Future Islands "The Far Field"
“Oh buddy, come on! Il’ll take all of that you got” David Letterman shouted, uncharacteristically genuinely enjoying something, after Future Islands‘ famed performance of “Seasons (Waiting On You) on the Letterman show in early 2014. Well, Dave, there’s more for you to have! The Far Field, the latest from Samuel T. Herring and the gang, finds everything as it should be. Bouncy, new wave vibes, dreamy in a Beach House way, and all while Samuel sings his heart out. They have a unique ability of reminding you of everything without actually sounding like anything (that, and having Debbie Harry around for a guest vocal turn). There are very few people in music using their instrument as emotionally as Herring is doing with his vocals that pairs the best aspects of Elton John and Tom Waits, all the while never being anything less that breathtaking–help in that department from wonder-producer John Congleton (Brain Wilson, Chelsea Wolfe, Angel Olsen, countless others). Look, I know you want to hear it. All the tracks are highlights. But feel free to dig in with the synth-heavy single “Cave.”
Hauschka "What If (Temporary Residence)"
I think of Volker Bertelmann, aka Hauschka, as sort of a musician/mad scientist hybrid (the same super-awesome moniker could be given to lots of the amazing musicians on the Temporary Residence roster). Since 2004, he has made a name for himself as a composer of music for prepared pianos (the art of putting stuff in the piano so it sounds different, i.e. art erasers, pencils, metal hardware). While he still does this on his latest, What If (like I said, Temporary Residence), he takes it one step farther. This time he’s ALSO preparing player pianos, composing for them to play songs at a speed that wouldn’t be possible by human hands (I don’t care WHAT Lang Lang says, he can’t play this fast). The result is parts eerie and hauntingly beautiful, like a mixture of Aphex Twin’s recent acoustic work and the soundtrack composing of Radiohead’s Jonny Greenwood, which Hauschka sites as a heavy influence. Check out the nervous beauty of “Constant Growth Fails.”
Sneaks "It’s A Myth (Merge)"
Sneaks DIY debut Gymnastics was one of my favorite albums of 2016. Super short songs. Drum machines. Bass. Dry vocals from Eva Moolchan (the only member of the solo band). It invigorated me in a way that hasn’t happened in a long time. So singular. So simple. So how is her follow-up? Thankfully It’s A Myth (Merge) is another post-punk dose of brevity and brilliance. Recorded by Mary Timony, this is still Sneaks thru-and-thru. Wry, stream of consciousness lyrical playfulness, I cannot get over how much Eva is able to achieve with such a small palette. I guess Orson Welles was right when he said the “absence of limitations (is) the enemy of art.” He also said “bring me the Steak Au Poivre” but that’s getting slightly off topic. Check out the blistering “Hair Slick Back.”
Tall Ships "Impressions (Fat Cat)"
The 2012 stunning debut from Tall Ships was both a blessing and a curse for the band. After all, Pitchfork described their sound as “the more swashbuckling strains of Okkervil River and Modest Mouse, M83’s downcast glimmer, and Sigur Rós’ misty yawn.” Expectations were high. Plus, some personal turmoil and a falling out with their label left the band with two options. Persevere or give up. Thankfully, they did the former. Retreating to their keyboardist’s country home to regroup. And regroup they did. Each song on Impressions (Fat Cat) is an anthemic, build-y wonder. Patches of beauty only outdone by patches of even more joyous beauty. Seriously. This one is a keeper. Check out “Road Not Taken.”