GutterPutter

Ed Sheeran – – (Subtract) (5 May 2023)

Tragic news surrounding his wife, his best friend, and legal disputes with Marvin Gaye’s co-songwriter feels like they add to the subtext of what should be Ed’s final maths-themed album. He doesn’t go along with the pop directions that permeated nearly all of his albums from the mid-2010s onward. Instead, he went with the folk pop impressions that allowed him to break through to the mainstream on his debut +. There is an awkward synergy between the entirely acoustic guitar following and his grandiosity that creeps up throughout most of the album. However, we do see that he can be affecting at his most vulnerable on certain tracks such as ‘Boats’ which feels like a throwback to his earlier days with ‘The A-Team’ or ‘Lego House’. He might be shaky at times, but it’s nice to know that he has it in him to make relatable, humble tracks. 2.7/5

Panchiko – Failed At Math(s) (5 May 2023)

The long-awaited debut album of the UK-based indie rock band, ever since more than 20 years ago, is finally out now. While the 4chan hype had died down after their demos had built a cult following over seven years alongside three band members being scouted, the noisily psychedelic production makes Failed At Math(s) feel like magic. Its twee tidbits, electro-rock accessibility, and psychedelic uniqueness all culminate together to create a gold mine. The fact that the band’s overall sound in their inception still holds up today speaks volumes for how largely immaculate the musical identity is for Panchiko. ‘Rocking with Keith’ is definitely a masterpiece for its post-rock adoption that blends with the artsy unpredictability that builds over a melodic chime in its production. What a way to close out a comeback. 4.6/5

Susanne Sundfør – Blomi (28 April 2023)

The Norwegian singer-songwriter’s newest album is remarkably very personal; it has a thematic inspiration from Sundfør’s family to whom she dedicates her work to. From beginning to end, it’s an impressionistic journey into finding hope amidst the relentless and unforgiving world. Its folk instrumentation makes for a decent listen at first, yet the real highlights shine through the likes of ‘alyosha’ which, through the beautiful singing and the harmonic piano, makes for an emotive experience. The lyricism might have its own charm, but the variety of influences can mean that it can feel messy as a whole. Nonetheless, its mysticism might be the selling point if you are interested. 3.1/5

Model/Actriz – Dogsbody (28 February 2023)

Picture LCD Soundsystem if James Murphy gets inspired by Nine Inch Nails instead of the B-52’s. Add in the raunchy themes of sex, LGBT+ feelings, and a good amount of provocation that is not easy to listen to in public at all. Its taboo-shattering approach doesn’t leave much room for the band to stand out as no matter how abrasive or shocking it can feel, the mixing feels too mushed up. I’m not kidding with this criticism. I find that the production and the mixing holds off a pretty fascinating insight into homosexuality and violence. In turn, some of the best tracks weren’t necessarily metallic bangers for the club. Instead, they’re slow burners that seek self-relief. 3.3/5

Lankum – False Lankum (24 March 2023)

One of Ireland’s most left-field folk bands opt to go for droning and creepiness. The themes tried to allude to ominous fairy tales or some form of folklore, yet the lengthy runtime for most of the songs can make the experience tedious for all its experimentations. It’s the kind of avant-folk that, in trying to stick with the same acoustic sound with drone being the sole electronic source, False Lankum doesn’t feel like an odyssey into our vices or even Ireland’s cultures as it does a dull chore. I can’t say that I enjoy it. However, those who are looking to branch off into Irish folk music might find this to be a challenging, yet ambitious foray into its stranger side. 2/5

Sadness / Abriction – Sadness // Abriction (27 March 2023)

This split album is from a collaboration between a dream pop artist, Abriction, and a blackgaze musician called Sadness. It comes with a rare instance of shoegaze’s all-consuming wall of sound production and hazy ambience which is largely reminiscent of Parannoul. The contrast between the metal-inspired dissonances from Sadness and the ethereal, bittersweet serendipity of Abriction can cause a bit of a contrast in inconsistency that might leave fans of either metal or indie pop feeling muddled up. Especially with Sadness, I end up stumbling with the lo-fi mixing from time to time. Yet, the execution works nicely most of the time and some parts can even feel ecclesiastically hopeful as exemplified through the 21-minute long epic ‘her summer morning sky’ from Abriction’s end. 3.9/5

The Tallest Man on Earth – Henry St. (14 April 2023)

Acoustic guitar, Dylan-esque singing, pastoral feelings. The production helps to give the record a nice bit of shine, but the rest of the parts just feel passable. The worst kind of passable. It’s quite a relaxing listen, yet you feel like you have already listened to these kinds of songs by the same kind of people before. There’s simply nothing about it that feels new. You’re better off listening to a couple of 60s’ classics than this one for inspiration points. 1.2/5

TDK – Nemesta (8 March 2023)

A Bulgarian prog-rock band has gone down the same brutal path that the likes of black midi had done. This time, it’s slightly mixed with both batshit crazy jazz playing and more sprechgensang. The dystopian sense as an atmosphere, the zany switch-overs in the start-stop composition, and harsh vocals make for one unhinged journey. It might not be a calm listen nor is it easy, but it’s such an insane record that is worth your time. 3.8/5

Kara Jackson – Why Does The Earth Give Us People to Love? (14 April 2023)

The US’s National Youth Poet Laureate of 2019-2020 decides to give creating music a go with a very reminiscent pathway of Leonard Cohen. Best described as a folk album with delicate instrumentations that harkens to chamber music, the debut is filled with anecdotes and musings on parasitic relationships, social/racial justice, and self-reflection. Jackson clearly puts her talent at wordsmithing into her debut as a music artist, weaving memorable phrasings and sociopolitical commentary into all of her tracks. This births a peculiar kind of singer-songwriter as a genre that blends the original subtextual insights from the 1960s with the colloquial slangs that relates to now. This is a gift for the poetry lovers. 4.4/5

