dislocating as the title suggests. Blurring the lines between guitar, synthesiser and the human voice, it has at times a Steve Reich-like hypnotic quality, giving the impression of moving forwards while standing still; beautiful, in a peculiar way.

Various Artists – Spazzin to the Oldies – a Tribute to Spazz (Mind Ripper Collective)

I haven’t spent a lot of time listening to powerviolence pioneers Spazz, but having listened to them now, I prefer this; the sheer enthusiasm and variety of bands here makes this short, sharp album a great way to blow away the cobwebs.

Absentia Lunae – Vorwarts (ATMF)

Black metal again; one of the most underrated bands around, the key to Absentia Lunae’s power is suggested by the title of this album. Rather than wallowing in the clichés of 90s black metal – or, more credibly, paying tribute to them – Absentia Lunae use the genre’s powerful forms to move constantly forwards with one eye on the ruins of the past; it’s a powerful, poignant sound. I am aware that this album was actually released late in 2014; but because it was late in the year it ‘bled into’ 2015. I’ll try not to do this again but can’t promise not to…

Valet – Nature (Kranky Records)

It was a good year for Kranky, among the many great releases, the latest album by alt-rock/shoegaze group led by Honey Owens is as fragile but hard-edged as glass; haunting in several senses, it’s a record to wallow in but one that it’s never quite possible to absorb.

OLD ALBUM OF THE YEAR: contender #2

Orange Juice – Coals To Newcastle (Domino)

This beautifully designed little box/book set collects everything recorded by one of the greatest indie pop groups ever. Apart from anything else, it’s one of the widest-ranging bodies of work by any band of the era; from romantic and funny proto-Smiths ‘indie rock’ to sophisticated and soulful funk-inflected dance-pop, Edwyn Collins and co made a unique mark on popular music.