Xmasuite 2023

And so we return once more to Xmasuite for 2023, your annual merry mixtape. This year it’s a bumper selection box of 30 christmas crackers. All rarer yuletide treats and none of the sort playing your ears off on a loop in John Lewis. There’s a few freshly unwrapped gifts just released in 2023, kicking off the party with Wheatus rejigging their turn of the millennium summer megahit into new festive favourite ‘Christmas Dirtbag’, Kurt Vile’s take on Bob Dylan’s ‘Must Be Santa’ and the dark pop brilliance of Madeline Edwards ‘Perfect Christmas’. Celebrating classic christmas spirit from Debbie Dabney, Connie Francis and The Pilgrim Travelers. Old time country carolling from Linda Ortega, reggae rejoicing with The Tamlins, metal in a manger from Tim Ripper Owens and old school holiday hip hop beats from Sweet Tee and ‘Let The Jingle Bells Rock’. So be your own Secret Santa this year and press play on this special seasonal soundtrack. 

Joy to you all

Love and Peace

D@Tracksuite

Christmas Dirtbag - Wheatus

77 Santas - The Devil's Daughters

Christmas Time Again - Bad Manners

Just Like Christmas - Ingo Star Cruiser

I Want to Spend Christmas With Elvis - Debbie Dabney

Christmas Roses - Jo Stafford & Frankie Laine 

All I Want For Christmas Is A Cowboy - Lindi Ortega

Jingle Bells - Brian Setzer Orchestra

Lonely Star (Christmas Song) - Dream Nails

'Twas the Night Before Christmas - Jeff Foxworthy

Have Yourself A Merry Christmas - Connie Francis

Santa Claus Wants Some Lovin' - Mack Rice

Silent Night - The Tamlins

Creepy Christmas (Ft. KG Man) - Aquadrop & Big Fish

Sweet Tee - Let The Jingle Bells Rock

Perfect Christmas - Madeline Edwards

Must Be Santa - Kurt Vile

Lonely This Christmas - Aidan Moffat, RM Hubbert

I'll Be Home For Chrismas - The Pilgrim Travelers

Blink Before Christmas - Phil Moore & the Phil Moore Four

Waiting For Santa - Clif Gober

Brand New Bike - Junkyard Dogs

Santa Claus Is Back In Town - Tim Ripper Owens

Grandma Got Run Over By A Reindeer - Blackfoot

Jaded to Merry - Don’t Call Me Ishmael

The Christmas That Almost Wasn’t - Osaka Popstar

Surfing on Christmas Day (Santa Won't You Bring Me Some Waves) - Southern Culture On The Skids

Happy New Year (Prince Can't Die Again) - Mac McCaughan

Imagine Santa - DJ BC

Auld Lang Syne - Michael Doucet

Best 50 Tracks of 2023 Playlist

Blimey, how the Jebus did we get to mid December already?! Well if it be that time of the year, then I guess it must be time for Tracksuite’s Best 50 Tracks of 2023, brought to you, as tradition now serves, in a lovingly crafted playlist bundle. Presented for your aural pleasure through Spotify, if that’s your thing. Or the hit of the whole fruit both audio and visual via YouTube. 

I hope you got the chance to check out the Best Albums of 2023 blog. If not, simply carry on scrolling down below for a choice word or two about the 10 best long player selections of the year with some YouTube pickings to give you a flavour. If you’ve already devoured the blog then you’ll already have a heads up on 10 of the tunes included in the following playlist. There’s never more than one track from any particular album in this playlist, quite simply there’s just too much good stuff out there and while there’s always lots of love to go around, there’s not always the playlist space. 

So what’s in there? demands the impatient listener. Well, its a Tracksuite mix, so it covers the bases; pop, rock, indie, country, funk, soul, some alt variants, post punk, folk, jazz, dance, rap, drum and bass etc sub genre derivatives etc. Kicking off with a sublime new turn from Mitski. Highlights include a sixties sounding gem from The Lathums. A deadly rocker from Josienne Clark. Dark dancehall return from Chase and Status. Typical Lankum genius and some Lankum infused and influenced brilliance with Øxn. Delicious beats from Prof. Yard Act turned up to 11. A masterpiece from Roseanne Reid and finishing up down the Mother Road with Grace Potter. Aswell as whole jammed pick n mix of other treats for your ears. 

