Tags
Beck, Cloud Nothings Dylan Baldi, FKA twigs, Flying Lotus, Interpol, Jack White, Kendrick Lamar, Mike Hadreas, Parquet Courts, Real Estate, Run The Jewels, Spoon, St. Vincent, Stephen Ellison, Stephen Malkmus, The War On Drugs
The consensus around the Internet seems to be that this year in music hasn’t quite measured up to 2013. In some ways, it’s correct: there’s been no earth-shaking Yeezus moments, no established, quasi-mainstream bands making the leap as in Modern Vampires of the City and Reflektor, no legendary comebacks like mbv, no Days Are Gone breakthroughs. Of course, that doesn’t mean that we haven’t been graced with a wealth of great music in the last 12 months, as evidenced by the following records. From warring rock & roll auteurs to trip-hop revivalists to art-rock queens, this is the best the industry had to offer in 2014.
Note: I forgot to add TV On The Radio’s Seeds and Iceage’s Plowing Into The Field Of Love to the list, where they probably would have ended up somewhere in the 20s.
40. The Number Ones– The Number Ones
The debut from these Irish power-poppers is a charming, consistently fun record with deceptively simple songwriting. The album has drawn comparisons to legendary countrymen such as The Undertones. While they may have yet to reach those heights, this is a record that’s sure to get you your teenage kicks. Top Track: “Heartsmash”
39. Upside Down Mountain– Conor Oberst
The sixth solo effort from the former child prodigy and Bright Eyes frontman offers some of his most fully-formed and emotional songs, embracing his rock and roll roots as much as ever before. Top Track: “Zigzagging Toward The Light”
38. Lazaretto– Jack White
Another solo LP from an indie icon of the early 2000s, Lazaretto is White’s most restrained, subtly crafted album yet. Those who complain about the lack of punk-blues stomp that defined the White Stripes are missing the impeccable craft of songs like “Three Women” and “Would You Fight For My Love?,” not to mention the title track, which boasts the best riff and solo Jack has ever played without Meg backing him up. Top Track: “Would You Fight For My Love?”
37. In Conflict– Owen Pallett
Pallett is an odd figure in the music world- a baroque-pop mastermind known mostly for his music theory-based deconstructions of pop songs like “Teenage Dream” (not to mention collaborating with Arcade Fire on the score for Her, the best film soundtrack of 2013). This follow-up to the masterful Heartland proves why that’s an injustice, melding his signature choirboy melodies, intricate string arrangements and literate lyrics with electronic flourishes. Top Track: “I Am Not Afraid”
36. El Pintor– Interpol
Despite the loss of mercurial bassist Carlos Dengler, the best-dressed band in rock heralded this fifth album as a return to the form of 2002’s classic Turn on the Bright Lights. It didn’t disappoint, as the record defied expectations as their best in a decade, with all the slashing guitars and dour lyrics we could’ve asked for. Dengler now has no choice but to join Peter Hook in the Bitter Former Bassists of Post-Punk Bands Club. Top Track: “Same Town, New Story”
35. Wig Out at Jagbags– Stephen Malkmus & The Jicks
Quite possibly the best-named record of the year, the indie-rock icon proves once again that he is physically incapable of making bad music. These are some of his tightest tunes yet, even with such surprises as the unexpected trombone solo of “J Smoov.” Top Track: “Cinnamon and Lesbians”
34. The Voyager- Jenny Lewis
Yet another solo joint from an indie-rock stalwart, The Voyager works as both an irresistible slice of SoCal pop-rock and an affectingly honest personal statement. From the gender politics of “Just One of the Guys” to the tumultuous storytelling of “Late Bloomer,” the album gives us a fascinating look into Lewis’ psyche, all the while accompanied by catchy, complex melodies and arrangements. Top Track: “Head Underwater”
33. Salad Days- Mac DeMarco At this point, DeMarco is still best known for his infamous stage antics and trashy public persona. Strange, then, that his music should consist of lovely, low-key psych-pop gems. DeMarco’s songwriting takes a step forward on his second full-length, evoking the sunny California pop of The Byrds and Buffalo Springfield while maintaining a distinct aesthetic. Top Track: “Passing Out Pieces”
32. Transgender Dysphoria Blues– Against Me! The transgender lifestyle has been well-documented in rock, from Ziggy Stardust to Antony Hegarty. What makes Laura Jane Grace stand out, however, is how she funnels her frustrations into a fierce punk spirit, which shows throughout her group’s new record. Perhaps her Arcade Fire criticisms were misplaced, but there’s no arguing with the songwriting prowess and genuine passion in her music. Top Track: “True Trans Soul Rebel”
