24bit.me » Indie

Meiko – Dear You (2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 36:26 minutes | 753 MB | Genre: Indie
Studio Master, Official Digital Download | Artwork: Front cover

Released in October through Fantasy Records/Concord Music Group, the highly anticipated third full-length album from the famed singer/songwriter Meiko takes on a decidedly darker tone than her previous outings, creating a sparse soundscape that beautifully underscores her highly confessional tone and uniquely personal vocals.

Meiko’s third full-length album, 2014′s Dear You, features more of the Los Angeles-based singer/songwriter’s melodic, introspective pop. Once again working with producer/bassist/electronic programmer Jimmy Messer (Kelly Clarkson, Neon Trees), Meiko has crafted a darker, moodier album than her past efforts. Messer’s heavy, often overdriven basslines ground many of the tracks on Dear You, lending Meiko’s songs a more of a funky art-rock style than her lyrical folk-inclined melodies would normally imply. There’s also a menacing, groove-oriented, trip-hop quality to songs like “Bad Things,” “Lose It,” and “Be Mine,” that speaks to Meiko’s growing maturity as an artist. Also coloring this darker change are Meiko’s lyrics which imply her having gone through a difficult break-up, or at least experienced some more complex romantic entanglements than what she has detailed on albums past. On “Bad Things,” she sings, “You say that you want/All of my love/But let’s be honest we don’t need all that/I like it better with no strings attached.” Musically, there’s a spareness and muscularity to many of the songs on Dear You with cuts “Deep Sweat” and “Sittin’ Here” sounding like something along the lines of the Cardigans’ vocalist Nina Persson crossed with Nick Cave & the Bad Seeds. Ultimately, it’s this kind of juxtaposition between the lyrically sweet and the emotionally sour that makes Dear You such an engaging listen.

Tracklist:
01 – Bad Things
02 – Lose It
03 – Be Mine
04 – The Cloud Song
05 – Wake Up
06 – Sweeter
07 – Deep Sweat
08 – If He Doesn’t Love You
09 – Sittin’ Here
10 – Dear You
11 – Go To Hell

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Across its 17 tracks and 69 minutes, pom pom is unfiltered Ariel Pink, featuring infectious tales of romance, murder, frog princes and Jell-O. The record sees the Los Angeles native strike it out alone, returning to the solo moniker he has adopted for well over a decade.

The first work attributed solely to Ariel Pink since the late 2000s and his first solo album, Pom Pom finds an uneasy balance between his early days and his later albums with Haunted Graffiti for 4AD. With slightly murkier production values than either Before Today or Mature Themes, the sprawling double album nods to Pink’s home-recording days, but features a far wider cast of collaborators — including Spiritualized’s Jason Pierce and rock polymath Kim Fowley — than any of his previous music. Similarly, these songs encompass some of his most engaging pop and some of his most aggressively weird music. While Pom Pom isn’t as fragmented as the collections of his early work, the sides of Pink’s music often feel polarized, especially compared to how well they complemented each other on Before Today and Mature Themes. The album’s pop side might fare slightly better, at least on the first few listens: “Put Your Number in My Phone” may be even catchier than Before Today’s “Round and Round” or Mature Themes’ “Only in My Dreams” (and the fact that it appears a quarter of the way into Pom Pom suggests Pink is aiming for a disorienting listening experience), while “Dayzed Inn Daydreams” delivers more gauzy AM pop that sounds like it was channeled from the early ’70s. Elsewhere, the breezily disturbing “Lipstick” could be an ’80s new wave ballad written by Brian DePalma, and “Picture Me Gone” mixes mortality and technology into something equally witty and bittersweet. Some of Pom Pom’s more overtly wacky tracks, like the novelty rock and musique concrète collision of “Dinosaur Carebears,” take a while time to warm up to, and some, like “Exile on Frog Street,” are just too long. However, for every song like these, there’s a “White Freckles,” a fine tip of the hat to Frank Zappa’s legacy. Likewise, Pink’s Fowley collaborations feel like the passing of the torch from one eccentric to another, whether it’s “Plastic Raincoats in the Pig Parade”‘s surreal sugar high, “Jell-O”‘s whitebread satire, or the risqué surf-pop of “Nude Beach a Go-Go” (Azealia Banks’ version of the song on Broke with Expensive Taste was even more successful and surprising in context). Indeed, sex is never far away on a Pink album, and “Sexual Athletics”‘ mix of cartoonish lust and romantic longing feels like Mature Themes in a nutshell. Though the way Pink zigs and zags on Pom Pom can be dazzling or confusing depending on listeners’ patience, in its own way it’s one of the best representations of what makes his music fascinating and occasionally frustrating.

Tracklist:
01 – Plastic Raincoats in the Big Parade
02 – White Freckles
03 – Four Shadows
04 – Lipstick
05 – Not Enough Violence
06 – Put Your Number in my Phone
07 – One Summer Night
08 – Nude Beach A Go-Go
09 – Goth Bomb
10 – Dinosaur Carebears
11 – Negativ Ed
12 – Sexual Athletics
13 – Jello-o
14 – Black Ballerina
15 – Picture Me Gone
16 – Exile on Frog Street
17 – Dayzed Inn Daydreams

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Dillon – The Unknown (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:28 minutes | 434 MB
Official Digital Download – Source: Qobuz | Front cover
Genre: Electronic, Indie Pop, Singer-Songwriter

To fully indulge in Dillon’s fragile second album is to completely submit yourself to, as the title intimates, The Unknown. From the foreboding bassline and perturbing white noise of the titular opener until the album’s close, The Unknown feels like uncharted territory. Its mysterious splendor is initially concealed beneath a cold exterior like a windswept moor hidden under a blanket of mist. Only with time and patience will its true beauty emerge. On Dillon’s critically lauded 2011 debut album This Silence Kills, the Brazilian songwriter gracefully echoed the “chanson-pop” melodies of Lykke Li and Emiliana Torrini. Yet The Unknown reveals that Dillon has undergone a significant musical transformation. Unlike her debut, the silence no longer kills but instead breaths life into The Unknown’s twelve astonishing tracks.

The Unknown swells with a brooding sense of humanity and femininity, albeit with a rather futurist take. The album opens with the title track, a menacing and threatening piece that briefly puts a foreboding piano refrain and Dillon’s distinctive vocals in the foreground before a looping electronic beat shudders into life to create the sense of an immovable force that bulldozes the listener out of the way.

