We live in an incredibly interesting time in musical history, one that is almost a collage of nostalgia. This year was full of great records that looked back at every genre including jazz, punk, folk, psych-rock, and metal to only name a few. Due largely in part to technology, and the incredible amount of music that can now be accessed at ease, the average listener is not focused on one style, genre, or subculture of music. This is a very exciting fact, but with so many choices out there, it makes it more difficult to become totally immersed in a record, and also it becomes easier to miss great records…. and there were quite a few this past year.
In the last few weeks you have most likely been bombarded with every magazine, blog, media site, and radio show telling you which record of 2015 was the best, and why particular records were better than others. But the fact is that we are all individuals with unique experiences and taste, and the best function of a year end list is to discover music that you may have missed in 2015. The core intention of this list, is that you will discover great new modern music. Each record below has been put in a group of three, with a brief description of the sounds found on the records. If you enjoyed one of the records in a particular group, we think you will enjoy the other records in that group as well. Of course we are not able to address every noteworthy record of 2015, we hope to tell a well rounded story of the world in music this past year. So without further ado here is Part One of A Perfect Prescription's 2015 Music Overview. Stay tuned for Part Two next week.
In the last few weeks you have most likely been bombarded with every magazine, blog, media site, and radio show telling you which record of 2015 was the best, and why particular records were better than others. But the fact is that we are all individuals with unique experiences and taste, and the best function of a year end list is to discover music that you may have missed in 2015. The core intention of this list, is that you will discover great new modern music. Each record below has been put in a group of three, with a brief description of the sounds found on the records. If you enjoyed one of the records in a particular group, we think you will enjoy the other records in that group as well. Of course we are not able to address every noteworthy record of 2015, we hope to tell a well rounded story of the world in music this past year. So without further ado here is Part One of A Perfect Prescription's 2015 Music Overview. Stay tuned for Part Two next week.
Ultimate Painting – “Green Lanes” (Trouble in Mind)
And the winner of the best morning-time record is…. Ultimate Painting. A project originally intended as a side project of Jack Cooper of “Mazes,” and James Hoare of “Veronica Falls,” Green Lanes is an extension of the sound realized on their 2014 debut self-titled record. Simple and subdued guitar driven songs reminiscent of The Velvet Underground’s self-titled masterpiece, or if Parquet Courts took morphine and turned down the feedback. The guitar work between Cooper and Hoare is seamless, clean, and catchy as hell, with vocal melodies that are at times haunting and wonderfully frail. It is obvious that the best of these two musicians is brought out through their collaboration. This is a perfect record for walking down the street next to the morning dew.
Suggested Tracks: The Ocean, (I’ve Got The) Sanctioned Blues, and Break the Chain
John Andrews & the Yawns – “Bit by the Fang” (Woodsist)
Much like brooklyn-based band Woods, from which John Andrews first cut his teeth as the keyboard player, his debut solo record continues along that path of lo-fi Americana. These are songs from an out-of-tune penny piano, one you would find in the corner of your grandparents attic, played by drunken fingers and sang with sincerity. Bit by the Fang hit the shelves this April in perfect time for long tobacco-ridden road trips down sunny highways that never seem to end.
Suggested Tracks: I’ll Go To Your Funeral (If You Go To Mine), Judy & Judy, and Don’t Spook the Horses
Kurt Vile – “B’lieve I’m Going Down” (Matador)
Kurt Vile should sell alarm clocks that play the opening track “Pretty Pimpin'” when it is time to wake up and face the world, being the perfect song to get your ass out of bed. To just look in the mirror, say to yourself “that’ll do,” and get on with the day. Vile has come a long way since his solo debut Constant Hitmaker, with more polished songs, and a confidence that still maintains a vulnerable honesty, and an ability to make something as mundane as brushing your teeth sound cool as hell. Like his 2013 record Walkin’ on a Pretty Daze, Vile collaborated with recording partner Rob Laakso (Swirlies) on B’lieve I’m Going Down, with most of the instruments being played by the two. In the end this is a beautiful record finding Vile in both new and familiar territories, and is all around playful, somber, and at times extremely profound.