31: Everyday Robots– Damon Albarn Abandon hope, all ye who want new Blur songs. The Britpop icon’s debut solo effort is his quietest, most personal document yet, incorporating the dub, electronic, and folk influences that have shown throughout his legendary career. Also: a Brian Eno collaboration and a song about a real-life elephant. Top Track: “Hostiles”
30. Content Nausea– Parkay Quarts The second album of the year from Andrew Savage and Austin Brown, Content Nausea fuses the group’s angular art-punk with industrial flourishes for their darkest record yet. The aesthetic suits the subject matter, especially the title track’s effusive anti-technology manifesto. Top Track: “Pretty Machines”
29. You’re Dead!– Flying Lotus
Probably the year’s most innovative, futuristic record, Stephen Ellison takes his sound and his lyrics past the world we know on You’re Dead! Riding an unmistakable mix of jazz, hip-hop and electronic and the contributions of Kendrick Lamar and Herbie Hancock, FlyLo creates a fascinating look at his (and everyone else’s) mortality. What stands out, however, is the lasting final line of the album: “We will live on forever.” Top Track: “Coronus, the Terminator”
28. Under Color of Official Right– Protomartyr
The much-hyped debut from this Detroit quintet is a potent mix of Joy Division-esque post-punk, post-hardcore and classic rock. Shining through the intense darkness of the record is the tunefulness and musicianship of what promises to be a great band. Top Track: “Maidenhead”
27. I Never Learn– Lykke Li
The Swedish indie-pop diva’s third record abandons the synth-pop and IDM leanings of her first two albums for a largely acoustic set of astonishing emotional power. Inspired by a devastating breakup, a sense not only of heartbreak but of the strength to survive it is what one takes away from I Never Learn. Top Track: “No Rest for the Wicked”
26. Tied To A Star- J Mascis
The last thing we expected from noise-rock icon and guitar god J Mascis’ first two solo albums was probably quiet, introspective folk-pop, but the style suits him well. Essentially in the same vein as 2011’s Several Shades of Why, Tied To a Star showcases Mascis’ astonishing fingerpicking along with beautiful melodies, piano flourishes and even the occasional plugged-in solo. Top Track: “Wide Awake”
25. Loom- Fear of Men
Despite the ominous nature of the band and album’s names and the album cover, Fear of Men’s debut is a bright, hugely enjoyable piece of indie pop. From the alluring melodies to Jessica Weiss’ gorgeous vocals to the surprisingly sophisticated music, Loom is an excellent start to a promising career. Top Track: “Green Sea”
24. Sea When Absent– A Sunny Day In Glasgow
In the eternal search for a way to define A Sunny Day In Glasgow’s sound, I have reached “a mix between Cocteau Twins, Going Blank Again-era Ride, and Beach House.” This is not entirely accurate, but it does give an impression of the shoegaze-meets electronic-meets dream pop aesthetic of Sea When Absent. One of the most sonically huge albums of the year, its mixing of ethereal pop melodies and massive soundscapes is consistently beautiful and overwhelming. Top Track: “The Body, It Bends”
23. Morning Phase– Beck
The 87th (approximately) album from the alternative icon was promoted as a companion piece to his 2002 masterpiece Sea Change, which inevitably resulted in the question of “Is it as good?” The answer: it’s rated 23rd on the list of the year’s best. So no. Still- the album’s hypnotic power and deep emotional resonance make for an outstanding listen. Top Track: “Turn Away”
22. Our Love– Caribou
With Our Love, Dan Snaith finally turned his attention fully to the dance floor, leaving behind the folktronica (what a stupid word) of his previous work. The result: some of the most gorgeous, complex, and purely enjoyable work of his career, as reflected in the incredible album art. Top Track: “Silver”
21. It’s Album Time– Todd Terje As evidenced by the name, It’s Album Time is the first LP from Norwegian DJ and producer Todd Terje. It could serve as a companion piece to Our Love, however, Terje’s record projects a more laid-back, ’70s vibe that begs to be the soundtrack to drinking mimosas by the pool (except when Bryan Ferry starts singing). Top Track: “Delorean Dynamite”
20. Singles- Future Islands
It’s become one of the most iconic musical images of 2014: Future Islands frontman Samuel Herring, complete with questionably tight black T-shirt, dancing like a madman, uttering guttural grunts and pounding his chest dangerously hard, all while David Letterman looks on. Luckily, it’s given more publicity to the synth pop trio’s outstanding record, especially the instant-classic “Seasons (Waiting on You).” Top Track: See above.
