Having listened to every single piece of recorded music this year (even both Gallagher albums and the new one by Nick Knowles) Jack Murray is here to provide us with his top 10 albums containing songs that he likes to listen to with his ears. Got it? Good.
My top 2 will not surprise some people and it’s mostly business as usual. Some returning bands and truly outstanding work all round from nearly everyone that’s released an album this year that I’ve enjoyed. Even albums that didn’t make the top ten (sorry Pissed Jeans, you’re in at 11…) were stonking great. Enjoy.
When a man in a suit approaches you in a dream and tells you that you will fail if he (the man) isn’t two parts viper, then I guess that’s a sign, right? That’s what Josh Scogin, vocalist and guitarist for improv-noise bastards ’68 thinks – either that, or he needs to seriously cut down on the Twin Peaks marathons.
The alumni that make up Atlanta’s Holy+Gold burst forth from the metalcore bubble, with members of Norma Jean, The Glass Ocean and professional crowd-surfers, The Chariot in tow. It’s a surprise then, to hear that Holy+Gold carry very little over musically from these projects, save for teasing moments of snarling hardcore fury and some fractured distortion.
Sometimes a great man comes along – a true inspiration to us all. He’s suave, witty, intelligent, handsome and charming. Also, there’s Jack Murray, who has selected his top 10 albums of 2014. Hey, he did it for 2012 and 2013, so there’s no reason to deny him the chance of sharing his knowledge, wisdom and bark-related puns with the rest of the readers. Woof, etc.
Let’s face it, there’s not going to be any more good albums released this year now. Well, that’s the impression that I get. I’ll stop with The Mighty Mighty Bosstones puns now and crack on. Below are my top 10 albums of 2014, plus a selection of “nearly made the cut, but are still really good albums that you should listen to.” Enjoy.
There’s a moment on In Humor and Sadness, the début album by ’68; where you can hear an amp finally giving up the ghost and power down. It just snuffs right out near the end of 04. R, cutting out in a pop-of scrawling, mangled feedback, whilst vocalist and guitarist Josh Scogin manages to strangle one last cry from it during its death rattle.
Taking their name from a ’68 Camaro that Scogin’s father once owned, ’68, are a somewhat departure from The Chariot’s math-rock, spasmodic shape-throwing contortions. Don’t think though for one minute that ’68 are at the opposite end of the spectrum – the raw, jagged bruised scrape is ever present, yet in a more stripped down, ramshackle form.