Uncut's Top 75 Albums of 2015
The current issue of Uncut features the best albums of the year, along with our reissues of the year, and the best films and books.
Published: December 18, 2015 14:09
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Welsh indie rocker Huw Gwynfryn Evans (aka H. Hawkline) delivers on the promise of previous EPs and stray tracks with his first official studio album, the Cate Le Bon–produced *In the Pink of Condition*. The preview single, “Moons in My Mirror,” promised smart, catchy pop with a delightfully spartan mix. The ensuing 11 songs that follow similarly take advantage of the playful stereo mix. “Rainy Summer,” “Concrete Colored Clothes,” and “Ringfinger” form the nexus of brilliance and power, with Hawkline’s lazy delivery coasting over the varying arrangements that climax with the Smiths-like punch of “Ringfinger.”
A decade on from *Ruby Blue*’s avant-jazz and eight years after the glistening disco of *Overpowered*, Ireland’s abiding electropop queen stylishly retakes her throne on this sumptuous, ever-shifting third solo album. Murphy (alongside Moloko collaborator and new co-writer Eddie Stevens) isn’t afraid to hurl new ideas into an already-brimming pot, as evidenced by the spaghetti western drama of “Exile” and the escalating synth-funk atmospherics on “Exploitation”. There’s always cohesion to match the fearless sonic questing, though. And at the heart of it all–with that breathy, brittle falsetto–is Murphy’s matchless delivery.
Roisin's first album in 8 years, Hairless Toys is a career defining tour de force. Tipping its hat to the dark disco of European house music, Casablanca Records and Grace Jones, while seamlessly taking in the freedom and organic spirit of jazz, country and gospel. Hairless Toys is a Mercury Prize shortlisted album.
As political as he is prolific, Neil Young has written albums about both war and hybrid cars. On *The Monsanto Years*, the legendary singer/songwriter teams up with Willie Nelson’s sons Micah and Lukas—as well as the latter’s roots-rock band, Promise of the Real—to take aim at corporations like Monsanto, the American chemical goliath with ties to genetically engineered farming. The result is an inspired collection of loose protest folk (“Wolf Moon”) and rugged guitar jams ( the majestic “People Want to Hear About Love”) that bristle with Young’s trademark idealism.
Retreating from the garage snarl of 2013’s Monomania to the gauzy, melodic textures of 2010’s *Halcyon Digest*, Deerhunter have made their warmest record yet. The psychedelic swoops of “Breaker”, synth pulse of “Ad Astra” and lysergic funk of “Snakeskin” all expertly find the biting point between invention and accessibility. The gorgeous sonics are regularly just a salve for caustic lyrics though, and Bradford Cox’s outsider spirit rages with paranoia and self-laceration throughout.
Even as a 20-track double album, this is one of the most cohesive and engaging hip-hop debuts you’ll hear. Against dank, ambitious production overseen by storied beat-smith No I.D., the Long Beach rapper documents a life spent learning the power of fear in a gang quarter with vivid wordplay and uncompromising imagery. “Jump Off the Roof”’s paranoid gospel and the woozy soul thump of “C.N.B.” embody a thrilling opus that values darkness and anxiety over radio-baiting hooks.
Sour Soul is the collaborative album from Toronto jazz/hip-hop band BADBADNOTGOOD and Staten Island rap champ Ghostface Killah. Inspired by 1960s and 70s music - taking inspiration from the recording techniques and production of that era, and eschewing sampling in favour of live instrumentation, BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling. Sour Soul also features guest spots from MF DOOM, Elzhi (Slum Village / J Dilla), Danny Brown and prodigal new rapper Tree (Project mayhem).
PRESS : "Album conçu à l'ancienne, présenté par coquetterie en deux faces fictives de quatre morceaux, No Song, No Spell, No Madrigal agrippe l'auditeur dès le morceau-titre avec ses tons d'automne pluvieux, ses souvenirs interdits : « Le passé est une porte que je ne franchis plus. » Chaque chanson concentre ainsi des moments épars pour en exprimer tout le suc et l'amertume — puisqu'il faut bien les dire. Le deuil de son fils, à qui est dédié l'album, plane d'un bout à l'autre. Dans l'évocation la plus crue de son désespoir (The House that we onced lived in, Swap places), Peter Milton Walsh n'a jamais été aussi doux et déchirant. Cet album de retour et d'adieu est sûrement son plus beau." TELERAMA **** "D’abord quelques concerts, puis un album live et, aujourd’hui, ce cinquième album. Quarante secondes dans le morceau-titre, et la magie est de retour, intacte. La voix, la clarté, le lyrisme retenu, l’élégance des arrangements, et bien sûr les chansons, tout est là, doux et immaculé comme la neige qui tombe sur la pochette. Les grands songwriters sont éternels. Comment aurions-nous pu en douter ?" LES INROCKS
Having reunited after decades on a tribute to Big Bill Broonzy, the brothers who once led L.A.’s rockabilly-revival charge with The Blasters dig their blues roots deeper on this boisterous 2015 album. They tear through four songs by jump-blues shouter Big Joe Turner, with Phil’s tenor dripping honey and Dave’s guitar shooting sparks. Two gospel numbers and James Brown’s “Please Please Please” ignite as well—and the opening crunch of Oscar Brown Jr.’s River Styx-set “Mister Kicks” suggests where The Rolling Stones learned to express sympathy for the devil.
After an eight-year break between albums, Modest Mouse return with a wonderfully diverse effort that\'s well worth the wait. Marked by haunting arrangements and stunning detail, *Strangers to Ourselves* finds founding frontman (and chief songwriter) Isaac Brock at his most commanding—no matter the approach. While the experimental dance tune “Pistol (A. Cunanan, Miami, FL. 1996)” features stuttering rhythms and a gooey, pitched-down vocal performance, early fans will relish the rain of guitars on the thunderous highlight “The Tortoise and the Tourist.”
CD & LP available at philcookmusic.com/store
On his first solo album in 23 years, the Stones legend returns to the classics—folk-blues, soul, rock ‘n’ roll, and reggae—carving handsome riffs from the styles that inspired him to pick up a guitar. It’s a relaxed, T-shirt and jeans affair. Keith plays with freedom and feeling, while singing with gruff authenticity. Norah Jones pops by for a duet on “Illusion”—their vocal interplay must be heard. Covers of Lead Belly (“Goodnight Irene”) and Gregory Isaacs (“Love Is Overdue”) extend the appreciative arm of thanks, revealing a deep respect and admiration that can be felt beyond the last strum.