19. Nikki Nack– tUnE-yArDs
Grantland’s Amos Barshad on Nikki Nack: “You can either listen to it super-loud, or spin around a bunch of times in a circle then do two sets of Nic Cage–in–Con Air–headstand-push-ups then perform a close reading of a Claymation Haggadah. The results will be roughly equivalent.” Pretty accurate, though it threatens to undersell how just how enjoyable Merrill Garbus’ worldbeat indie-pop truly is. Top Track: “Wait For A Minute”
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18. Alvvays– Alvvays
This Canadian quintet led by Molly Rankin comes across, strangely enough, as a band for our times. Maybe not so much in their sunny, reverb-soaked guitar pop and atmospheric keyboards, but certainly in Rankin’s lyrics. Lead single “Archie, Marry Me” is a seriocomic expression of post-graduate uncertainty wrapped inside a tale of heartbreak (“You’ve student loans to pay / You will not risk the alimony”). Here’s hoping their future isn’t as bleak as they’re afraid it is. Top Track: “Party Police”
17. Atlas– Real Estate
Atlas isn’t much of a departure from its predecessor Days, although no one ever accused Real Estate of needing a makeover. Here, their knack for melody and the astonishing precision of their interplay is in full view, and is the perfect soundtrack to what ends up as a deceptively affecting breakup album. Top Track: “The Bend”
16. Present Tense– Wild Beasts
The Line of Best Fit may have been a little hyperbolic in calling it “possibly the most intelligent, involving and profound record since OK Computer,” but don’t let that turn you away from Present Tense, the latest and best album from British electro-rockers Wild Beasts. Besides, these guys aren’t interested in being “the next Radiohead,” certainly not so much as their less worthy but infinitely more popular contemporaries Alt-J. Where the latter has made its name on artistic posturing and try-anything-once faux-experimentalism, Wild Beasts has created a sophisticated, distinctive sound that proves to be more challenging and rewarding. Top Track: “Mecca”
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5. Sunbathing Animal– Parquet Courts
Putting in their second (kind of) entry in the list are Brooklyn art-punks Parquet Courts, quickly delivering the hype that greeted last year’s instant-classic Light Up Gold. Expanding their musical horizons to include shades of the blues and classic rock, Sunbathing Animal is a major artistic step forward- from the raucous punk of the title track to the seven-minute centerpiece “Instant Disassembly.” Their (not-so) secret weapon, however, is their incredible lyrical depth, showing that they echo Stephen Malkmus not only in sound but in spirit. Top Track: “Instant Disassembly”
14. Too Bright- Perfume Genius
While Against Me!’s record was certainly not lacking power, the 3rd LP from Mike Hadreas is the definitive musical document of the queer experience of 2014. Expanding his usual piano-and-synths approach to include woodwinds and strings, Hadreas blooms into a full-blown glam star (one of the year’s most-quoted lyrics: “No family is safe when I sashay”). Still, the defining aspect of the album is his vulnerability, and the eternal conflict between his body and his mind. Top Track: “No Good”
13. LP1– FKA twigs
Another unexpected development of 2014: that the most exciting solo debut of the year would come from a British avant-R&B/trip-hop enchantress. But that’s just what Tahliah Burnett has done with LP1, an album whose easily traceable influences (Portishead, Aaliyah) combine into something that sounds like nothing else. Accentuating her cavernous, surreal sound are her almost hyper-sexualized vocals and lyrics, all amounting to one of the most alluring debuts of recent years. Top Track: “Two Weeks”
12: Burn Your Fire For No Witness– Angel Olsen
Angel Olsen’s second studio album establishes her as one of the best singer- songwriters at work. A powerful folk-rock set marked by heartache and anxiety, Burn Your Fire starts with concise, tight, highly accessible rock songs and turns towards more slow-burning, quieter tracks by the end. Standing at the center, however, is the astonishing seven-minute opus “White Fire,” by all accounts one of the best songs of the year. Same goes for the entire record. Top Track: “White Fire”
11: The Double EP: A Sea of Split Peas- Courtney Barnett