Lead single A Matter Of Time is an appropriate introduction to what to expect from The Unknown. Despite the tone that runs the course of this album Dillon asserts that these songs are not all delivered in melancholy – instead she sees the lyrical content as poetry, both abstract and personal at the same time. She likens The Unknown to a book of spoken words and pictures rather than a conventional album and you can actually hear that come through in the material here.

Evergreen is a good example – a humanist ballad that describes plant growth as a dead-pan delivered simile to emotional connection that is crafted into a heart-stopping piece of music. In contrast Lightning Sparked sounds like a spaceship looming out of thunderous clouds, Dillon’s overt sexuality feeling robotic and electronic whilst the lyrics clinically portray sparks, eruptions and combustion. It feels like a description of the innate unpredictability and uncontrollability of our emotions and brains – soft and subjective things powered by nothing but chemicals, and it is never short of thrilling.

Most of the time Dillon isn’t looking to mend a broken heart or win anyone’s affection – The Unknown feels like a biography of human emotion, the kind of letter Scarlet Johansson’s alien might send home in Under The Skin.

The rareness of the more directly expressive moments on The Unknown only serves to heighten their impact, the costume occasionally slipping as Dillon exposes more of her real human self. Don’t Go instructs the listener – to fall onto her, to stroke her skin – the delivery as emotionally divorced as much of the rest of this album, yet their is no denying her feelings as she delivers the track’s title over and over, pleading not to be left alone, the moment her emotional walls crack.

The Unknown is both alien and yet one of the most overtly human albums I’ve heard in a long time. Experimental yet immediate and approachable, it feels like a tribute and celebration of the complexity of our feelings and what it is to be human and, more specifically, female. And it does so with spectacular production that heightens this record and yet never, ever gets in the way. (Review taken from blackplastic.co.uk)

Tracklist:

01 – The Unknown
02 – A Matter of Time
03 – You Cover Me
04 – Forward
05 – In Silence
06 – 4ever
07 – Evergreen
08 – Into the Deep
09 – Don’t Go
10 – Lightning Sparked
11 – Nowhere
12 – Currents Change

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Neon Trees – Pop Psychology (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 36:27 minutes | 461 MB | Genre: Indie Rock , Pop Rock
Studio Master, Official Digital Download , Source: HDTracks | Artwork: Digital booklet

Neon Trees new album Pop Psychology is an upbeat collection of sleek, modern alternative pop songs powered by singer-songwriter Tyler Glenn’s bright melodies, huge choruses, and witty lyrics about the challenges of finding love in the digital age. With disarming honesty, songs like ”Love In the 21st Century,” “Text Me In The Morning,” “I Love You, But I Hate Your Friends,” and first single “Sleeping With A Friend” cleverly capture the millennial concerns referenced in the titles and deliver them in impeccably shiny sonic packages, thanks to the band’s performances and production by Glenn’s long-time friend and songwriting collaborator Tim Pagnotta.

During the time between Neon Trees’ 2012 album Picture Show and Pop Psychology, frontman Tyler Glenn went through some big changes, including seeking therapy and coming out as a gay man. It’s not surprising, then, that the band’s third album is also its most confessional, but Glenn and company still manage to have fun with their emotional crises. The album’s song titles read like advice column headlines, and the name Pop Psychology itself is a clever and accurate manifesto: for Neon Trees, the therapeutic value of dancing on your troubles to the perfect pop song always comes first, even when Glenn is pouring his heart out. Fortunately, there’s nothing boring about the inevitability of the verse-chorus-verse format when it’s as satisfying as Pop Psychology is at its best. “Love in the 21st Century” kicks off the album with the kind of unabashedly catchy fare fans expect, with Glenn sounding equal parts bold and uncertain as he sings about “broken heart technology” over fizzy synths and handclaps. While Neon Trees have gradually tightened up their pop formula since Habits, their first hit, “Animal,” still remains the template for a lot of their music. It makes sense that they reunited with Habits producer Tim Pagnotta, who helps them double down on their new wave and synth pop obsessions and play to their strengths: Glenn’s brash yet sensitive vocals and their undeniable way with hooks. Lead single “Sleeping with a Friend”‘s breezy synths add ’80s soft rock leanings that also pop up on “Foolish Behavior” and the standout “Living in Another World”; while it’s not exactly the most expected direction for the band, it conveys the album’s sleekness and vulnerability well. There’s a similar tension in Pop Psychology’s lyrics, which cram in plenty of detail (“Unavoidable” compares a bad relationship to mixed feelings about L.A.; “Voices in the Halls” name-checks Heaven or Las Vegas) while still seeming universal. Knowing Glenn’s background gives an extra sting to “Teenager in Love” when he sings “I’m a fool with a curse and a crush,” yet “Text Me in the Morning”‘s boy-girl shenanigans are just as vivid. Even if Neon Trees sometimes try a little too hard to be serious on Pop Psychology, it’s some of their most heartfelt music and some of their finest.

Tracklist:
01 – Love In The 21st Century
02 – Text Me In The Morning
03 – Sleeping With A Friend
04 – Teenager In Love
05 – I Love You (But I Hate Your Friends)
06 – Unavoidable
07 – Voices In The Halls
08 – Foolish Behavior
09 – Living In Another World
10 – First Things First

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Since 2010 and the Idlewild hiatus, Roddy Woomble and his solo band have toured consistently playing hundreds of concerts in theatres, folk clubs, village halls and arts centres the length and breadth of the UK. Together they have released three albums ‘The Impossible song & other songs’ (2011). ‘Listen to Keep’ (2013) and ‘Live in the Inner Hebrides’ (2014). The show at Kings Place comes at the end of his solo band touring for a while as Idlewild gear up to release a new album and tour in 2015.

Tracklist:
1 A New Day Has Begun 5:27
2 Every Line of a Long Moment 4:16
3 Work Like You Can 4:54
4 Between the Old Moon 4:43
5 The Last One of My Kind 4:31
6 Green Rocky Road 2:44
7 Leaving Without Gold 4:09
8 My Secret Is My Silence 5:01
9 The Universe Is on My Side 4:58
10 Fiddle Tunes 5:25
11 Trouble Your Door 3:51
12 Quiet Crown 4:15
13 You Held the World in Your Arms 3:43
14 Goodnight 3:25
15 Speed of the Sound of Loneliness 4:05
16 I Came in From the Mountain 3:58
17 Waverley Steps 4:20
18 Old Town 6:53
19 Roll Along 4:29

Personnel:
Hannah Fisher – fiddle & vocals
Sorren Maclean – acoustic guitar & vocals
Luciano Rossi – piano
Craig Ainslie – electric bass
Roddy Woomble – lead vocals

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Tegan and Sara have now released their 7th studio album – Heartthrob – as internationally-celebrated songwriters, performers, and artists. The album debuted at number three on the Billboard 200 chart, securing the band’s highest US chart position to date. Heartthrob doesn’t just sound different, it represents a more collaborative way of making music.