Young Fathers – Heavy Heavy (3 February 2023)

The artsy pop group from Scotland comes through with a very psychedelic record that’s filled to the brim with African influences, studio-altered vocals, tribal choruses, and a lot of layering. To say that it feels mystical is an understatement; the gospel and hip hop tropes that are felt within Heavy Heavy can at times feel like a celebration of being black like Lonnie Holley. I find that the album has a certain aura that makes it danceable and alien thanks to its vibrant variety. That being said, it has such a robust production that it can feel overwhelming or even mechanical at worst and its layering can at times mess a bit with the mixing. 3.5/5

Ling Tosite Sigure – last aurorally (12 April 2023)

It’s a kind of J-rock that you might recognise since Ling Tosite Sigure is the band behind an anime Psycho Pass’s theme song. For last aurorally, there is a nice emphasis placed on the production with the fades, the echoing vocals, and the well-accented notes from each instrument. Yet, there are big issues that are worth flagging up on as the largely frantic performance and the alternating vocals can not only feel a bit too disorientating for me, but it can also come off as being a bit too ‘whiny’ as to speak. Fans of Japanese music in general would like this record, but this simply doesn’t have as much impact on me as other records do. That is if at all. 1.6/5

shame – Food for Worms (24 February 2023)

Shame returns after their sophomore effort (that I just feel mixed on) with what could be best described as their most dynamic record. Unlike the largely disappointing Drunk Tank Pink, the soaring guitars can really come crashing down in a very alluring way and the structure offers a lot more leeway to drag the listener along through the highs and lows. The songwriting and the production offers a certain gothic kick that fits well with the cynical, even depressive look at the self. That being said, even that offers little remedy to how Shame doesn’t stand out as much as other bands in the UK’s post-punk scene. Aside from the flexible song structure, the sounds generally fail to stand out as unique nor was the theme represented in as nuanced or as interesting as their contemporaries. Chances are, shame might be one of those bands that I might never get the hype around. 3/5

James Holden – Imagine This Is a High Dimensional Space of All Possibilities (31 March 2023)

It’s like listening to a slightly smart xenomorph trying to create an ambient album in a TARDIS. The sound palette will come off as being interesting at first and there’s a lot of variety, but there doesn’t feel like there’s a whole load of substance used from the album’s influences. To try and elaborate, it’s like going somewhere as a tourist, learning about the cultures there, and then returning home to find out that you never realise what makes them so important to the community. Best served as a samples mining spot if you ask me. 2/5

boygenius – the record (31 March 2023)

The super-triplet of Lucy Dacus, Phoebe Bridgers, and Julian Baker hit off with their debut album altogether. With ponderous looks at love and self-reflection, the record features both acoustic and electric instrumentation although the former tends to take precedence which I find to be a more befitting part in the album. The constant wonder on relationships under different filters can be an impediment for those who are hoping for a broader array of themes such as idolisation as could’ve been examined on ‘Leonard Cohen’. Additionally, the lyricisms generally fail to impress me nor does it make me feel even if there are lines that are quotable. However, there are moments that align with the best of each of the three singer-songwriters. ‘Cool With It’ is especially among one of the most gut-wrenching examinations on toxic relationships I’ve ever listened to. I’m serious. 3.1/5

Mammal Hands – Gift from the Trees (31 March 2023)

A jazz record that feels as atmospheric as taking a walk around an empty forest at night. With varying instrumental leads over its 49-minute run, it has its whimsicality that makes for an adventurous listen and . Of course, the rhythm from the time signature might not add as much to the texture as one would’ve hoped and the instruments might not have felt as full of its breadth as it could’ve. It’s simply a nice album to give a listen to even if it might not have a lot of unique characteristics that allows it to stand out. 3/5

Tinariwen – Amatssou (19 May 2023)

The Tuareg Tishoumaren (i.e. ‘desert blues’) collective releases their ninth album which is a fascinating dive if you’re curious about West African music. As the band were exiled from their native Mali due to military conflict, the general theme revolved around protesting against oppression, journeys around the Sahara desert, and largely progressive optimism for Africa. The loose instrumental performance and tribal chanting makes for a hypnotic, even cosy listen. Its main drawbacks I would argue is on how it can take a lot of listens to click through without any context around the band. If you’re looking for a gateway into afro-music, then Tinariwen might be a decent band to check out while you still can. 3.4/5

Jessie Ware – That! Feels Good! (28 April 2023)

The modern queen of disco still shows why she’s among one of the best artists nowadays. That! Feels Good! combines the undeniable rhythm of dance pop with a nice variety of subgenres and sound without ever coming off as being all-around-the-place. The singing is great and there’s a certain vibe about it that makes it both reminiscent of the 80s and have a quality that makes it up there with the likes of Adele. If you’re hoping for introspection, I doubt that this might be the perfect album as it’s largely made as a clear piece of entertainment. If you’re in it for the fun, you can kiss the Bee Gees goodbye. 4.3/5

Kesha – Gag Order (19 May 2023)

Once a pop diva back in the late 2000s, Kesha’s newest album feels less like washed dance record material and works more like an Apple-esque dive into creative freedom. Here, she mixes her star-making electronica with bits of acoustic guitar playing and psychedelic production which makes for a clear turn away from the mainstream that she once conquered. Her attempts to throw in some electro-fillers makes for some serious clashes with her serious, introspective tracks that deal with her mental health and distress. We might not see her release a top 10 hit much like a decade ago, but this bold and refreshing direction will surely turn heads on those who dismiss her as some dull industry plant. 3.4/5