Suggested Tracks: Stand Inside, Pretty Pimpin’, and Wild Imagination
Uncle Acid & The Deadbeats – “Night Creeper” (Rise Above)
The third record from Cambridge, UK band Uncle Acid and the Deadbeats is fierce, wonderfully filthy, raw and psychedelic. The Night Creeper contains harmonies that sound occult, and shrill organs that give it a cinematic feel. Although this record demonstrates a slower, sludgier, and more stoned out side of the group, the songs continuously build with unstoppable energy thanks in part to the intensely sinister voice of front man Kevin R. Starrs. The styles found on this record are a wonderful blend of doom, stoner-rock, and psychedelia. Of course this music could easily be described as “Sabbath-esque,” but the flow of this record also bears similarity to something like Sabbath Bloody Sabbath, with heavy-jammers, some cinematic instrumental tracks, and some slow psychedelic moments.
Suggested Tracks: Melody Lane, Pusher Man, and Slow Death
Fuzz – “II” (In the Red)
Ty Segall has been an unstoppable force since his first records started appearing in 2008. Not only does he have 12 solo records to his name at this point, but has done numerous collaborations, produced records for other artists, all while maintaining a vigorous tour schedule. While the style of music Segall makes is extremely diverse, and has jumped around from all styles of rock n roll, because of the sense of urgency behind his record making, each record seems to showcase a very particular moment in time, thus a particular sound. With some of his most recent solo work, Segall has been turning down the noise a bit, especially on his beautiful 2013 record Sleeper. With this particular project FUZZ, where Segall acts as lead vocalist and drummer, he is at his maximum energy and ferociousness, similar to that found on the The Ty Segall Band's 2012 record Slaughterhouse. Fuzz’s debut record in 2013 sounded very much like three monster musicians jamming in a basement in between listening to Sabbath and Pentagram records, while II finds the band with a slightly more focused and structured songwriting approach, without being afraid to spontaneously shred the place to pieces.
Suggested Tracks: Say Hello, Bringer of Light, and Rat Race
Windhand – “Grief’s Infernal Flower” (Relapse)
After the big noise that was 2013’s SOMA, Windhand has returned with Grief’s Infernal Flower, perfecting their style of beautiful and epic doom. The epic voice of Dorthia Cotrell sounds as if she is conjuring up spirits, while simultaneously calling on guidance from heaven. Her voice shines in the midst of giant guitar tones that is of course reminiscent of Electric Wizard and label-mates True Widow. While the majority of the record is relentlessly heavy, it slows down at then end of side B and D for eerie acoustic tracks from Cottrell. While these tracks are quiet and free of sludge, the heaviness remains through the melodies and lyrics. If these are the songs you are intrigued by on this record, check out Cottrell’s wonderful self-titled solo record which was released this year.
Suggested Tracks: Forrest Clouds, Two Urns, and Tanngrisnir
The third record from Cambridge, UK band Uncle Acid and the Deadbeats is fierce, wonderfully filthy, raw and psychedelic. The Night Creeper contains harmonies that sound occult, and shrill organs that give it a cinematic feel. Although this record demonstrates a slower, sludgier, and more stoned out side of the group, the songs continuously build with unstoppable energy thanks in part to the intensely sinister voice of front man Kevin R. Starrs. The styles found on this record are a wonderful blend of doom, stoner-rock, and psychedelia. Of course this music could easily be described as “Sabbath-esque,” but the flow of this record also bears similarity to something like Sabbath Bloody Sabbath, with heavy-jammers, some cinematic instrumental tracks, and some slow psychedelic moments.