Stay tuned for the festive favourite, Xmasuite 2023, a 30 track strong playlist of christmas tunes you’re not much likely to hear anywhere else. 

Love as always, D@Tracksuite 

Best Albums of 2023

Welcome, hello and happy nearly the end of 2023 to you all.  It’s finally time for Tracksuite’s hotly anticipated Best Albums of the Year roundup. 

Usual rules apply - it’s got be good and it’s got to be an album. Saying that, one of these is actually not an album, it’s a mixtape  - so much for rules. All bloody excellent though. Not nearly excellent, or great efforts, or worthy of note, but genuinely and thoroughly excellent. 

Here they are, go listen to them. Now!

(OK not right now, after you’ve read this.  Let’s get straight in to…)

Lankum - False Lankum

After the first couple of months of the year passing without note, March 24th brought the release of ‘False Lankum’ on Rough Trade Records, named after the original John Reilly ballad from which the previously named ‘Lynched’ claimed their new moniker in 2016. It’s the Irish folk giants third long player and the third to be included in a Tracksuite best album of the year list. It’s fair to say we love this band. Since catching them live touring their Between the Earth and Sky album, in the relatively modestly sized Oran Mor venue in Glasgow, their popularity is growing at a hefty rate that now sees them packing out much bigger venues across this country and further afield. In parallel with their growing audiences, or perhaps due in no small part to them, their sound is maturing and expanding. Clash Music said ‘The record swells and retreats at will as the group flex their musical dexterity’. They sure did.

If you haven’t been lucky enough to experience Lankum, then the album’s opener ‘Go Dig My Grave’ is where they lay out their stall, a perfect example of what they do and how they do it. You may have heard a version of the folk ballad ‘The Butcher’s Boy’ via anyone from The Clancy Brothers to Kirsty MacColl to Elvis Costello but whoever you heard deliver it, it was unlikely to sound like this.  Altogether darker and more foreboding, like their version of The ‘Wild Rover’ from the last album ‘The Livelong Day’.  Instead of cleaning up bloodthirsty and often terrifying folk stories for a popular audience, they go the other way and heighten the horror with drone and clatter. All the time with Radie Peat’s inimitable vocals, the sound of a fallen angel if ever there was, painting the details onto these songs like Goya’s paintings in sound.

‘They returned with a successor that takes what worked on their previous album and pushes further in every direction. Radie Peat and producer Spud Murphy have spread their remarkable talents this year in the recently released debut six track long(ish) player from fellow doom folk band Øxn, alongside Katie Kim and Eleanor Myler, the highlights of which are undoubtedly the very Lankumesque and brilliant tracks, ‘Cruel Mother’ and ‘The Wife of Michael Cleary’. 

The Guardian said, ’There is so much to revel in here. ... They remain a radical band while making music that is reaching out to the mainstream – while also giving off the thrilling sense that there is so much more to come’.  Tracksuite wholeheartedly agrees.

Other album highlights are the stunning love story ‘Newcastle’,  the haunting ‘Lord Abore and Mary Flynn’, the tale of a mother poisoning her own son to stop a marriage and ending with incredible ‘The Turn’. This Lankum original closes the album, the song stretching and peeling off, carrying the spirits with it.

Fatoumata Diawara - London Ko

On 12th May, via 3ème Bureau and Wagram Music, Malian singer songwriter Fatoumata Diawara released her third album ‘London Ko’, co-produced and co-written with Damon Albarn. A collection of music almost diametrically opposed to False Lankum. Light instead of dark. Joy in place of sorrow. Tracksuite has to admit to not being fully aware of Diawara’s work, other than with previous Albarn project Africa Express, which they started to work on together back in 2011. They also collaborated on the opera ‘Le Vol Du Boli’ in 2020 and 2022 but London Ko appears to really cement and push the partnership to new heights. It’s a genuine celebration of life across ages and cultures. 