On their 2009 album Sainthood, Tegan and Sara made some tentative steps into the pop mainstream by stripping their sound down to the bare essentials and delivering a batch of their hookiest songs to date. Four years later, on 2013’s Heartthrob, the duo dives into the pop mainstream headfirst. Working mainly with producer Greg Kurstin, the duo’s approach is slick and punchy with lots of synthesizers, programmed drums, and a sound that falls somewhere between Robyn and Katy Perry on the pop spectrum. While longtime fans might be a bit perplexed by the shift, they will find plenty of familiar ground to cling to as the record plays and the smartly written and tear-filled songs follow one after another. Indeed, the core musical values that have always made Tegan and Sara special, like their ability to write super-hooky melodies, their willingness to strip their emotions bare, and their powerful voices, remain fully intact on Heartthrob, and the shiny package that surrounds them only seems to have made their collective impact stronger. The insistent impact of the album’s opening track serves as a statement of intent — “Closer” comes bursting out of the speakers in a rush of barely contained emotion and sports the type of thrilling chorus that fills your heart with joy as you breathlessly sing along. The rest of the album has the same sonic impact and emotional power as it alternates between new wave-influenced rockers (“Goodbye, Goodbye,” “Drove Me Wild”) and moody and dramatic midtempo tracks (“Love They Say,” “How Come You Don’t Want Me”) that wouldn’t have been out of place on an early Cyndi Lauper record, before finishing with a pair of bleak synth pop heartbreak ballads (“Now I’m All Messed Up,” “Shock to Your System”) that make La Roux sound like Bananarama. After a long career spent making subtle adjustments to their approach, it took some real guts to make such a drastic change, and the gamble pays off for them. Heartthrob is the sound of Tegan and Sara taking on modern pop music head-on and winning in triumphant style. One would have to go a long way to find a pop record that is as easy to swallow, yet contains such depth. Welcome to the mainstream, Tegan and Sara…thanks for classing the place up a bit.

Tracklist:
01 – Closer
02 – Goodbye, Goodbye
03 – I Was A Fool
04 – I’m Not Your Hero
05 – Drove Me Wild
06 – How Come You Don’t Want Me
07 – I Couldn’t Be Your Friend
08 – Love They Say
09 – Now I’m All Messed Up
10 – Shock To Your System

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Tegan And Sara are not your average singer-songwriter-guitarist identical twins. This wonderful album was named one of Rolling Stone’s 50 best albums of the year. They’ve played Coachella and Lollapalooza, and toured with The Killers, Hot Hot Heat and Neil Young. Their ‘Walking With A Ghost’ was covered by the White Stripes. They’ve performed on Late Night, The Late Show and The Late Late Show. And that’s just the tip of the iceberg. So Jealous cemented Tegan and Sara’s status as one of Canada’s pre-eminent songwriting forces and musical exports.

Tegan and Sara’s third album, So Jealous, is by far their most ambitious and liveliest record, opening up their punk-folk sound with a heavy dose of new wave sensibility and pop hooks. They started moving in this direction on their previous album, but here they dive headfirst into slick, shiny surfaces, insistent synths, clean guitars, and bright, playful melodies that sound sunny even in minor keys. This musical revamp doesn’t betray their nervy emotionalism. Instead, it focuses them, giving their music style and flair that focuses them while making the duo more accessible. And So Jealous is indeed the Tegan and Sara album that could play to a wider audience, but the group remains an acquired taste for one reason: their thin, squeaky voices and close harmonies can be grating to the uninitiated. Nevertheless, for those who have acquired that taste, So Jealous is the most satisfying album Tegan and Sara have yet made.

Tracklist:
01 – You Wouldn’t Like Me
02 – Take Me Anywhere
03 – I Bet It Stung
04 – I Know I Know I Know
05 – Where Does The Good Go
06 – Downtown
07 – I Won’t Be Left
08 – Walking With A Ghost
09 – So Jealous
10 – Speak Slow
11 – Wake Up Exhausted
12 – We Didn’t Do It
13 – Fix You Up
14 – I Can’t Take It

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The National – Trouble Will Find Me (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 55:06 minutes | 1,22 GB
Official Digital Download – Source: HDTracks.com | Front cover
Alternative, Indie Rock / Post-Punk

Trouble Will Find Me is the highly awaited sixth studio album by The National. The work is their most self-assured collection of songs in an illustrious career that has spanned fourteen years. The band consisting of Matt Berninger, Aaron Dessner, Bryce Dessner, Scott Devendorf and Bryan Devendorf is in peak form, showcasing the band’s evolved artistry. From beginning to end, Trouble Will Find Me possesses alluring melodies and compositions of simplicity and great depth.

Upon first spin, Trouble Will Find Me, the warm, wistful, and weary sixth long-player from The National, sounds a lot like 2010′s warm, wistful, and weary High Violet, but where the former was built on a foundation of suburban despondency and casual, middle class self-destruction (and skillfully juggled melodrama and dark comedy), the latter feels mired in regret, seeking refuge in the arms of old friends and lost lovers, sounding for all the world like a single cube of ice lazily swirling about a recently drained tumbler of single malt scotch, a notion best intoned on early album standout “Demons,” which casually announces “I am secretly in love with everyone I grew up with.” Like nausea, nostalgia can arrive in waves, and Trouble Will Find Me’s best moments — the propulsive “Don’t Swallow the Cap” and the one-two sucker punch of pre-set closers “Humiliation” and “Pink Rabbits” — find Matt Berninger and his laconic baritone nervously pacing the deck of a sinking ship while simultaneously trying to find his sea legs as his bandmates constantly pull the rug out from under him with familiar rhythms and melodies that hide countless trap doors. However, it’s that very familiarity that fuels the ire of many of the band’s detractors, especially those who consider them to be a slightly creepier, American Coldplay, and while there is definitely an intangible, Mad Men-esque sense of unease that permeates Trouble Will Find Me, one could hardly use the words dangerous or forward-thinking when dissecting its myriad parts. That said, this is the band that performed a chilling rendition of the George R.R. Martin-penned “Rains of Castamere” over the closing credits of the season two finale of Game of Thrones. For better or for worse, they perfected their sound the last time around, so it’s hard to fault them for sticking so close to the fire, especially on such a snowy night.