Suggested Tracks: Melody Lane, Pusher Man, and Slow Death
Fuzz – “II” (In the Red)
Ty Segall has been an unstoppable force since his first records started appearing in 2008. Not only does he have 12 solo records to his name at this point, but has done numerous collaborations, produced records for other artists, all while maintaining a vigorous tour schedule. While the style of music Segall makes is extremely diverse, and has jumped around from all styles of rock n roll, because of the sense of urgency behind his record making, each record seems to showcase a very particular moment in time, thus a particular sound. With some of his most recent solo work, Segall has been turning down the noise a bit, especially on his beautiful 2013 record Sleeper. With this particular project FUZZ, where Segall acts as lead vocalist and drummer, he is at his maximum energy and ferociousness, similar to that found on the The Ty Segall Band's 2012 record Slaughterhouse. Fuzz’s debut record in 2013 sounded very much like three monster musicians jamming in a basement in between listening to Sabbath and Pentagram records, while II finds the band with a slightly more focused and structured songwriting approach, without being afraid to spontaneously shred the place to pieces.
Suggested Tracks: Say Hello, Bringer of Light, and Rat Race
Windhand – “Grief’s Infernal Flower” (Relapse)
After the big noise that was 2013’s SOMA, Windhand has returned with Grief’s Infernal Flower, perfecting their style of beautiful and epic doom. The epic voice of Dorthia Cotrell sounds as if she is conjuring up spirits, while simultaneously calling on guidance from heaven. Her voice shines in the midst of giant guitar tones that is of course reminiscent of Electric Wizard and label-mates True Widow. While the majority of the record is relentlessly heavy, it slows down at then end of side B and D for eerie acoustic tracks from Cottrell. While these tracks are quiet and free of sludge, the heaviness remains through the melodies and lyrics. If these are the songs you are intrigued by on this record, check out Cottrell’s wonderful self-titled solo record which was released this year.
Suggested Tracks: Forrest Clouds, Two Urns, and Tanngrisnir
Ryley Walker – “Primrose Green” (Dead Oceans)
In the winter of last year I became totally immersed in the album “Solid Air” by John Martyn, with its Jazz tinged Americana, that dreamy distorted rhodes, and the incredible fluidness between musicians. Around this time, I was also obsessed with the likes of Bert Jansch, Richard Thompson, and the one and only John Fahey who all possessed this rare ability to paint lush story-like pictures with their guitar playing alone, an ability only possessed by obsessive types who have somehow mastered every corner of the instrument, removing all restrictions and making the possibilities endless. And just when it seemed that players such as these were no longer in existence, they began to appear from the woodwork. For example, recent artists such as William Tyler, Daniel Bachman, Steve Gunn, Marisa Anderson, and of course the focus of this rant: Ryley Walker. On his follow up to 2014’s All Kinds of You, Walker has created a beautiful, hypnotic, somber, and a straight up classic sounding record that will easily sit in the stacks next to John Martyn, CSNY, Pentangle, or Fairport Convention. The opening of “Sweet Satisfaction” even sounds like a cover of “I Don’t Want to Know” by John Martyn at first listen. Although dubbed a a solo record, Walker does not stand alone whatsoever on this record, the other players on this record have an amazing capability of working around Walker’s chaotic guitar playing creating lush tones and rhythms perfect for those hazy coffee sipping mornings.
Suggested Tracks: On the Banks of Old Kishwaukee, Summer Dress, and Same Minds.
Little Wings – “Explains” (Woodsist)
At a recent show at the Sunset Tavern in Seattle, WA, Kyle Field, the main mind behind Little Wings played through his deep catalog of songs, including many cuts from the recent record Explains, and even jumped into some Merle Hagard covers, as well as a Grateful Dead cover. The covers chosen for this show by Field and company explained a lot of the tones found on his 11th LP. Quiet guitar songs sung in a sort of country ballad fashion backed by rich and shimmery slide guitars that seem to transport you to a sun tinged view on the coast somewhere far away in time and place. Field not only has a great ability for storytelling, but in the style of classic country songs, a capability to paint a clear picture of his environment through abstract, poignant, and often humorous poetic rambles.