Having avoided its use in talking about Parquet Courts, I feel I have the right to use the most cliched term possible in talking about Courtney Barnett: slacker. Her loose yet excellent guitar playing perfectly complements her lyrics; most of them rambling, self-deprecating story-songs that seem to be told through a haze of weed smoke. Still, it all adds up to a wonderfully idiosyncratic and fully-formed debut LP for the Australian troubadour. Top Track: “History Eraser”
10: Deep Fantasy– White Lung
White Lung has won considerable acclaim from critics for their latest LP, and for good reason: Deep Fantasy is a ferocious beast of a punk album, bursting with anger and energy from start to finish. It’s more than just a racket, though: the album is downright Sleater-Kinney-like in its intricate songwriting and impeccable musicianship, and melodic flair. All the better for frontwoman Mish Way’s visceral feminist platitudes. Top Track: “Down It Goes”
9: More Than Any Other Day- Ought
At first glance, the debut from these Montreal post-punks is an unceasingly cold and bleak effort. A closer look, however, reveals an uplifting and beautiful side to the record. The quasi-title track revels in unironic gratitude and joy (“Today more than any other day / I am glad to feel the milk of human kindness”). The keyboard-and-strings opening of “Forgiveness” is one of the most gorgeous pieces of music of 2014. The stunner here, however, is “Habit,” a track rightly compared to the Velvet Underground’s “Heroin.” Seeing as that’s my favorite song of all time, it shouldn’t come as a surprise that it ended up as my #2 track of the year. Top Track: See aforementioned
8. They Want My Soul– Spoon
I said before that Stephen Malkmus was physically incapable of making bad music, and I think we can safely attach that label to Britt Daniel & Co. Their latest album continues the tear they’ve been on since 2001’s Girls Can Tell, in which they’ve never shown anything other than stunning melodic and harmonic prowess, incredibly economic songwriting, and perfect levels of production. Not much different here, although Daniel does bring a slick sexiness to the songs that we haven’t seen much of before. Another triumph for the most consistently great band of the 2000s. Top Track: “Rainy Taxi”
7. Here and Nowhere Else– Cloud Nothings
Dylan Baldi’s power trio took a huge step forward on 2011’s excellent Attack on Memory, and with their latest album they’ve added another weapon: Drummer Jason Gerycz, providing an incredible level of energy and precision throughout the album. Meanwhile, Baldi does what he does best- write pop-punk songs of ferocious intensity and surprising melody- with more subtlety and economy than ever before. Baldi’s lyrics express the anger and frustration associated with hardcore, throughout but there’s also a sense of hope that pervades the record: As he says on the album’s closer, “I’m learning how / to be here and nowhere else.” Top Track: “I’m Not Part of Me”
6. Heal– Strand of Oaks The fourth album from folk-rocker Timothy Showalter is his first open embrace of rock and roll, and one of the most raw, heartfelt records of the year. Inspired by traumatic events including the burning of his house and a near-fatal car crash, the theme that comes through on Heal is the power of Showalter’s deep, passionate love of music. The Where You Been throwback “Goshen ’97” features (who else?) J Mascis on guitar, while the stunning “JM” bridges moving tributes to singer-songwriter Jason Molina with soaring, unforgettable guitar lines. An album of huge emotional and musical depth, Heal establishes Strand of Oaks as a force to be reckoned with. Top Track: “Shut In”
5. Are We There– Sharon Van Etten Are We There could be seen as a companion to Heal– both are their creators’ fourth records, both are steeped in folk-rock and ’80s classic rock, and both mine the deepest longing and loneliness they have to offer for a powerful emotional impact. It’s easy (and accurate) to call Are We There a breakup album, but it’s also reductive. This isn’t an album about a failed relationship, it’s an album about the will to carry on through dark times, and about the changes that finding that will forces on you. Adding synths and strings to her usual guitar, drum and bass, Van Etten’s arrangements are better than ever. “Your Love Is Killing Me” seems to be singled out for praise the most, but my favorite is the leadoff track, “Afraid of Nothing”- the swirling guitars, pianos and strings create an incredible effect, and Van Etten declares her determination by crying “I can’t wait / till we’re afraid of nothing.” Top Track: See aforementioned.
