Newsweek's Top 10 Albums of 2014

*Transgender Dysphoria Blues* is a powerful album that features many changes. Two previous band members (drummer Jay Weinberg and bassist Andrew Seward) had left the group, leaving just guitarist James Bowman and guitarist/leader Laura Jane Grace. However, as the album title and songs make clear, Grace—who’d made previous references to wishing she’d been born a woman—was now going through the changes and issues that come with transitioning one’s gender. As music, the songs on *Transgender Dysphoria Blues* are more powerful than ever: electric punk-pop (in place of folk-punk-pop) that shows that this Florida band are fully capable of performing under pressure. In fact, Grace now writes songs with stronger hook-filled melodies and a better-defined sense of purpose. The emotions of the agitated bellows of “Drinking with the Jocks” and the hummable melody of “F\*\*\*MYLIFE666” are so refreshingly honest and heartfelt that it’s just as incredible that Grace and Bowman crafted the record as a universal cry for anyone who\'s struggled with their identity or place in the world.

Amen Dunes is the work of Brooklyn-based musician Damon McMahon. Though his previous albums have been largely solo performances, *Love* is produced by Godspeed You! Black Emperor’s Dave Bryant and Efrim Menuck and features the additional support of some longtime friends—drummer Parker Kindred and Jordi Wheeler on guitar and piano—along with Colin Stetson on sax and occasional vocals from Iceage’s Elias Bender Ronnenfelt (on “Lonely Richard” and “Green Eyes”). The nearest comparison might be Bonnie \"Prince\" Billy, who often works a similarly obscure method to get the desired recording effect. “Everybody Is Crazy,” in particular, sounds like a gorgeous lost BPB track. “I Can’t Dig It” uses a deliberately lo-fi approach and sounds like a bootleg recording of a band playing in a cavernous hall. The remaining songs settle into a modest, mystical tone, with the piano-based “Sixteen” sounding as wired as Daniel Johnston and the acoustic “I Know Myself” offering a calmer view.

*Rips* indeed. Ex Hex’s debut delivers a steady stream of muscular riffs, dirty hooks, and sticky melodies. It’s tight, lean, and a lot of fun. Made up of singer and guitarist Mary Timony (Helium, Wild Flag, solo), drummer Laura Harris (The Aquarium), and bassist Betsy Wright (The Fire Tapes), Ex Hex cross garage rock with power pop. It’s not revolutionary, but it’s done well. You can pump your fist to it while appreciating Timony’s clever and often biting lyrics and straight-ahead guitar solos. Longtime Timony fans will also notice the difference in her voice. Trading her hushed vocals for a full-throated wail, here she sounds tough and assured.

FKA twigs’ first full-length album brims with spartan, icy songs that whisk between distorted R&B and ethereal pop. While twigs’ pristine vocals and sensual lyrics are the cornerstone, *LP1* showcases the kind of confident production and instrumentation that play easily alongside celebrated pop minimalists like James Blake. Album highlight “Pendulum\" sees FKA twigs dabbling in manipulated vocals, as wavering guitars and electric drums stutter-step intoxicatingly, while “Video Girl” finds her melodic falsetto fluttering over churning, wobbling synths and creaking percussion.

Melanie De Biasio has been called the Billie Holiday of Belgium. Yet a quick survey of the singer’s second album (and first in seven years) reveals that comparison to be a stylistic leap—there aren\'t the type of blues tunes or conventional jazz arrangements that made up much of Holiday’s material beyond “Strange Fruit.” Instead, this slow, careful music has a dark, mysterious sound that recalls Portishead’s menace and This Mortal Coil’s ambient grandeur. De Biasio plays the femme fatale whose cool and hypnotic vocal delivery isn\'t unlike Abbey Lincoln or Nina Simone—she wonderfully covers the latter\'s “I’m Gonna Leave You”—where vocal trills and inflection carry as much impact as the words themselves. She\'s at her finest on “The Flow” and the title track, whose final instrumental run-out only adds to the song’s impact. “With All My Love” slows the tempo to a glacial pace as eerie electronics add much drama to this unsettling finale. An album clocking in at only 33 minutes, *No Deal* is a work wholly realized in its dark, textured vision.