Suggested Tracks: Fat Chance, Light Brang, and Old Apocalypse Style
Jessica Pratt – “On Your Own Love Again” (Drag City)
On Your Own Love Again is the anticipated follow up to Pratt’s self-titled debut. Originally recorded in 2007, her debut release garnered so much appreciation from White Fence frontman Tim Presley that he started a record label, Birth Records, to ensure its release. On her sophomore record, Pratt continues the intimate analog folk sounds heard on her first records, as if you are laying on a lush rug in her apartment with the light leaking through. I was very grateful that Pratt chose to record this record on a tape machine once again, with no more accompaniment than a secondary guitar and organ. This method adds to the warmth and intimacy of these truly beautiful songs.
Suggested Tracks: Back, Baby, Moon Dude, and Greycedes
Happyness – “Weird Little Birthday” (Weird Smiling)
Hailing from south london, Happyness is one of the great surprises of 2015. Their debut record, Weird Little Birthday, explores a wide range of territory in an organic fashion, conjuring memories of classic records from Wilco, Yo La Tengo, Sparklehorse or Grandaddy. Frankly, this is a type of quality indie rock that is very rare at this juncture in history. Where the sound of many new bands today seems calculated or planned, the delivery on this record is experimental with an authentic rawness. The three young members, Jonny Allan, Benji Compston, and Ash Cooper play a sort of musical chairs on this record, trading off songwriting rolls thus contributing to the wonderful assortment found on this record. In the end, this is a band to definitely keep your eyes on.
Suggested Tracks: Naked Patients, Montreal Rock Band Somewhere, It’s On You, and Weird Little Birthday Girl
Pile – “You’re Better Than This” (Fierce Panda)
Pile is the kind of band you see at a basement show and get dropped while crowd surfing because the chaotic jangle suddenly dispersed into a slow ‘mathy’ ballad, with the vocal growl of frontman Rick McGuire filling the room with ferocity as you fall. While listening to You’re Better Than This, right when you feel like you can start singing along to the fierce ramble the band returns to pandaemonium, making the previous moments all the more sweeter. For fans of Jesus Lizard and early Built to Spill.
Suggested Tracks: Waking Up in the Morning, Mr. Fish, and Hot Breath
Alex G – “Beach Music” (Domino)
In a recent interview with entertainment website Consequence of Sound, Alex Giannascoli (Alex G for short), states that his biggest fear is that listeners will judge his music on reviews or interviews before listening to the record itself. In the day and age of millions of blogs, Youtube channels and sites like Pitchfork that like to turn an album review into a philosophical comedic ramble, this is an understandable fear. This is also one of the reasons why for this list of records we chose not to add ratings to the records, or even put them in a ranked order, because in the end it is up to you as a listener. But we will say that the most recent record from the young and extremely prolific Philadelphia musician does not disappoint. On his major-label debut, Giannascoli maintains that ‘locked in the basement for days’ sound, that is dissonant, beautiful, strange, catchy and a great step forward in this young artist’s very promising career.
Suggested Tracks: Kicker, Bug, and Salt
Kamasi Washington – “The Epic” (Brainfeeder)
The debut solo effort of Kamasi Washington carries a bold title, which in the end it is more than deserving of. The Epic takes notes from other epic spiritual-jazz records made far before its time, such as records by Alice Coltrane, Pharoah Sanders, and Leon Thomas, but maintains a sound that is both modern and timeless, and draws from many genres without losing focus. Featuring a 20-piece choir, a 32-piece string section, and Washington’s 10 person band “The Next Step,” the sounds found on The Epic are grandiose, and simultaneously experimental and beautiful. Washington’s career has had a unique trajectory, beginning in the realm of Hip-hop and R&B through work with the likes of Snoop Dog and Lauryn Hill, and most recently featured on Flying Lotus’ You’re Dead! and Kendrick Lamar’s To Pimp A Butterfly, the later for which he assisted with the string and horn arrangements. While The Epic is best categorized as a jazz record, due to Washington’s previous work, it contains heavy footprints of R&B, funk and soul, and should find a place on every record-collectors shelf this year.
