2015 was such a great year for music. Here are some of our favorites!
1. Chvrches — Every Open Eye
Courtesy: Chvrches
Lauren Mayberry, frontwoman of Chvrches, is no stranger to the frustration that is apparent in most songs on Every Open Eye. Mayberry has combatted Internet trolls and misogynist fans alike for the past few years and has spoken out about the issue on several panels. Throughout Every Open Eye, Mayberry sings about having a healthy amount of independence in order to better rely on others in relationships in “Make Them Gold”, as well as championing fear and mocking fear when you remember you have the option in “Clearest Blue.” The sweet-sounding indie pop, without a doubt is a long-awaited and obviously adored sophomore album for the group, for critics and fans alike.
2. Turnover — Peripheral Vision
Courtesy: Facebook
The album cover is similar to what you’ll get with Peripheral Vision. It all sounds faded and distorted, yet warm and comfortable. This aesthetic is constant through the album, almost as if it was glossed over after being recorded. Yet, it doesn’t get old too soon before you’re able to give it a full listen. The beautifully delicate guitar in “Hello Euphoria” is therapeutic and a good introduction to anyone unfamiliar to the group, especially seeing as their new sound is fundamentally different from their previous releases. “I feel like it’s more our sound,” bassist Danny Dempsey said. “Each instrument has its own place now. We all have our own purpose now more than ever.” Turnover’s songwriting is smooth and feels more like an intimate conversation with a looming, pretty anxiety clouding the room.
3. Courtney Barnett — Sometimes I Sit and Think, and Sometimes I Just Sit
Courtesy: Courtney Barnett
Seemingly insignificant details take importance in the eyes of Courtney Barnett. Writing about situations from an elevator ride to touring a new house, Barnett takes certain details to mean much more than we typically would. She sings all about her frustrations with the world in a witty, casual-rock way that is on the edge of spoken word. Despite her slacker style, the Aussie is anything but lazy, seeing as she just wrapped up an entire summer tour and will tour Australia again before returning to the US in early 2016. “Her most affecting songs make us suspect that we’re actually the ones foolishly letting life pass us by,” wrote Consequence of Sound.
4. Bleachers — Terrible Thrills Vol. 2
Courtesy: Bleachers
As Jack Antonoff said on Twitter, “I love female voices. I wish I had one. When I write songs I typically hear things in a female voice and then match it an octave lower so I can hit the notes. That’s why so many Bleachers songs are sung so low. I could change the key but I like things sounding like a male version of what in my head was a female-sung song…” Featuring an array of female vocalists including his former tourmate Charli XCX, as well as Tinashe, Elle King, Sia and Sara Bareilles among others, Jack Antonoff gave the women full reign in putting together their own renditions of songs off Strange Desire, and helped them with it wherever they liked. Brooke Candy adds a rap to “Take Me Away”, with Jack’s sister Rachel Antonoff providing a chorus. Sia’s emotional “Like a River Runs” is piano-led with strings, contrasting Bleachers’ upbeat, drum-centered original. The concept of the project alone caught everyone’s eye, but it’s an outstanding addition musically, and highlights choices made in the original record.
5. Wolf Alice — My Love Is Cool
Courtesy: Wolf Alice
In its spacey, often violent vocals and lyrics combating an adolescent vibe, Wolf Alice give us the terrific My Love Is Cool. Your first instinct is that Wolf Alice are just another grunge set, but with tracks like “Freazy” and “The Wonderwhy,” we see the knack that Wolf Alice has for giving us anything and everything we wouldn’t expect. They continue to experiment with their sound and don’t disappoint with whatever track they invent. “Giant Peach” sends us through chomping guitars and vocals, then singer Ellie Roswell croons, “My love bends rules, my love is cool,” to a classic guitar in the hidden demo-style title track at the end of the record.