Mostly sung in her native Malian Bamako language, interspersed with English language rap on M.anifest and infectious groover ‘Mogokan’, lacing English lyrics in the immensely danceable ‘Blues’ featuring Cuban pianist Roberto Fonseca. This album manages to encompass the rich traditions of Wassoulou music while broadening genre styles and reaching out to embrace the wider world. The best example of this is arguably the best track and the most obviously distinctive of the collection, co-performed with Alburn on synths - ‘Dambe’. It’s an electronically dub driven piece reminiscent of Massive Attack’ and an absolute beauty. ‘Massa Den’ reflects Diawaras life in France, where she is mostly based, with some French spoken lyrics over a dance music production and vocal style that sits back perfectly before dropping into fuller, heavy, beat driven production that allows the emotional pull of Diawara’s voice to dominate. Not afraid to tackle the difficult subjects, one of the highlight’s is the incredibly moving ‘Sete’, Diawara’s second song about female genital mutilation. Undoubtedly this is serious subject matter and this gravity echoes throughout the the album, but what comes across, entirely intentionally despite the challenging nature of the subject matter, is the large scale exuberance. Tracks like ‘Seguen’, ‘Tolon’ and the brilliant pounding ‘Yada’ create a festive atmosphere that dares you to try not to dance.

Pop Matters said ‘In London Ko, Diawara uses a broader sonic palette than her earlier music and generally dials up the amplitude. While the music aims to move your body, its Bambara lyrics are also meant to move your spirit.’  Diawara exceeds on this score.  A beautiful album.

Bongeziwe Mabandla - AmaXesha

Another African artist pushing at the boundaries of the traditional is South African singer-songwriter Bongeziwe Mabandla, releasing his fourth studio album, AmaXesha, on May 5th. via both Black Major and Platoon. 

Mabandla has always had high quality songs built on a very individual sound. Ever since his debut album Umlilo in 2012, although wholly more organic and traditional in terms of approach, the signature feel of his music as sensual, soaring and spiritual has always been there. It was in his follow up long player Mangaliso in 2017 that we started to find traces of experimentation in production, courtesy of his career long collaboration and relationship with producer Tiago Correia-Paulo. Then through last album Iimini and the new album, the symbiosis between pushing the dual crafts of performance and production have been refined to perfection. The journey arc of music through this album is beautifully choreographed and to echo the sentiment of Mabandla himself in discussion with his producer during recording of ‘Xesha’, properly allows the listener to ‘vibe out’. 

The Guardian said ‘No longer just an interpretation of Xhosa folk music, ‘AmaXesha’ places Mabandla’s music firmly in its own lane, capable of transmuting the shades of tradition into something else entirely’.

An album highlight and one that perfectly encapsulates the sense of the album is ‘Ukuthanda Wena’, translated as ‘Loving You’. Built on a skipping pulse beat and dark atmospheric synth bed, reminiscent of The XX, Mabandla’s vocal shines, delicately balanced on top of relentless waves of electronica. The vocals coming straight from the heart, the yearning and longing is, yes, heart breaking, but impossible not to be drawn to. From the moment the epic build finally breaks into the vocal on the stunning opener ‘Sisahleleleni (Part 1)’, you can feel the power of the sentiment that echoes throughout. As with so many albums just now, the concepts and writing were explored and shaped through Covid lockdown and Mabandla’s sensitivity from that time is to the fore in this music. 

African culture magazine Okay Africa says ‘AmaXesha captures that yearning for true connection, a yearning the pandemic only made more acute.’

The album’s first single ‘Noba Bangathini’ is an admittedly slow ponderous track but the feel of it is as if stumbling along fits the idea of a soul lost in love perfectly. ‘Hlala’ picks up the pace and uplifts the spirit in a joyous danceable treat. ‘Ndikhale’ takes a step back into the traditional gospel folk style but feels no less modern or out of place here. As the album approaches the end, another stand out track is the moving ‘Libali’, a soulful rhythmic wonder with another distinctive vocal hook over the reflective lines ‘I have not forgotten, I have still not forgotten’. Then finally, what is effectively the album closer, (minus 3rd part of refrain Xesha, with the sumptuous ‘Ubukho Bakho’, which I think translates as ‘Your Presence’), a Tracy Chapman like number that seems to be sum up the introspection reflected throughout the album, while also looking forward and outwards from it.

Roseanne Reid - Lawside

Next up, on June 2nd, Roseanne Reid released her sophomore album, ‘Lawside’, on Last Man Music. Her excellent debut, ‘Trails', from 2019, featured on that year’s Tracksuite best of the year list, with a collection of such finely crafted  and ageless songs, the like of which, I profer, have ne’er been found on a debut album for quite some time. And Reid has just picked up from where that album left off. Another collection of classic sounding tracks that takes her further towards, if a little early to proclaim, as one of the finest Scottish songwriters ever.   

