The big news today is: commas are back. Specifically; commas in album titles, which I am bang into. Earlier I posted a track from Pale Honey’s Some Time, Alone, and now I’m getting all excited about Infinity Knives new album Dear, Sudan, which is so weirdly exquisite I’m not even sure how to describe it. In The Mouth Of Sadness is heavy on both reverb and emotion, and transitions from a gushing electro pop banger into a gently tinkling jazz ballad. And it’s probably one of the more ‘conservative’ records on there.
I could have picked pretty much any track from Eartheater’s wonderful new album Phoenix: Flames Are Dew Upon My Skin, and breaking the LP into individual parts is definitely not the best way to experience it. There’s so much going on, such a range of emotions and ideas: from seething, clattering orchestral maelstroms to delicately strummed guitars and fragile, shattering vocals. It’s fiercely jagged and incredibly soothing in equal measure and I can’t get enough of it.
Amid the mania of a surprise-released Taylor Swift album, thank fuck for the understated brilliance of Jessy Lanza’s new electro-inflected pop LP All The Time. There’s so much to enjoy here – not least the wide-eyed effervescence of lead single Lick In Heaven – but Over and Over is my pick: a driving, delicate, happy, sad, restrained banger. How’s that for a bunch of contradictions? Whatever, I’m standing by it.