Tracklist:
01 – I Should Live in Salt
02 – Demons
03 – Don’t Swallow the Cap
04 – Fireproof
05 – Sea of Love
06 – Heavenfaced
07 – This Is the Last Time
08 – Graceless
09 – Slipped
10 – I Need My Girl
11 – Humiliation
12 – Pink Rabbits
13 – Hard To Find

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Timber Timbre – Hot Dreams (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:03 minutes | 469 MB | Genre: Indie
Official Digital Download – Source: Qobuz | Front cover

Toronto-based singer-songwriter who makes dark, mysterious music influenced by pre-war folk and blues. With his third album, “Hot Dreams”, Timber Timbre transposes new definitions of historic ambience, unabashedly weaving unity between disparate, charted environments.

Hot Dreams arrived almost exactly three years after the release of Timber Timbre’s breakthrough Creep on Creepin’ On, a set whose high-drama darkness predicted the Lynchian feel that seeped into a lot of indie music released after it (including David Lynch’s own albums). Grander and more ambitious, the band’s fifth album may also be even more surreal than its predecessor. It’s certainly one of the most singular-sounding albums issued in 2014. Where the band mined rockabilly and doo wop to otherworldly, lonesome effect on Creep on Creepin’ On, here they explore the underbelly of psychedelic rock, lounge, soul, and country in ways that are just as unsettling but more urbane-sounding. “Curtains?!” tops its gritty rhythm section with trippy synths and hovers somewhere between ominous and hallucinatory; “Grand Canyon” and “Run from Me” build spaghetti Western balladry to operatic heights; and the instrumental “Resurrection Drive Part II” allows the album’s sparkling, uneasy arrangements and instrumentation a turn in the spotlight. Hot Dreams’ sounds are so striking that it’s easy to forget that Timber Timbre have an equally vivid way with words. The album’s opening panorama of destruction and decay, “Beat the Drum Slowly,” is majestic enough with its portentous drums, flutes, and vibraphone, but Taylor Kirk’s imagery of “celluloid ashes” and “yards marked by emerald coffins” elevates it into something epic. Seductive corruption and menace wend their way through all of Hot Dreams, from the brilliantly cynical “Bring Me Simple Men,” which combines spy movie theme intrigue with dazzling wordplay (“Every big shot is a hunter/Every hunter’s got his prey/You can tell me I’m a good sport/But that doesn’t make me game”), to “This Low Commotion”‘s curdled love, which throws the strange purity of Creep on Creepin’ On’s backwoods devotion into even sharper relief. It all culminates on Hot Dreams’ title track, where Kirk croons “I want to follow up on all my threats and promises to you, baby” over syrupy, longing soul, capturing the light and shadow of a relationship the way that few others besides Bill Callahan can. Throughout the album, Kirk is as versatile and committed as an actor, which goes a long way toward ensuring that the styles and poses Timber Timbre adopt feel genuine from moment to moment. While Hot Dreams is slightly less immediate than Creep on Creepin’ On, its potent cocktail of menace, glamour, and vulnerability is nothing less than transporting.

Tracklist:
01 – Beat the Drum Slowly
02 – Hot Dreams
03 – Curtains?!
04 – Bring Me Simple Men
05 – Resurrection Drive Part II
06 – Grand Canyon
07 – This Low Commotion
08 – The New Tomorrow
09 – Run From Me
10 – The Three Sisters

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Seeds is the fifth studio album by the American indie rock band TV on the Radio. The record, put out by Harvest Records, is their first since the passing of their bassist Gerard Smith in 2011. Seeds features singles “Happy Idiot”, “Careful You” and “Could You”.

Arriving three years after the mellow Nine Types of Light — and the death of bassist Gerard Smith, who succumbed to lung cancer just days after the album’s release — Seeds has a palpable sense of moving on for TV on the Radio. Sonically, it’s crisper and clearer than ever before; songs like the beautiful ballad “Test Pilot” use this clarity to prove, once again, that TV on the Radio fuse indie and R&B more genuinely than many of the acts that sprang up during their hiatus. Though they rein in their trademark lushness ever so slightly, it doesn’t diminish their sound’s magnitude; instead, it adds an urgency that feels even more pointed after Nine Types’ hazy reveries. Similarly, that album’s philosophical tone continues on Seeds, with the band confronting loss directly on the album’s first half and accepting it on the second. TV on the Radio are often at their most compelling when they’re grappling with something, and album opener “Quartz” — on which Tunde Adebimpe asks “How hard must we try?” — showcases them in all their frustrated glory. Likewise, that songs as emotionally opposed as “Could You,” where Kyp Malone wonders about being able to love again, and “Happy Idiot,” where Adebimpe willfully numbs himself to the pain, are both triumphs is another testament to the band’s complexity. Seeds’ first half is so strong that it’s not surprising that it sags by comparison a little later. To be fair, it’s harder to write uplifting and empowering songs that don’t sound trite, and TV on the Radio manage more than a few: the anthemic “Ride,” the fired-up “Winter,” and the furious rocker “Lazerray” all deliver far more than platitudes. Just when it feels like things might be too relentlessly positive, the band injects some welcome ambiguity into “Trouble”‘s refrain of “Everything’s gonna be OK,” letting it teeter between reassurance and uncertainty. By the time the title track closes the album with the promise of rebirth, TV on the Radio’s reinvention as survivors is complete. At its best, Seeds is a fine tribute to Smith and the sound of enduring unimaginable loss.

Tracklist:
01 – Quartz
02 – Careful You
03 – Could You
04 – Happy Idiot
05 – Test Pilot
06 – Love Stained
07 – Ride
08 – Right Now
09 – Winter
10 – Lazerray
11 – Trouble
12 – Seeds

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In 1994, singer-songwriter Jeff Tweedy formed Wilco with three of his band mates following the break-up of alt-country pioneers Uncle Tupelo. Daring in its own right, Summerteeth foreshadows the even more experimental work to come on the band’s Nonesuch debute, Yankee Hotel Foxtrot.