‘If Americana dominated her 2019 debut ‘Trails’, ’Lawside’ returns Reid to her Scottish roots. Through simple but fabulously effective instrumentation runs an unmistakable Celtic streak. To her previously soft Appalachian sound Reid now puts her vocals right up front. ‘All pulled together ‘Lawside’ is a complete success’ - Americana UK

Along with churning out folk country gems by the truckload and charming her evermore increasing number of fans, Reid has also been very busy on a personal level since her last album. She is now married and has her first child, the love of both a constant reference throughout the album, heard immediately in the sublime opener ‘All I Need’, a love letter to her wife. ‘Couldn’t Wish More For You’ and ‘All My Days’ both shine with the love for her son and are clearly lit with joy. Album highlight, in an album packed with highlights, ‘Mona Lisa’ is quite a rare treat from Reid, as she really cuts loose proclaiming that joy with a rollicking bootscooter. Online mag At The Barrier said ‘From hymn to hoedown, Mona Lisa is a gradually escalating hootenanny, a vocal chorale bolstering the feel good fiddle and accordion, a banjo plonking away with intent. The slightest song here, it’s placing is integral to the mood of the whole, coming as light relief between the headier tracks’.

One of the age old perks of success in the music industry is the ability for the artist to have more choice and control over the production of their art. Admittedly it’s not always the key to better product, an elusive secret to the x factor of perfect product remains mostly elusive. However, where her debut album was done in a five day rush in Brooklyn, albeit in the hands of the genius Teddy Thompson, this was completed in comparatively more relaxed circumstances with musical partner David Macfarlane in a studio just up the road in Perth. Rushed or not rushed, she delivers. 

Kicking any second album syndrome fears into touch; this seems certain to figure in year-end best-of lists and launch her into the wider consciousness of fans on both sides of the Atlantic. - Folk Radio

Catch this lady play live as soon as you possibly can, her performance is one of subtle perfection. A delicate artistry that can hush even the largest of spaces and break the largest of hearts. But if you can’t get out to see her, you will not regret investing in her two albums (and a lovely wee EP in the middle). Just turn off the world and soak up flawless ageless songwriting. 

Geese - 3D Country

Here we have another example of a perfect follow up album that arrived via Partisan Records on 23rd June, with ‘3D Country’ from Brooklyn based five piece indie rock band Geese. Their debut ‘Projector’ also made it into Tracksuite’s Best album list in 2021. A band with mastery beyond their years, their debut was a mashup of indie punk heritage with everything 1981 through 2021. Here, as to be expected, is a broadening of the sound, bringing in all sorts of new influences like sixties new wave, seventies prog, r&b, grunge, alt country and more. Tracks like funky hot stepper ‘Mysterious Love’ sound like the Rolling Stones one minute with Mick Jagger wailing over a Keith Richards groove but then soon after a guitar chop the breakdown drops into nineties alt rock before returning to the Jagger refrain. ‘I See Myself’ carries the spirit of Prince straight into a late career Chris Cornell riff. ‘Tomorrow’s Crusades’ would not seem out of place on the stage at Woodstock. All the time this is all going on, they manage to lose absolutely none of their original essence and sound irrefutably just like themselves. 

Like Paste put it, ‘Across 11 tracks, 3D Country is gnarled, chaotic and vibrant. But, what’s potentially the most-shattering truth of all is that, amid all of this charismatic, wholehearted sonic anarchy, Geese have only just begun.’ After a few listens to both of Geese’s album, it can come as quite a shock when you’re reminded that these are still just the first two albums from still a relatively young group of musicians. 

Album highlights are very difficult to pick out with a band that likes to load each track with a few more hooks and a couple more riffs than you’d expect to find in a rock tune, notwithstanding all the tempo changes and influence switches. However opener ‘2122’ is such an immediate and fully loaded attack on the senses, it will stick with you and to you throughout. An anarchic punk/country/prog hybrid monster of a tune, its a demonstration of all the growl this band can muster and a swift kicking down of the sides to the box that the band had been popped in following their debut. Incredible to think the plan for these guys was to split after the first album to concentrate on college and university. Plans we can all thank the gods for have been stuck on the back burner for the time being. Anyway, ’2122’ can be found in Tracksuite’s Best 50 Tracks of 2023 playlist. 

