Alternative Album Chart: the best new indie and alternative albums this week
One of the great things about music is that it’s a muscle. Artists might not always engage in it, as other things in life take precedence, but once they find the time and appropriate headspace to exercise it, it soon comes flooding back, often with more gusto than it did when they decided to move on to something else and pack the guitar away. This point has been made readily clear on One Mile Upstream, the latest album from Florence Clementine, who will be known to some listeners by her former name, Flo Morrissey.
Despite being her first album in years, One Mile Upstream is about as exquisite as returns get. From the mellifluous splendour of her voice to the equally stunning guitar work, there’s a lot to love about the album, and I hope it’s the start of a verdant new chapter from the Londoner. This is quintessential songwriting, with the execution second to none, and it will surely bring Clementine a broader fanbase akin to that of her husband, Benjamin.
Another highlight this week comes from Bon Enfant, the Québécois pop group, who provide pure energy in Demande spéciale, a wholly animated effort brimming with just the right amount of joie-de-vivre to assuage the fact that somehow it is now October. It’s arrived at just the right time, too, as the sun has strangely returned to warm us up and, in equal amounts, tease just how fast this summer passed us by.
On the other end of the stylistic spectrum, Japanese masters Chihei Hatakeyama and Shun Ishiwaka supply Magnificent Little Dudes Vol.2, the second part of their collaboration, which arrived in its first instalment in May. It’s a compelling body of work, oozing refinement, comprised of ample atmospheric soundscapes and some of the best drumming I’ve heard in a very long time.
Elsewhere, newcomers Langkamer lead the “bootgaze” trend with Langzamer, comic legend Tim Heidecker captures the minutiae of life in Slipping Away, and Aussie favourites Skegss supply both good times and sobering wisdom with Pacific Highway Music.
Find this week’s Alternative Album Chart below.
The best new indie and alternative albums this week:
One Mile Upstream – Florence Clementine – [4]
In 2015, Flo Morrissey was picked out as the new darling of the folk world. Off the back of a video of her singing ‘If You Can’t Love This All Goes Away’, she was plucked from obscurity, given a record deal, released her debut album, began working with Gucci, collaborated with Matthew E. White and then, seemingly, disappeared. Now returning as Florence Clementine, her new album One Mile Upstream beautifully tackles the necessary yet difficult transformation that comes with motherhood as she reconnects with her past from a new vantage point.
To say that Clementine ‘disappeared’ feels like the wrong word. In the same way that people talk about how Patti Smith shunned the music world in the 1980s to go off and raise her children and the countless other ways that motherhood seems to alter the public’s perception of a performer or the persona they can put forward, there is still an undeniable tension and battle involved in balancing a career and a family as a woman. So even though Flo Morrissey’s solo career took a backseat as she married and had her two children, the re-emergence of Clementine proves that this period, through all its trials, tribulations and transformations, has been deeply and richly inspiring.
As expected, One Mile Upstream is stunningly sung. Clementine’s voice still holds all the beauty and emotional power that first made her name and caught the world’s attention. Everything the world saw and loved in her then, from her unique timbre to her simple yet vivid folk lyricism, is not only intact but is elevated with a new maturity. But given that this return came as Clementine was merely attempting to reconnect with her own music, giving herself space and time away from the family home to ground back into who she is beyond the domestic sphere, the album is incredibly adventurous.
Demande spéciale – Bon Enfant – [4]
A common word that you will see used to describe different pieces of music is “energetic”. I’m guilty of over-using this word myself, but in my defence and the defence of other often-lost-for-words music writers out there, it does apply to a lot. The problem with overusing a word is that eventually, a song or an album will come out that embodies the definition of that word so perfectly that to use it for anything else feels like a disservice. That’s exactly what’s happened with Bon Enfant and their energetic new album, Demande spéciale.
This is very much a review based on instrumentation and sound. Given that the vocals are sung in French and that my knowledge of the language starts and stops at its name, I can’t comment on the strength of the lyricism. This is more to protect me than the band, as the record is upbeat, funky and fun to dance to, so if it turns out I’m describing harrowing tracks as “joyous,” “wonderful,” and “fun,” it’s best to make sure I’m covered.
Demande spéciale feels like a light-hearted rock show packed up into a record. There is no other word that goes with it other than energetic. That’s not to say the album is crazy or chaotic; it just captures the essence of a live gig very well and makes you want to move to it. There is little else that comes packed with as much energy as this record truly stands alone.
Langzamer – Langkamer – [4]
Some records are tough to put your finger on. This is one of them. As soon as Langkamer’s confusingly named albumLangzamer starts, the opening riff feels gritty, like something that wouldn’t be out of place on a grunge track, and yet, because of the clean surroundings and delicate vocals, the song bears almost no resemblance to grunge. It turns out this is an example of a new emergence of genres.
An alternative version of country, also known as “bootgaze”, is starting to find its feet. In that sense, Langzamer has the potential to be a pretty pivotal record. It remains unclear whether that will be the case, as the luxury of time is required to thoroughly understand the impact of an album like this. However, as a standalone listening experience, Langzamer is an absolute joy.