Jeff Tweedy once blazed the trail for the American rock underground’s embrace of its country and folk roots, but as the decade drew to a close he also began spearheading the return of classic pop; simply put, what once were fiddles on Wilco records became violins — the same instrument, to be sure, but viewed with a radical shift in perception and meaning. While lacking the sheer breadth and ambition of the previous Being There, Summer Teeth is the most focused Wilco effort yet, honing the lessons of the last record to forge a majestic pop sound almost completely devoid of alt-country elements. The lush string arrangements and gorgeous harmonies of tracks like “She’s a Jar” and “Pieholden Suite” suggest nothing less than a landlocked Brian Wilson, while more straightforward rockers like the opening “I Can’t Stand It” bear the influence of everything from R&B to psychedelia. Still, for all of the superficial warmth and beauty of the record’s arrangements, Tweedy’s songs are perhaps his darkest and most haunting to date, bleak domestic dramas informed by recurring themes of alienation, adultery, and abuse — even the sunniest melodies mask moments of devastating power. If Summer Teeth has a precedent, it’s peak-era Band; the album not only possesses a similar pastoral sensibility, but like Robbie Robertson and company before them, Wilco seems directly connected to a kind of American musical consciousness, not only rejuvenating our collective creative mythology, but adding new chapters to the legend with each successive record.

Tracklist:
01 – Can’t Stand It
02 – She’s A Jar
03 – A Shot In The Arm
04 – We’re Just Friends
05 – I’m Always In Love
06 – Nothing’severgonnastandinmyway (Again)
07 – Pieholden Suite
08 – How To Fight Loneliness
09 – Via Chicago
10 – ELT
11 – My Darling
12 – When You Wake Up Feeling Old
13 – Summer Teeth
14 – In A Future Age
15 – 23 Seconds Of Silence
16 – Candyfloss
17 – A Shot In The Arm (Remix Version)

Download:

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The indie rock combo Wolf Parade formed in 2003 in Montreal. Their debut album, Apologies to the Queen Mary, was released on Sub Pop Records in September 2005. The album title derived from an incident where the band members were removed from the ocean liner Queen Mary. Time Magazine picked “Apologies…” as one of “Canada’s Most Anticipated Indie Albums Of The Year”.

In 2005, Wolf Parade became the latest Canadian band to travel from CBC Radio 3 and New Music Canada fame to the hallowed halls of Internet buzz and indie scene hype. But as it was with Arcade Fire and the Most Serene Republic (to name only two examples) before them, the Montreal quartet is pretty deserving of the chatter. This self-titled set is only four songs long — two from the September 2005 release Apologies to the Queen Mary and two recorded with pal and fan Isaac Brock. The Modest Mouse impresario is an influence, too — Wolf Parade have a similarly skewed approach to indie pop, and vocalist Dan Boeckner sings in an approximation of sighing vacuum cleaner and David Bowie impersonator. But “Shine a Light” and “You Are a Runner and I Am My Father’s Son” never lose their side-long catchiness, and they’re helped along by various keyboards and laptops and simple, splashily effective drumming. “Disco Sheets” isn’t as unique, but Hot Hot Heat and Franz Ferdinand fans will love it, and “Lousy Pictures” closes out the EP strong with some great dynamic shifts and an organ whirring beneath its scraggly electric guitar.

Tracklist:
01 – You Are a Runner and I Am My Father’s Son
02 – Modern World
03 – Grounds for Divorce
04 – We Built Another World
05 – Fancy Claps
06 – Same Ghost Every Night
07 – Shine a Light
08 – Dear Sons and Daughters of Hungry Ghosts
09 – I’ll Believe in Anything
10 – It’s a Curse
11 – Dinner Bells
12 – This Heart’s on Fire

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Agnes Obel – Aventine (2013)
FLAC (tracks) 24 bit/44.1 kHz | Time – 00:40:55 |416 MB | Genre: Indie
Official Digital Download – Source: WEB | Front cover

4 stars out of 5 — “AVENTINE is a strikingly spare album of great, but frosty, beauty.”

Aventine is the second studio album by Danish singer-songwriter Agnes Obel, released on 30 September 2013 by PIAS Recordings. The album received positive reviews from music critics. It was also a commercial success, charting inside the top 40 of the charts in nine countries.

Tracklist
1. Chord Left (2:30)
2. Fuel to Fire (5:30)
3. Dorian(4:48)
4. Aventine (4:08)
5. Run Cried the Crawling (4:27)
6. Tokka (1:30)
7. The Curse (5:53)
8. Pass Them By (3:32)
9. Words Are Dead (3:47)
10. Fivefold (1:59)
11. Smoke & Mirrors (2:58)

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Angus & Julia Stone – Angus & Julia Stone (2014)
FLAC (tracks) 24 bit/44.1 kHz | Time – 01:00:07 minutes | 686 MB | Genre: Folk, Indie
Studio Master, Official Digital Download | Source: Qobuz | Artwork: Front cover , Booklet | © Discograph
Recorded: Shangri La Studios in Malibu, California. Additional recording at The Complex in LA, California and Grand Street Recording in New York, NY.

The brother and sister duo, Angus & Julia Stone present their third, self titled album. After taking a break as a creative pair to focus on individual albums, the two artists are back together again with their latest record from American Recordings. Producer Rick Rubin comments on the album and the siblings, “This album is extraordinary; Angus and Julia are truly unique musicians. They are authentic and pure people who do things from the heart. I’ve never worked with anyone like them before.”

Australian sibling folk-rock duo Angus & Julia Stone broke big with their 2010 sophomore album, Down the Way. The album, which debuted at number one in Australia, took home five ARIA music awards, including Album of the Year. On the heels of their success, the famously shy duo began work on a follow-up, but eventually shelved the idea in favor of taking some time off to pursue solo work. However, coaxed back into the studio by super-producer Rick Rubin, the Stone siblings eventually returned to their ruminative, melodic, and often melancholy collaborations with 2014’s Angus & Julia Stone. In many ways, what you see is pretty much what you get from the Stones, with their shaggy hair and hippie-chic clothes matching their penchant for acoustic introspection. Indeed, there aren’t too many surprises here, with the siblings sticking to their formula: intimate, folky songs with poignant lyrics that usually bend toward the darker, sadder aspects of life. What commands your attention, however, is the way that Julia’s cherubic, sandpaper doll of a voice contrasts with Angus’ more clear-toned and casual vocal style. They also display a knack for coming up with lyrics that contain bittersweet, poetic juxtapositions, always hinting at deeper, more complex emotions. On “Other Things,” duetting in clipped unison phrases, they sing “Go put the cat outside/’Cos we’ve got things to do,” and “There’s a plane in the sky/If those people fall they will die/I’ve got other things on my mind.” It’s this kind of focus on the ennui, the mundane tragedy that permeates many people’s daily lives, that works as creative fodder for Angus & Julia Stone. Ultimately, it’s that ennui, combined with the pair’s heartbreaking sense of melody, that makes this album a delightfully sad yet engaging listen. –Matt Collar