4. Benji- Sun Kil Moon
I don’t usually get very concerned with celebrity feuds, but Mark Kozelek’s childish bullying of The War on Drugs got to me. At first, I assumed it was because of my undying love for that band, but I eventually realized it was because it went against everything that made me love Benji. Sure, Kozelek comes off as a sad-sack on record, but it’s not in an outwardly aggressive way. It’s because of his deep caring for the lives and tragedies of those around him, even those who might be barely a blip on the radar for most of us. Death is the unifying element of Benji: his second cousin Carissa, his great uncle (twice, and in the same way as Carissa), Jim Wise’s wife, the children of Newtown, Richard Ramirez, his friend Brett, “the Sopranos guy”- all casualties. The power of the album is in turning the despair Kozelek feels for these people into something beautiful and profound, and in the directness and honesty with which he tells it to us. It’s still possible for me to tune out Kozelek’s infuriating antics and let Benji wash over me, and I hope for my and Kozelek’s sake that it stays that way. Top Track: “Micheline”
3. Run the Jewels 2– Run the Jewels
The most powerful image to come out of music in 2014: Killer Mike, side-by-side with his partner in crime El-P, breaking down in tears during an impassioned speech about Michael Brown and race’s role in our world. Of course, you could have gotten the same message from the best hip-hop album of the year, in which Mike and El assert themselves as the most powerful duo in the game. Run the Jewels’ intentions are clear from the opening line of the mission statement that is leadoff track “Jeopardy,” as Mike shouts out “I’m finna bang this bitch the fuck out!” From there, it’s all hard-hitting Yeezus-esque industrial production and the two trading verses like a virtuosic tag team. Their flow and wordplay are as potent as ever, but these verses take it a step further- just about every rhyme is quotable and serves the ultimate purpose of the album. There’s plenty of self-aggrandizing on the record, especially on the part of Mike (“You know your favorite rapper ain’t shit and me, I might be / The closest representation of God you might see”), however, it’s all held together by the album’s sense of political purpose. These lyrics couldn’t be more relevant at this point in history. From Mike’s declaration that “I love Dr. King but violence might be necessary” on “Lie, Cheat, Steal” to El-P’s anti-government screed on “Crown” (“Give up your childish obsession with questioning / Anything we don’t tell you is irrelevant”), Run the Jewels show they’re not too busy taking over the world to change it along the way. Put alongside the huge synths and anti-hooks (serving more as breaks in the production than catchy choruses), the message and attitude behind RTJ2 is as powerful as any in hip-hop since the glory days of Public Enemy. Perhaps even more lasting than Mike’s tears and anger: declaring that he and El-P, despite society’s seeming intent to tear them and their respective races apart, were friends, and that nothing would change that. Lucky for us. Top Track: “Crown”
2. St. Vincent– St. Vincent It’s right there in the name and the commanding album art- this is the album where St. Vincent defines herself as an artist. Not that this is the first time Annie Clark has taken steps from her previous album- in fact, all of them have done that. From the art-damaged singer-songwriter vibe of Marry Me, to the Disney-influenced Actor to the weirdo-pop of Strange Mercy, Clark has shown a remarkable ability to both grow as an artist and maintain her defining characteristics. In seemingly every interview about the album, Clark has cited Miles Davis’ quote that “the hardest thing you can do as an artist is to sound like yourself” as the reason for making her fourth effort eponymous. Put simply, this is her tightest, most energetic, and best set of songs she has released. They’re also her most emotional, as evidenced by gorgeous, sentimental ballads such as “I Prefer Your Love” and “Severed Crossed Fingers.” It’s clear that the lyrical remove of her previous work is gone from first track “Rattlesnake,” where crackling synths give way to downright Kozelekian real-life storytelling and existential anxiety. Clark’s skills as a songwriter have never been better, as her songs take sharp left turns while maintaining a cohesive feel, and are fully-formed while also somewhat stripped-down. Her lyrics, meanwhile, alternate between personal confessions and expressions of angst about the digitization of society. This is expressed most clearly in standouts “Digital Witness” and “Huey Newton.” The former rides a mechanistic jazz riff while lamenting how “people turn the TV on, it looks just like a window.” The latter spends it first half as a slinky synth jam, before Clark abruptly takes over with a huge, stomping guitar riff and sings of being “entombed in the shrine of 0s and 1s.” Clark has long been one of the most exciting solo acts in indie rock, but here she enters into a class of her own, perhaps as the best female rocker since PJ Harvey. St. Vincent sounds like the future, which is precisely why it is an album of our time as much as Run the Jewels 2. Top Track: I guess I’ll go with “Regret,” but it could honestly be anything on here.