Cable Ties - All Her Plans

Released on the same day as Geese’s ‘3D Country’ via Poison City Records and Merge Records came the third studio album ‘All her Plans’ from Melbourne punk trio Cable Ties. Described by Merge as ‘fierce, tense rock’n’roll’, they take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems.’ Another band that only pinged on to the Tracksuite radar this year and whose work up till this point is still to be explored. However it appears by a brief dip of the aural toe into the first two albums, that these guys are punk to the core and have been true to the form from their beginnings. 

Clearly snapping at the bit, there’s no building into this. Opener ‘Crashing Through’ does just that, straight into an insistent bass line and drum kick, while vocalist Jenny McKechnie greets us with a ‘Everybody’s ready, Everybody’s waiting, For me to get into gear. I keep it steady, Trying to keep my brain from, Sliding sideways out of my ear!’ You just know there’s going to be no letting up from there. The rhythm keeps driving and the vocals pitch up from a snarl into something you don’t hear a lot in rock these days, a classic rock falsetto reminiscent of Robert Plant, and I have to say I didn’t know I missed that sound until now. There’s an intermittent but consistent return to it all the way through this album and never once does it feel like its forced or referential for the sake it. Instead it seems the natural platform of expression for McKechnie as she bounces back and forth from hooks of sneer and drawl to this high pitched, anthemic nod to rock royalty  . Follow up track ‘Perfect Client’ just gets faster, higher and more forceful.

There’s a purveying garage rock roots sensibility here. I don’t know these people but the music tells me that they are happiest when playing up close to their audience, in some rough and ready sweat pit than in bigger more refined settings. So, if they aren’t already, very soon they’re going to have to make the inevitable and unavoidable tough choice of how to cater for increasing audience numbers while retaining the intimacy that thus far still tightly informs their brilliant output. 

Do Nothing - Snake Sideways

After a smattering of dazzling single and EP releases, like the pulsing megagroove of ‘LeBron James’ from 2019 and jagged swing of ‘Rolex’ from 2021, the debut album from Nottingham post punkers ‘Do Nothing’ was much anticipated. However, when it finally arrived on June 30th this year via Exact Truth, it’s fair to say it is not what was expected. The extroverted swagger of the pre album releases was followed by a self proclaimed ‘creative stutter’, and the album has turned inside to achieve a more introverted, subtler sound. It’s not lost one bit of the wry humour that gives the band their signature bite but the critics have rather unsurprisingly and perhaps a little tediously gone too cold on what, with a bit more investment than background listening, is actually a complex and deeply rewarding collection of songs. 

That said, the lead single ‘Happy Feet’, released in February, plays closest to the early releases with its punchier rhythm and singalong hook but all the while there’s an irrefutable sense of unease in the tone of it, an echo of the nagging doubt any adult can find creeping in after the shine of your cocky early years start to fade, and it’s that that makes this album so intriguing. It wouldn’t be the first time this listener’s opinion forks off from the trodden path and age sometimes plays a part in that. Yes, I heard The Fall and The Walkmen and the many other comparisons that have been given the band before but I think they’ve done very quickly what most bands in similar situation fail to do because they don’t want to do, and that’s shirk of the branding that’s always comparing them and never allowing them to be. By avoiding treading those softened boards of success and not exemplifying the comparisons and posturing appropriately, they have dug down to the roots of something that has the makings of being bigger and far more interesting. 

The title track ‘Snake Sideways’ is the game changer. For the visual thinkers out there, it has the feel of a small stage lit in high contrast by a single spotlight. Have a look at the album cover for reference. A light buzz in the audio suggests an opening as a sound system settles. A jazz bass and scattering drum beat backs singer Chris Bailey drooped pensively over the mic stand like a seasoned stand up. Then the real discovery of the new Do Nothing is his voice. The confident spoken word is still strong here but now there’s added cream on the pudding with honey dipped vocals that wield real power. Sitting comfortably alongside the cutting wit is aching introspection and its in this where Do Nothing now play their game and where they will undoubtedly thrive. 

Gabriels - Angels & Queens

It was all very contemporary from UK/US Soul trio Gabriels with a drip feed release of their debut album ‘Angels and Queens’. The initial taster seven track Part 1 was released in September 2022, then the full 12 track album, inclusive of the initial part 1, released on 7 July this year by Atlas Artists and Parlophone. Then came the 20 track deluxe edition that included a few extras and 5 tracks from their Glastonbury 2022 set. But let us stick with the 12 track release before I invite the wrath of the fairness trolls, should any other releases in this blog have any bumper editions that  I am unaware of. That and, well, as 12 tracks go, it is more than enough. 