Tracklist:
1. A Heartbreak 04:16
2. My Word For It 04:08
3. Grizzly Bear 04:08
4. Heart Beats Slow 04:35
5. Wherever You Are 03:41
6. Get Home 04:31
7. Death Defying Acts 05:13
8. Little Whiskey 03:36
9. From The Stalls 05:09
10. Other Things 02:59
11. Please You 05:40
12. Main Street 05:35
13. Crash And Burn 06:36

Personnel:
Angus Stone – electric guitar, vocals, acoustic guitar, kalimba, tambourine, glockenspiel, casio synth, handclaps
Julia Stone – electric guitar, vocals, acoustic guitar, handclaps
Chris Dave – drums
Matt Johnson – drums, percussion, backing vocals
Rob Calder – bass, backing vocals
Jason Lader, Raphael Saadiq – bass
Ryan Hewitt – percussion, tambourine
Lenny Castro – percussion, handclaps
Ben Edgar – acoustic guitars, electric guitars, noise, ambience, banjo, lap steel, baritone guitar
Jon Solo – wurlitzer, organ, Rhodes, synthesizers, piano, Hammond B-3, vibes, mellotron, stylophone, omnichord, backing vocals
Thomas Bartlett – piano, Rhodes, synthesizers, organ, pump organ, damped piano, mellotron
Ed Roth – wurlitzer, piano, OBX synthesizer, mellotron
Jo Syme, Tom Iansek, Gus Rigby, Elmo Lovano, Mykul Lee, Nick Maybury, Justin Andres, Scott Mellis, Charissa Nielsen, Kenli Mattus – group vocals
Rohin Brown – electric guitar
Elliot Hammond – drums

Download:

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Angus & Julia Stone – Angus & Julia Stone (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:04 minutes | 1,46 GB | Genre: Folk, Indie, Singer/Songwriter
Official Digital Download – Source: HDTracks | © Republic Records
Recorded: Shangri La Studios in Malibu, California. Additional recording at The Complex in LA, California and Grand Street Recording in New York, NY.

The brother and sister duo, Angus & Julia Stone present their third, self titled album. After taking a break as a creative pair to focus on individual albums, the two artists are back together again with their latest record fromAmerican Recordings. Producer Rick Rubin comments on the album and the siblings, “This album is extraordinary; Angus and Julia are truly unique musicians. They are authentic and pure people who do things from the heart. I’ve never worked with anyone like them before.”

Tracklist:
1 A Heartbreak 4:16
2 My Word For It 4:09
3 Grizzly Bear 4:09
4 Heart Beats Slow 4:36
5 Wherever You Are 3:42
6 Get Home 4:32
7 Death Defying Acts 5:14
8 Little Whiskey 3:36
9 From The Stalls 5:10
10 Other Things 2:59
11 Please You 5:41
12 Main Street 5:35
13 Crash + Burn 6:37
14 Do Without 4:14
15 All This Love 4:05
16 Roses 3:29

Download:

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Mumford & Sons – Wilder Mind (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 48:41 minutes | 985 MB | Genre: Rock, Alternative, Indie Folk
Official Digital Download – Source: HDTracks | © Glassnote Records
Recorded: 2014–15

Wilder Mind is British rock band Mumford & Sons’ third studio album. The record is a follow-up to their previous two successful albums Sign No More and Grammy winning Album of the Year, Babel. The new 12-trackGlassnote Records release features singles “Believe” and “The Wolf”. The group took a different approach with Wilder Mind, leaving out their signature acoustic instrumentals (more specifically their highly featured banjo), yet the band states the songwriting remains the same. This is sure to be another masterful record from these London natives.

Who could blame Mumford & Sons for running away from their signature banjo stomp? Come 2015, when Wilder Mind saw spring release, so many bands had copped their big-footed folk jamboree that Mumford & Sons could feel the straitjacket constricting, so it’s not a surprise that the group decided to try on something new. A change in fashion isn’t strange — no band wants to be pigeonholed — but the odd thing about Wilder Mind is now that everybody else sounds like Mumford & Sons, Mumford & Sons decide to sound like everybody else. Without their old-timey affectations, the band seems interchangeable with any number of blandly attractive AAA rockers, a group that favors sound over song — a curious switch for a purportedly old-fashioned quartet. Sometimes, the band do swing for arena-filling hooks and connect — the quietly escalating “Believe,” the incessant surge of “The Wolf,” “Ditmas,” which is the only song here that would scale to bare-bones acoustic arrangements — but usually they subsist on a simmer, letting their immaculate, tasteful rock bubble quietly without ever threatening to spill over the edge. Often, the persistent, moody murmur recalls a diluted Kings of Leon, a comparison that can’t help but underscore how Mumford & Sons have made the journey from retro throwback to glistening modern construction. Where once they carved their music out of reclaimed wood, they’re now all steel and glass — a bit sleeker but also a bit chillier. Such a description suggests this is a big shift, but it’s all surface: underneath that exterior, Wilder Mind is the same Mumford & Sons, peddling reasonably handsome reconstructions of times gone by. –Stephen Thomas Erlewine

Tracklist:
1. Tompkins Square Park 05:12
2. Believe 03:41
3. The Wolf 03:41
4. Wilder Mind 04:38
5. Just Smoke 03:10
6. Monster 03:57
7. Snake Eyes 04:09
9. Cold Arms 02:50
10. Ditmas 03:39
11. Only Love 04:37
12. Hot Gates 04:47

Personnel:
Marcus Mumford – lead vocals, electric guitar, drums
Ted Dwane – vocals, acoustic bass, electric bass
Ben Lovett – vocal, piano, keyboard, synthesiser
Winston Marshall – vocals, electric guitar

Additional:
James Ford – drums, percussion, keyboards
Tom Hobden – violin
Thomas Bartlett – keyboards
Dave Nelson – trombone
Aaron Dessner – keyboards
Benjamin Lanz – trombone

Download:

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Florence + the Machine – How Big, How Blue, How Beautiful (2015) (Deluxe)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:52 minutes | 1,54 GB | Genre: Pop Rock, Alternative/Indie Rock
Official Digital Download – Source: HDTracks | © Island Records
Recorded: 2014

How Big, How Blue, How Beautiful is the brand new album from Brit and Grammy Award nominated multi-platinum selling musical artist Florence + The Machine produced by Markus Dravs. The group’s third studio album is the first in over three years, their last record Ceremonialsreleased in 2011 garnered the number 30 spot on the year-end US Alternative Albums chart.