Avant-hip-hoppers Shabazz Palaces finally let it be known that they\'re the master duo of former Digable Planets member Butterfly (now known as Palaceer Lazaro) and instrumentalist Tendai “Baba” Maraire. After the critical success of their debut, *Black Up*, it’s likely the follow-up, *Lese Majesty*, will draw even more critical and commercial interest. The sounds themselves are low-key, letting the various instrumental patches respond to one another or enhance the atmospherics. Maraire excels at minimalism and texture, creating a complete track with the least amount of ingredients and thriving on providing seamless interludes. Lazaro provides a variety of vocals that shift from philosophical quips to word-associated ramblings where seriousness and clever thinking often work together. “Dawn in Luxor,” “Forerunner Foray,” and “They Come in Gold” form an intense opening trilogy, while “Motion Sickness,” “New Black Wave,” and “Sonic MythMap for the Trip Back” close the album with a similar focus.

'Lese Majesty' is the follow up album to 2011's 'Black Up' by Shabazz Palaces.

At two hours in length, *To Be Kind* shows Michael Gira’s Swans are as serious, demanding and extreme in 2014 as they were back in the early ‘80s when their music was either greatly praised or harshly condemned. There is little middle ground for this group and anyone spooked by the 12-1/2 minute Howlin’ Wolf Tribute “Just A Little Boy” should probably not go forward. However, for fans of slow, gothic, death-rattle Swans, the track is just one sign that the band’s sessions with John Congleton at Sonic Ranch, outside El Paso, Texas were an overwhelming success. Much of the material was developed live during the tours of 2012-13 and explains why there is so much to sift through. Special guests such as Little Annie, who duets with Gira on “Some Things We Do,” Cold Specks, whose multi-tracked vocals guide “Bring the Sun” and honorary Swan Bill Rieflin filled out the sessions that were recorded with a solid sextet in place. “A Little God In My Hands” adds a touch of Krautrock to its elliptical groove. The 34-minute “Bring the Sun/ Tousaaint L’Ouverture” is a complex epic worthy of their reputation. 

A NOTE FROM MICHAEL GIRA: Hello There, We (Swans) have recently completed our new album. It is called To Be Kind. The release date is set for May 13, 2014. It will be available as a triple vinyl album, a double CD, and a 2XCD Deluxe Edition that will include a live DVD. It will also be available digitally. The album was produced by me, and it was recorded by the venerable John Congleton at Sonic Ranch, outside El Paso Texas, and further recordings and mixing were accomplished at John’s studio in Dallas, Texas. We commenced rehearsals as Sonic Ranch in early October 2013, began recording soon thereafter, then completed the process of mixing with John in Dallas by mid December 2013. A good portion of the material for this album was developed live during the Swans tours of 2012/13. Much of the music was otherwise conjured in the studio environment. The recordings and entire process of this album were generously and perhaps vaingloriously funded by Swans supporters through our auspices at younggodrecords.com via the release of a special, handmade 2xCD live album entitled Not Here / Not Now. The Swans are: Michael Gira, Norman Westberg, Christoph Hahn, Phil Puleo, Thor Harris, Christopher Pravdica. Special Guests for this record include: Little Annie (Annie sang a duet with me on the song Some Things We Do, the strings for which were ecstatically arranged and played by Julia Kent); St. Vincent (Annie Clark sang numerous, multi-tracked vocals throughout the record); Cold Specks (Al contributed numerous multi-tracked vocals to the song “Bring the Sun”); Bill Rieflin (honorary Swan Bill played instruments ranging from additional drums, to synthesizers, to piano, to electric guitar and so on. He has been a frequent contributor to Swans and Angels of Light and is currently playing with King Crimson)... FULL MUSICIAN CREDITS:Swans: Michael Gira - vocals, electric and acoustic guitar; Norman Westberg - electric guitar, acoustic guitar, vocals; Phil Puleo - drums, percussion, dulcimer, piano, keys, vocals; Christoph Hahn - lap steel guitars, electric guitar, vocals; Thor Harris - drums / percussion, vibes and bells, wind instruments, handmade viola, vocals; Christopher Pravdica - bass guitar, acoustic guitar, vocals. Honorary Swan Forever: Bill Rieflin - (on multiple songs throughout the record) drums / percussion, piano, bass, guitar, synths, keyboards. Guest Musicians: Duet with MG on Some Things We Do - Little Annie. Strings and String Arrangement on Some Things We Do - Julia Kent. Background Vocals on Nathalie Neal, Bring the Sun, Screen Shot, Kirsten Supine - St. Vincent (appears courtesy of Loma Vista Recordings). Background vocals on Bring the Sun - Cold Specks (appears courtesy of Mute Artists LTD). Background Vocals on She Loves Us, A Little God in My Hands - Jennifer Church. More Musicians (Dallas): Violin - Daniel Hart; Mandolin - Rex Emerson; Trombone - David Pierce; Trumpet - Evan Weiss; Piano, Harpsichord, Synth - Sean Kirkpatrick; Piano – John Congleton. I love you! Michael Gira