‘Every song is a wonder. It is unlikely Angels & Queens will inspire many imitators of its retro-future soul, its damaged doo-wop. It’s simply too good to be copied’ - The Observer

Kicking off from their brilliant first couple of introductory EPs in 2021 ‘Love and Hate in a Different Time’, two songs from which have been punched for the full album, and ‘Bloodline’, Gabriels continue to embellish and elevate their custom sound of gospel rhythm and blues. The first offering, aptly named ‘Offering’ sets out their choir stall with a solid soulful dancefloor filler. A pin perfect rhythm section from Ryan Hope and Ali Balouzian, feels both nostalgic and yet crispy fresh at once. Topped, of course, by the inexplicably beautiful voice of Compton’s own Jacob Lusk, a talent that appears to span generations in referential ability. On top of all that, of course, the album is blessed with the hefty production talents of Mark Anthony Spears, aka, Sounwave, a big time player who has worked with the likes of Kendrick Lamar, Taylor Swift and Beyonce. 

Album highlight still remains the same as the track included in Tracksuite’s best tracks of last year playlist, ‘Taboo’. Apparently about a complex relationship that defies societal norms and expectations, they execute this by crafting a complex and bewilderingly good tune that defies all musical norms and industry expectations. Three minutes of breathtaking drama and released joy. ‘Professional’ is sumptuous vintage homage to early cinema and stage and ‘Glory’ is a fully ‘hands in the air’ disco delight. But Tracksuite’s choice for the 2023 playlist is the infectious Al Green type soul slinker ‘Remember Me’, a sublime mood setter, suited to both a low lit intimate dance space with the one you hold closest and also the fully lit club experience. 

CLT DRP - Nothing Clever, Just Feelings

On Sept 8th, the hugely exciting Brighton based electro punk trio CLT DRP released the follow up to their brilliant debut album from 2020, ‘Without The Eyes’. An incredibly tough act to follow, the critically acclaimed debut was a thoroughly welcome left field attack on the senses in every way that a punk album should be, never cowing to outdated dogma about what punk is and the rules it should follow (seriously, they do that!), but insisting on breaking the mould. Now with ‘Nothing Clever, Just Feelings’, another lovely wry title, released on creative punk label Venn Records, the band have crashed through their own mould before it’s even had a chance to set. While losing none of the rasping edge or willingness to experiment, they’ve cleverly managed to round off some the angular make up of the earlier stuff. After six years honing their music and solid years of touring, everything sounds more considered, the overall effect feels more complete and the hooks in the songs are coming through cleaner. 

If you haven’t heard them yet, the most obvious comparison would have to be Canadian electroclash pioneer Peaches, an undoubted influence that can be heard so clearly on the title track, with its twisted synth bass rumble, techno tweaks and direct acerbic vocals from Annie Dorrett. Otherwise it’s pretty difficult to pin them down, they appear to be at their happiest when breaking free of any preconceived form. The songs are obliterating the boundaries, constantly writhing and struggling free to do something new. Tracksuite’s pick ‘Desire / 1 on 1’ is an industrial pounder that comes in with a techno build before breaking into a mosh pit stomp. ‘M.U.T.M’ feels like St Vincent in a particularly abrasive mood with an abstract electronica backdrop, effected guitar chops and typically provocational vocals. ‘Cake 4 The Women’ bops a casual groove before quickly double timing with huge guitar punch and offbeat jagged sonic stabs. The most interesting new elements are when they pitch things down. ‘The Door’ is an intriguing minute and a half of nostalgic early days electronica. ‘Easier Than This’ has an 80s Kate Bush tint with contemporary indie sensibility. The almost shoegazey downbeat reflective ‘I See My Body Through You’ has a very cinematic feel, highly contrasting a swirling dreamscape sound with visceral Rage Against The Machine like power riff sections.

CLT DRP clearly have the talent and ambition for success but, perhaps most importantly, they have that edge that will let them continue to shake things up and carve out a singular path on the way. Always challenging the audience, while never failing to rock the show, makes them one of the most exciting bands out there. 