The result is How Big, How Blue, How Beautiful, a collection of songs, written and recorded over the course of 2014. Produced by Markus Dravs (Björk, Arcade Fire, Coldplay) with contributions from Paul Epworth, Kid Harpoon and John Hill, the third album by Florence + the Machine is live-sounding, tune-rich, unhinged in all the right places and powerful in all the best ways. In voice and, ultimately, outlook Florence has never sounded better.
Markus has done a few Arcade Fire albums, Florence tells us, and he s done Björk s Homogenic, which is a huge record for me. And I felt he had that balance of organic and electronic capabilities, managing those two worlds. And, you know, he s good with big sounds. And I like big sounds. And he s good with trumpets, and I knew I wanted a brass section on this record, she adds of a group of musicians who were arranged by Will Gregory of Goldfrapp.
And with Markus, Florence continues, clarifying, I wanted to make something that was big but that had a gentleness to it. That had a warmth, that was rooted. I think that s why we went back more to the live instruments. Something that was band-led almost.
A prime example is the future Florence classic Ship To Wreck: it opens the album, and showcases Florence and Dravs enthusiasm for reframing her distinctive voice.
Ship To Wreck was written with Kid Harpoon, the London-based songwriter/producer with whom she d written Ceremonials Grammy-nominated Shake It Out , during a month-long creative furlough in Los Angeles that also yielded first single What Kind Of Man : a full-force ear-pinning anthem of uplifting defiance.
Kid Harpoon is one of a clutch of old collaborator friends who reunited to help marshal these most personal of songs. Ceremonials producer Paul Epworth helped create the album closing psychedelic blues explosion Mother, while the inner-circle of her nearest and dearest was rounded out by her bandmate and long-time studio right-hand-woman Isa Summers, with whom she wrote the epic title track.
How Big, How Blue, How Beautiful was the first song I wrote for this record, literally as I just came off tour, she explains, and then I went off and had this incredibly chaotic year, and that all went into the record. But in the end, the feeling of How Big How Blue is what I came back to.
The trumpets at the end of that song that s what love feels like to me. An endless brass section that goes off into space. And it takes you with it. You re so up there. And that s what music feels like to me. You want it just to pour out endlessly, and it s the most amazing feeling.
It s alchemy. It s magic. It s the return of Florence + the Machine.

The much-anticipated third studio long-player from Florence Welch and her mechanically inclined companions, How Big, How Blue, How Beautiful arrives after a period of recalibration for the spirited English songtress. Arriving three-and-a-half years after 2011’s well-received Ceremonials, the 11-track set, the first Florence + the Machine album to be produced by Markus Dravs (Arcade Fire, Coldplay), eschews some of the bombast and water- and death-fixated metaphors of Lungs and Ceremonials in favor of a more restrained sonic scope and an honest reckoning with the dark follies of your late twenties. This change is most notable on the workmanlike opener “Ship to Wreck,” a shimmering, open road-ready folk-rock rumination on the ambiguity/inevitability of post-fame self-destruction that, unlike prior first cuts like “Dog Days Are Over” and “Only If for a Night,” feels firmly rooted in the now. Whether it be simple maturity or Dravs’ calculated production style, there’s no denying that an effort has been made to dial back a bit on some of the pageantry of Welch’s earlier works, and for the most part, her penchant for pairing mystic Bronte-esque pondering with similarly windswept pagan/gothic gospel rock is left bubbling beneath the surface. This attempt to reign in Welch’s more histrionic tendencies yields mixed results, with some songs finding the sweet spot between bluster and nuance and others (most of them in the album’s sleepy latter half) disappearing altogether. Of the former, the bluesy (and ballsy) “What a Man,” the propulsive and purposeful “Delilah,” and the gorgeous title track impress the most. Instead of building to a fevered crescendo, as is the Flo-Machine way, the latter cut, a transcendent, slow-burning, chamber pop gem, dissolves into a simple and elegant, yet still goose-bump-inducing round of horns, and is breathtaking without knocking the wind out of you. Whether How Big, How Blue, How Beautiful ends up being a transitional album remains to be seen, as there is enough of each side of Welch (the pastoral and the feral) represented to tip the scale either way. That said, her Brit-pop soul treacle is still miles better than some of her contemporaries’ top-tier offerings, and when the album connects it moves right in and starts to redecorate, but when it falters, it’s akin to a chatty party guest failing to realize that everyone else has gone home. –James Christopher Monger

Tracklist:
1. Ship To Wreck 03:55
2. What Kind Of Man 03:36
3. How Big, How Blue, How Beautiful 05:35
4. Queen Of Peace 05:07
5. Various Storms & Saints 04:09
6. Delilah 04:53
7. Long & Lost 03:15
8. Caught 04:24
9. Third Eye 04:20
10. St Jude 03:45
11. Mother 05:50
12. Hiding (Bonus Track) 03:53
13. Make Up Your Mind (Bonus Track) 04:01
14. Which Witch (Demo / Bonus Track) 04:19
15. Third Eye (Demo / Bonus Track) 04:16
16. How Big, How Blue, How Beautiful (Demo / Bonus Track) 04:33

Personnel:
Florence Welch – vocals
Isabella Summers – piano, strings, synthesizer, celesta, backing vocals
Robert Ackroyd – guitar
Christopher Lloyd Hayden – percussion, drums, backing vocals
Tom Monger – harp, bass
Mark Saunders – bass, percussion, guitar, backing vocals

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George Ezra – Wanted On Voyage {Deluxe Edition} (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 00:57:15 minutes | 1,19 GB | Genre: Singer/Songwriter, Indie Folk
Official Digital Download – Source: Qobuz | @ Columbia

With his smoky baritone and lyrics about wanderlust, romance, and European boot leather, British singer/songwriter George Ezra offers up a 21st century pop take on the wandering young troubadour with his debut LP Wanted on Voyage. Though he cites influences like Woody Guthrie and Lead Belly, Ezra’s music has more in common with the contemporary folk-pop of strummers like Vance Joy and Jake Bugg, with a bit of blue-eyed soul thrown in for good measure. Scrappy romps likes “Cassy O’” and his breakout track “Budapest” sit alongside quirky, synth-laden indie pop tunes like “Stand by Your Gun” and moody dirges like “Spectacular Rival,” offering up enough diversity to keep things interesting. ~ Timothy Monger