1. Lost In The Dream- The War on Drugs “It’s just a dream, you won’t get lost / Just get down in the night.” So went the final lines of “Best Night,” the first song on The War on Drugs’ 2011 album Slave Ambient. The title of their follow-up shows that frontman Adam Granduciel doesn’t quite believe that any more, and it’s easy to understand why. Lost In The Dream was born out of a long period of personal struggle for Granduciel, including a troubled two-year recording period. As great artists do, however, the singer-guitarist was able to funnel his pain into something universal, profound and transcendent. I’m going to be honest here- I have no idea if Lost In The Dream is the best album of the year, because it’s impossible to know something like that. I don’t know how anyone else will respond to this album, and I can guess that it won’t have the effect that it did on me on most people. There is no world in which Lost In The Dream is not the album of this year for me. It’s been the soundtrack to my life this year- every depth I hit, every peak I reached, it was there with me. This album did what musical cynics claim music doesn’t do any more- it became a part of who I was. Every chord change, every line of lyrics, every solo, every production touch- it captures me and takes me somewhere else like nothing else this year- hell, this decade. But I realize I have to add some objective observations here: Lost In The Dream is the most impeccably crafted, fully realized, beautifully performed rock album of recent memory. Of course, Springsteen, Dylan and Petty are the starting points here, but Granduciel has created an aesthetic entirely his own here. His songwriting is unparalleled in its intricacy and its precision. The musicianship on the record is on another level from anything else in 2014- see Granduciel’s blazing outro solo on “An Ocean In Between The Waves,” establishing him as a legitimate guitar god in an era when the term seems extinct. The production is the icing on the cake- majestic, gorgeous, and layered without ever seeming bloated, and given distinction by the sense of hazy ambience throughout. Musically, it’s an album that celebrates the past while planting itself firmly in the present. Once Granduciel’s lyrics are considered, however, it becomes something truly timeless. Their frequent feeling of impressionism does nothing to lessen their emotional impact, instead complementing the music perfectly. Indeed, one recurring lyrical theme is the struggle to see through some kind of haze to find happiness or love, perfectly accentuated by the ambient touches. Lost In The Dream isn’t a story of someone’s journey through hardship- it is the journey itself. Their resonance is driven home not only by their accompaniments but by Granduciel’s delivery- the passion and honesty in his voice can’t be faked. Everything here is simultaneously overwhelming in its beauty and visceral in its emotional weight- the two-chord chug of “Under The Pressure,” the anthemic folk-rock of “Eyes To The Wind,” the mid-album ballad “Disappearing,” and the “Dancing In The Dark” guitar-and-synth theatrics of “Burning.” “An Ocean In Between The Waves” is the best song here, by all accounts one of the most exhilarating rock songs ever written and performed. The first song I heard from the record was lead single “Red Eyes,” and I’ll never forget hearing Granduciel’s exuberant “Whoo!” announcing the band’s huge jump in energy. Those “Whoos” are scattered throughout the album, and every time it perfectly crystallizes the passion burning beneath the songs. It’s one of those little details that seemingly accompanies every great album. I don’t know what I would have done without this record. This has been probably the most important year of my life so far, as I just graduated high school and am wrapping up my first semester of college. Part of what makes this album so special to me is that, while I know I’ll always love it, it’ll always be tied to this time in my life, and for that I’ll always be grateful to it. I feel like I understand now what I must have been like to hear records like Rubber Soul, Born to Run, London Calling and Crooked Rain, Crooked Rain when they first came out- an artistic masterpiece with a profound personal impact. The breathtakingly moving final lines of “In Reverse,” meanwhile, leaves us with the most powerful finale of the year-
I’ll be here or I’ll fade away
Never cared about moving, never cared about now
Not the notes I’m playing
Is there room in the dark, in between the changes?
Like a light that’s drifting, in reverse I’m moving.
Ultimately, Lost In The Dream an album about finding the strength to move through uncertainty and hardship, and the record itself is the realization of the beauty and strength that lie on the other side. If there’s any better message to send to the music industry in 2014, I’d like to hear it. Top Track: “An Ocean In Between The Waves”
Cultural Diffusion 