As a general rule, the album feels incredibly polite. Each note almost asks permission before it’s played, and when vocals come through, they do so in a way that borders on apologising for breaking the silence. However, thanks to hints of distortion, effects on certain vocal melodies, and a healthy dose of variation throughout this album, the record also demands the attention of its listener. You lean in, intrigued, never pulling away from a profoundly enticing sound.
Magnificent Little Dudes Vol. 2 – Chihei Hatakeyama and Shun Ishiwaka – [4]
When two of Japan’s most innovative and skilled musicians come together, you know the result is going to be rewarding. Chihei Hatakeyama and Shun Ishiwaka have teamed up for Magnificent Little Dudes Vol.2, the second part of their collaboration, the first of which was released back in May.
The result is a continuation of their experimental, ambient, and instrumental output, which balances contradictory sounds to create a hypnotising and compelling record. Hatakeyama, a prolific multi-instrumentalist who has released over 70 albums in his career, sets the tone of the record with haunting soundscapes that wash over the listener. Yet, Ishiwaka’s phenomenal drumming, often fast-paced and frenetic, makes for a stark yet strangely fitting contrast.
In life, we battle contradictory emotions and experiences which come with the way our capitalistic society is set up. We often find ourselves struggling with the hustle and bustle of working, socialising, looking after ourselves, facing atrocities on the news, and dealing with other issues that make up the human experience. We grapple with the need for calm in a high-energy world, and on Magnificent Little Dudes Vol. 2, it feels like the pair illuminate the battles of everyday life’s many contradictions through their opposing sounds.
Slipping Away – Tim Heidecker – [4]
Contentment is an underrated human condition. To be simply pleased amid an easy bounty of pleasantries is the achievable goal of life. You realise this more as you get older, and all the guidebooks on existence that you never read have left you searching for the unobtainable, and the thrill of the skydive you never took proved unsustainable. Contentment, in this chaotic world, is arguably far sweeter than revered euphoria because its entropy is lower. It’s more manageable. This is where Tim Heidecker’s new folk album, Slipping Away, happily picnics.
These are not great big songs with giant messages—they are little Randy Newman-like vignettes of an ordinary existence in an extraordinary world. The music, likewise, doesn’t reinvent the wheel or throw in daft dissonance to showcase an orchestrated effort at ‘originality’, it just does what the songs dictate. And the songs themselves dictate a casual, everyday happiness. In presenting these dignified reasons to be cheerful without irony, the record, by virtue of the fact that so few people have actually thought to pleasingly offer up quotidian pleasantries in this age of life dysmorphia, are, actually, stirringly original.
3AM (La La La) – Confidence Man – [4]
It has been eight years since Confidence Man first burst onto the radar with their unique brand of danceable indie electro-pop. Since that seminal debut album Confident Music for Confident People, the band have been on a whirlwind journey, which has seen them rise from grassroots venues to some of the world’s largest stages, including stand-out performances at Glastonbury and sold-out shows across the globe. Since relocating from Australia to London a few years ago, the band have been free to fully embrace their adoration for dance music and rave culture, culminating in the release of 3AM (La La La).
The first thing to note about Confidence Man’s long-awaited third studio album is that it is largely a departure from their earlier work. While Sugar Bones, Janet Planet, Reggie Goodchild, and Clarence McGuffie retain the same potential for creating infectious hooks and danceable rhythms, the sense of humour inherent in the first two albums has, by this point, largely dissipated.
What’s more, 3AM perhaps offers less variety in sound than the band’s previous work, opting instead to pursue club-style dance bangers with dedication. Vocal duties, for instance, are given predominantly to Janet Planet, whereas previous albums saw more of an even split. These facts may come as a slight disappointment to long-term Con Man fans, but they do not really harm the innate quality of the Aussies’ latest offering.
Clouds in the Sky They Will Always Be There For Me – Porridge Radio – [3.5]
Many artists set out to put their innermost feelings on show when they pick up a pen or a guitar, hoping to drag their emotions out in the studio in order to make their listeners feel them too, but few have achieved this feat quite as consistently or as palpably as Porridge Radio. Led by vocalist Dana Margolin, the Brighton-born band have created one of the most aching sounds in indie rock, and their latest record, Clouds In The Sky They Will Always Be There For Me, only reasserts this ability.
A large part of Porridge Radio’s emotionally gutting sound stems from Margolin’s talent behind the microphone. She’s a gifted songwriter, of course, employing repetition and intense emotion to reach her end goal, but there’s something about her vocal delivery that drives the potency of Porridge Radio. She doesn’t hold back. Her trembling voice is what has drawn so many fans to their catalogue, and fortunately, it’s just as present on Clouds In The Sky as ever before.
Margolin may take centre stage on Clouds In The Sky, her emotions and voice driving the record forward, but the instrumentation that sits beneath is just as well crafted. Her band flits between softer moments that allow her newfound imagery to shine, adorning them with gentle synths, lonely pianos, and emotional swells that will have become all too familiar to Porridge Radio listeners.