Tracklist:

01 – Blame It on Me
02 – Budapest
03 – Cassy O’
04 – Barcelona
05 – Listen to the Man
06 – Leaving It Up to You
07 – Did You Hear the Rain?
08 – Drawing Board
09 – Stand by Your Gun
10 – Breakaway
11 – Over the Creek
12 – Spectacular Rival
13 – Song 6
14 – It’s Just My Skin
15 – Da Vinci Riot Police
16 – Blind Man in Amsterdam

Download:

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http://rapidgator.net/file/f87eef50ff0fb8ad3d7955259d6d2e14/GrgzraWantdnVyag2014Qbuz2496.part2.rar.html

Jeanne Added – Be Sensational (2015)
FLAC (tracks) 24 bit/44.1kHz | Time – 00:37:38 minutes | 394 MB | Genre: Electronic, Indie Pop
Official Digital Download – Source: Qobuz | © naïve
Recorded: Studio Watchtower, Madville, France

Révélation des Trans-musicales de Rennes 2014, Jeanne Added sera l’artiste à suivre en 2015. Connue pour ses nombreuses collaborations, elle sort son premier projet solo. Le résultat est fort, voire brutal. L’écoute de l’album nous plonge dans un univers unique qui place Jeanne Added directement parmi les grands.

La chose est rare mais pas impossible : la beauté née dans la douleur tout comme le sublime surgissant de la souffrance impressionnent toujours avec démesure. Et Jeanne Added est impressionnante. Mais souffrance et douleur ne doivent pas faire fuir le chaland. Au contraire. Juste que l’art de cette Rémoise de 35 ans et dont le nom a surtout hanté la planète jazz durant les années 2000 n’est pas un manifeste léger. Avec Be Sensational, on est hypnotisé par cet organe un brin martial mais élastique au possible, par ce rock électro anguleux et anthracite… Avant cette austère merveille, Jeanne Added avait croisé le fer avec de singuliers et recommandables personnages parmi lesquelles Lionel Belmondo, Rachid Taha, Bernard Lubat, André Minvielle, Riccardo Del Fra, Daniel Humair, Glenn Ferris, Vincent Courtois, Pierre de Bethmann ou bien encore Edouard Ferlet. Cette fois, l’affaire porte son nom. Sa marque. Sa patte. Conçue avec Dan Levy de The Dø, son album tendrait à l’expédier sur la planète des dandys lettrés, patrie hétéroclite des Nick Cave, PJ Harvey, Sinéad O’Connor et autres Nico. Il définit surtout les postes-frontières d’un territoire dont on a hâte de connaître chaque région. Un disque fort. © MZ/Qobuz

Tracklist:
1. A War Is Coming 02:35
2. It 02:56
3. Look At Them 03:35
4. Miss It All 03:31 (titre absent de la première édition)
5. Be Sensational 03:54
6. Lydia 04:21
7. Back To Summer 02:33
8. Night Shame Pride 04:03
9. Ready 05:34
10. Suddenly 04:31

Personnel:
Jeanne Added: vocals, bass, keys
Dan Levy: keyboards, drums, programming
Marielle Chatain: additional vocals, keyboards and percussions (#1, #6)

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Metric – Synthetica (2012)
FLAC (tracks) 24-bit/44.1 kHz | Time – 00:56:41 minutes | 666 MB | Genre: Indie Rock
Official Digital Download – Source: Qobuz | @ Mom & Pop / Metric Music International

2012 release, the fifth album from the Indie Electro Rock band. According to Metric’s frontwoman Emily Haines, Synthetica is “about forcing yourself to confront what you see in the mirror when you finally stand still long enough to catch a reflection. Synthetica is about being able to identify the original in a long line of reproductions. It’s about what is real vs what is artificial”. Features ‘Youth Without Youth’ and ‘The Wanderlust’, a collaboration with Lou Reed.

After the commercial breakthrough of their 2009 album Fantasies, it would seem kind of unfair to ask Metric to do anything differently on their next outing. That album perfectly took their usual tuneful blend of hooky new wave and spooky synth pop and blew it up to stadium-huge levels while adding more emotional content than ever before. It was a trick that seemed so improbable in the first place that it would be crazy for the group not to try re-creating it on Synthetica. So they did. The album has the same glossy textures, gigantic sounding arrangements, huge choruses, and open-hearted vocals as Fantasies did, but keeps the instantly memorable songs and exposed emotions intact. It also retains the same balance of super hooky songs and gloomy ballads, hitting you in the gut one minute and sending you off cheerfully singing along the next. (It’s the same kind of trick Garbage were able to pull off in their prime, and Metric sound very much like a widescreen Garbage throughout Synthetica.) The success that band has achieved hasn’t exactly healed Emily Haines’ wounds, and her vocals have the same powerfully aching quality that has always been there — they cut through the music and right to the heart of the listener. Songs like “Artificial Nocturne” and “Dreams So Real” hit very, very hard thanks to her vocals. Elsewhere, she shows a ton of range on tracks as varied as the dramatic “Speed the Collapse,” the creepily cute “Lost Kitten,” and the dreamily desolate “Nothing But Time.” The band provides capable backing throughout, framing her voice in a soft web of sound and creating modern pop that goes down easily but never bores. Only the unwelcome appearance of Lou Reed on “The Wanderlust” breaks the mood of the record and brings it down to earth a bit. Even with his warbling croak gumming things up, the song is a highlight on an album full of them. That Metric were able to follow up their best record with another just as good is quite an achievement, hopefully something they will do again and again.

Tracklist:

01 – Artificial Nocturne
02 – Youth Without Youth
03 – Speed The Collapse
04 – Breathing Underwater
05 – Dreams So Real
06 – Lost Kitten
07 – The Void
08 – Synthetica
09 – Clone
10 – The Wanderlust
11 – Nothing But Time
12 – Reflection #1
13 – Reflection #4
14 – Reflection #6
15 – Reflection #9
16 – Reflection #11

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Florence + the Machine – How Big, How Blue, How Beautiful (2015) (Deluxe) [HDTracks 24-96]

George Ezra – Wanted On Voyage {Deluxe Edition} (2014) [Qobuz 24-96]

Jeanne Added – Be Sensational (2015) [Qobuz 24-44.1]

Metric – Synthetica (2012) [Qobuz 24-44.1]