Suggested Tracks: Cherokee, Re-Run, and Change the Guard
Jimi Tenor & Umo – “Mysterium Magnum” (Herakles)
Finish musician and composer Jimi Tenor returns with yet another excellent collaboration, this time with the UMO, unabbreviated and translated as “The New Music Orchestra.” I originally got introduced to Jimi Tenor through the 2009 record Inspiration Information, which featured Afro-beat legend Tony Allen, and contained classic Afro guitar and drum rhythms projected into a distant future through psychedelic electronics and strange synths. Mysterium Magnum finds Tenor & UMO in a similar place, but this time with a much more cinematic and orchestrated approach. I picture this as a possible soundtrack for a film similar to Marvin Gaye’s Trouble Man, but one which takes place on the moon, and at times finds the main character drinking a strange concoction in a space station lounge.
Suggested Tracks: I Was Here, Blue Ural, and Kratera
Invisible Astro Healing Rhythm Quartet – “2” (Trouble In Mind)
An appropriate third member of this trio of records, the second record by Invisible Astro healing Rhythm Quartet will put you on your back, staring past the ceiling. Both a cosmic and spiritual affair, a fact that is even eluded to in song titles such as Praise One, Praise Two, and Cosmic Loneliness. 2 contains ethio-jazz styles similar to Mulatu Atsake, played by Bakersfield college friends, this record demonstrates a wonderful contrast between chaos and simplistic repetition, all drenched in cosmic psychedelia.
Suggested Tracks: Lifetime and Praise Two
The debut solo effort of Kamasi Washington carries a bold title, which in the end it is more than deserving of. The Epic takes notes from other epic spiritual-jazz records made far before its time, such as records by Alice Coltrane, Pharoah Sanders, and Leon Thomas, but maintains a sound that is both modern and timeless, and draws from many genres without losing focus. Featuring a 20-piece choir, a 32-piece string section, and Washington’s 10 person band “The Next Step,” the sounds found on The Epic are grandiose, and simultaneously experimental and beautiful. Washington’s career has had a unique trajectory, beginning in the realm of Hip-hop and R&B through work with the likes of Snoop Dog and Lauryn Hill, and most recently featured on Flying Lotus’ You’re Dead! and Kendrick Lamar’s To Pimp A Butterfly, the later for which he assisted with the string and horn arrangements. While The Epic is best categorized as a jazz record, due to Washington’s previous work, it contains heavy footprints of R&B, funk and soul, and should find a place on every record-collectors shelf this year.
Suggested Tracks: Cherokee, Re-Run, and Change the Guard
Jimi Tenor & Umo – “Mysterium Magnum” (Herakles)
Finish musician and composer Jimi Tenor returns with yet another excellent collaboration, this time with the UMO, unabbreviated and translated as “The New Music Orchestra.” I originally got introduced to Jimi Tenor through the 2009 record Inspiration Information, which featured Afro-beat legend Tony Allen, and contained classic Afro guitar and drum rhythms projected into a distant future through psychedelic electronics and strange synths. Mysterium Magnum finds Tenor & UMO in a similar place, but this time with a much more cinematic and orchestrated approach. I picture this as a possible soundtrack for a film similar to Marvin Gaye’s Trouble Man, but one which takes place on the moon, and at times finds the main character drinking a strange concoction in a space station lounge.