Every Inch of Earth Pulsates – W.H. Lung – [3.5]
Feeding off the energy and excitement of the audience, W.H. Lung is a profoundly adept live act. These musicians understand the charm of one inexplicable moment of greatness, creating memories shared only by those present, living for the moment, and giving back as good as they can. Manchester‘s cherished W.H. Lung capture this unmistakable glimmer of passion in their latest effort, Every Inch of Earth Pulsates, transferring their live ethos to record.
Since day one, this band has specialised in reframing the allure of live music. They use the palpable energy they experience in front of an audience to create something that sounds as raw and authentic as it is complete and polished. W.H. Lung doesn’t just provide a great experience; they recreate and re-establish what it means to hear and feel live music, allowing this basic principle to guide anything they do in the studio.
However, this transition isn’t always as easy as it seems, making it difficult to explain the band’s greatness to anyone who hasn’t yet managed to get themselves down to a live set. This is why Every Inch of Earth Pulsates, as strange as it sounds, is the perfect place to start—not only does it hold the appeal of their live presence at its core, but it’s a record you will find yourself visiting time and time again, and one that grips more strongly with its lyricism than anything found on their previous two albums.
No Club – Zabala – [3.5]
The Basque Country, in northern Spain, is an area of stunning natural beauty, with picturesque coastlines and historic towns and cities dotting the otherwise untouched landscape. In recent years, however, the autonomous region has often been noted for its incredible cultural output, with Bilbao being a particular haven for musicians and artists alike. Jon Aguirrezabalaga is one such figure, who has been a stalwart of the city’s music scene for decades, both as a solo artist and as a member of the synth group We Are Standard. His latest exploit sees the songwriter take on the stage name Zabala, constructing a wealth of compelling soundscapes.
On this new album, No Club, Zabala demonstrates his endlessly broad and diverse electronic influences. Although, at heart, it is an electronic album, the composer manages to incorporate so many different sounds and musical influences that it is difficult to categorise it properly. No Club moves fluidly from gentle, atmospheric soundscapes to driven, almost danceable beats. Its fluidity is especially impressive given the wide variety in sound; it never feels as though it jerks from one sound to another. Truthfully, it would be easy to view this record as one long, continuous composition.
Highlights of this album come within the longer tracks, during which time Zabala is given enough time to develop his ideas properly. The longer songs provide the composer with an opportunity to reveal elements of his work gradually, whereas some of the tighter efforts seem to be a little contrived and never really get a chance to properly get going. Tracks like ‘Amira’ or ‘Mr. Vertigo’, for instance, feel closer to being superfluous interludes than notable songs in their own right. Arguably, though, they do still contribute to the flow of the album.
Pacific Highway Music – Skegss – [3.5]
Skegss might now be a two-piece, but Ben Reed and Jonny Lani have not lost any of their unique potency. On their latest album, Pacific Highway Music, they supply 11 tracks that, while more explicitly reflective than much of their previous material, are brimming with astute punk perspicuity. This is reinforced by their habitual knack for a hook, a pool they have continuously fished but appears to still be abundant.
Skegss have never claimed to be trying to invent the wheel; that’s just not what their band is about. On the third album, their captivating blend of punk and indie not only brings forth the sun inherent to their native Australia as always, with many of these songs fit for stage diving, but they also demonstrate just how firm their grip on the craft of songwriting is once more. They’ve even thrown a dash of synthy textures in the mix to freshen it up.
While the tracks are ostensibly simple, Pacific Highway Music is exceptionally potent. It is just as capable of pulling core memories out of the psyche and causing a moment of gleeful reflection as it is providing moments of immense philosophical substance that make you re-evaluate where you are in life. Reed masterfully suggests we stop ruminating on the past and instead look to the future to enjoy the smaller things in life, which, in a world so obsessed with itself and how it appears to others, is greatly valuable.
Dreamstate – Kelly Lee Owens – [3]
Since making her debut in 2017, Welsh producer Kelly Lee Owens has consistently proven her talent for creating and sustaining ambience throughout an album’s entire runtime. Inner Song, released in 2020, perhaps marked the height of this, pulling in elements of techno and airy vocals to create something truly transcendent, while her last offering, LP.8, pushed her sonic atmospheres into grainier, grittier directions. But her latest album, Dreamstate, shrugs off that expectation.
Rather than creating a record that induces calm and contemplation like Inner Song or crafting something harsh and noisy like LP.8, Owens has opted to push further into the club realm to hide her penchant for ambience under pulsing beats and polished pop vocals. Dreamstate isn’t entirely devoid of her previous trademarks — those swirling vocalisations are still present alongside ethereal synths — but it pushes her interests in techno and pop further to the fore.
This makes for a slightly more inconsistent listen than some of Owens’ earlier releases. Danceable, remix-ready tracks are juxtaposed against songs full of soft strings and keys, while Owens’ vocals flit between those ethereal wails and polished pop choruses. It makes Dreamstate, contrary to its name, a little less engrossing than Inner Song, but it also makes it a little more unpredictable.