Suggested Tracks: I Was Here, Blue Ural, and Kratera
Invisible Astro Healing Rhythm Quartet – “2” (Trouble In Mind)
An appropriate third member of this trio of records, the second record by Invisible Astro healing Rhythm Quartet will put you on your back, staring past the ceiling. Both a cosmic and spiritual affair, a fact that is even eluded to in song titles such as Praise One, Praise Two, and Cosmic Loneliness. 2 contains ethio-jazz styles similar to Mulatu Atsake, played by Bakersfield college friends, this record demonstrates a wonderful contrast between chaos and simplistic repetition, all drenched in cosmic psychedelia.
Suggested Tracks: Lifetime and Praise Two
G.L.O.S.S. - "Girl's Living Outside Society's Shit" (Not Normal)
Every so often, a band comes around that sets the precedent through creating a unique sound in a bold and honest fashion. When this bar is set, new expectations are made for what is considered true and authentic expression. For many years, the world of punk has been watered down, presented in a safe fashion for the masses. With the debut demo from Olympia Punk group G.L.O.S.S., they made music for the outsiders, and the masses flocked to them. Clocking in at just over 8 min, this demo is raw, fierce, and downright angry, reminding America of the true purpose of Hardcore punk by challenging societal norms, and striving to end the oppression of those often silenced.
Suggested Tracks: Outcast Stomp, G.L.O.S.S. (We're From the Future), and Targets of Men
Sievehead - "Into the Blue" (Evil Hoodoo/Milk Run)
With driving bass fuzz, darkly melodic guitar melodies, and an unstoppable drum throb, the most recent release of Sievehead will easily conjure memories of early Joy Division and Warsaw, with brief references to reggae-inspired punk of the late 70's, all sounding like it was recorded during an impromptu show in a dank cellar. This is another group that set the bar very high in 2015.
Suggested Tracks: Try the Mirror, Hoax, and Into the Blue
Artefact - "Demo" (Self-Released)
In the world of punk-rock there has always existed the weird and dark underbelly that is goth. Rounding off this trio of DIY punk records, is the catchy and goth-tinged demo from the Cardiff, UK band Artefact. Complete with whirling chorus-laced bass lines, shrieking guitar melodies, and vocals that drip with melancholy, this is a perfect record for fans of Christian Death and Bauhaus.
Suggested Tracks: Indra and Boudicca
Every so often, a band comes around that sets the precedent through creating a unique sound in a bold and honest fashion. When this bar is set, new expectations are made for what is considered true and authentic expression. For many years, the world of punk has been watered down, presented in a safe fashion for the masses. With the debut demo from Olympia Punk group G.L.O.S.S., they made music for the outsiders, and the masses flocked to them. Clocking in at just over 8 min, this demo is raw, fierce, and downright angry, reminding America of the true purpose of Hardcore punk by challenging societal norms, and striving to end the oppression of those often silenced.
Suggested Tracks: Outcast Stomp, G.L.O.S.S. (We're From the Future), and Targets of Men
Sievehead - "Into the Blue" (Evil Hoodoo/Milk Run)
With driving bass fuzz, darkly melodic guitar melodies, and an unstoppable drum throb, the most recent release of Sievehead will easily conjure memories of early Joy Division and Warsaw, with brief references to reggae-inspired punk of the late 70's, all sounding like it was recorded during an impromptu show in a dank cellar. This is another group that set the bar very high in 2015.
Suggested Tracks: Try the Mirror, Hoax, and Into the Blue
Artefact - "Demo" (Self-Released)
In the world of punk-rock there has always existed the weird and dark underbelly that is goth. Rounding off this trio of DIY punk records, is the catchy and goth-tinged demo from the Cardiff, UK band Artefact. Complete with whirling chorus-laced bass lines, shrieking guitar melodies, and vocals that drip with melancholy, this is a perfect record for fans of Christian Death and Bauhaus.
Suggested Tracks: Indra and Boudicca
Stay tuned next week for Part Two of our 2015 Music Overview
Words by: Drake Wilcox
RSS Feed