Chase & Status - 2 Ruff, Vol 1

The final album in this year’s best album list isn’t actually technically an album, ‘2 Ruff Vol 1’ by Chase and Status, released on Nov 10, is in fact (and according to the artists themselves), a mixtape. I don’t really know why, I can’t even remember when collections of songs sold and presented in bundles started being called mixtapes so I must have missed that meeting. To my ears, it sounds like an album, so we’ll move ahead on that basis. 

Chase & Status have already provided us with a two-word review of their latest release;“Absolutely nasty!” and although that essentially nails it, I will try and pad it out a little.  The first thing that hits is a very welcome return to earlier career form of purer roots based bangers and almost none of the glitzier mid career pop edged anthems. Since 2019 and the aptly named ‘Rtrn II Jungle’, the London duo of Saul Milton (Chase) and Will Kennard (Status) have done just that and for it we are thankful. It can never be an easy decision for any artist to make, to pass on the privilege and wealth that must come from serious pop success and instead, jump back into the fire of the edgy drum and bass scene. But thankfully they have and they have done so proving why they are now stepping up to the plate as elder statesmen of the scene. This album, full to the brim with MC vocal talent, is a cranked up bunch of top rate ‘absolutely nasty’ killer tunes. I guess the only downside and possibly one of the reasons for calling it a mixtape, as well as the ‘Vol 1’ giveaway, is the ‘shorter than album length’ of just under 35 mins. But these tracks will live mostly outside this album, with extended mixes and club remixes. Besides, quality is quality, and not once here does that quality drop. So it’s difficult to pick highlights here, and so if filthy but perfectly produced weaponised drum and bass is your thing this is a must listen. The opener ‘Selecta’ feat Stefflon Don immediately plants the flag of what they want this music to be, and that’s dank stacked boiler room intensive chaos. It continues as planned with the brilliant ‘Liquor and Cigarettes’ feat Hedex and Arrdee. 

On Tracksuite’s best of year playlist is the lead track and dancehall mega hit ‘Baddadan’ which features regular collaborators Irah, Flowdan, Trigga and Takura, a dark, fiery, infectious hardcore gem that proudly exemplifies the glory of the genre. This regeneration of Chase and Status has actually managed to wind back the stylist clock while simultaneously slingshotting their return to mainstream success, this time bringing the scene and all the talent with them. 

Best tracks of 2023 playlist coming soon.

Much love, D@Tracksuite

Xmasuite 2022

Hello there one and all. Welcome back once again to Tracksuite. I realise there has been more prime ministers than mixes this year but all things post covid have been pretty hectic round these parts, my apologies for that. However, we have managed to keep the traditional trio of end of year blogs going. Hope you got the chance to catch the previous Best Albums of 2022 and Best Tracks of 2022 playlist. If not, simply scroll down to roll again. For now though, it’s time for your annual merry mixtape that is Xmasuite, 2022 edition. Some new lovely winter warmers and the usual eclectic grab bag of goodies from festive years gone by. Fill your boots, it’s nearly bloody Xmas.

Love and Cheer

D@Tracksuite

Best Tracks of 2022 Playlist

And here we come around again to take this year’s turn on the thrill ride that is Tracksuite’s Best 50 Tracks of 2022 playlist. Welcome back, hope you got the chance to check out the Best Albums of 2022 blog that went up recently. If not, just scroll down from this to check it out. But don’t forget to come back as the Top 50 Tracks is not to be missed and including choice picks from each of the top albums. This year’s selection kicks off with a couple of alt pop gems from Stromae and Charlotte Adigery and Bolis Pupul then the usual eclectic selection box of goodies just keeps coming. There’s a veritable glut of quality old school beats and pieces from Logic, Danger Mouse and Black Thought, Odesza, Loyle Carner and more. These nestle beautifully beside fresh new electronic visions from Moderat, Tourist, Young Fathers, Warmduscher and Two Shell. There’s gorgeous alt indie salve from Joan Shelley, Andrew Bird, Ferris and Sylvester and Julia Jacklin. The sly fun in the mix comes from Ashe, Gemma Rogers, Alex Cameron and Craig Finn. Jazz genius comes from the likes of Butcher Brown and Mary Halvorson. I guess you might expect there always to be some country in there and you would be right, Orville Peck and Tami Neilson were both strong this year. And a great return on the heavier side of things, including four bands all with absolute must hear albums this year - The Mysterines, Meat Wave, The Bobby Lees and Soul Glo. That and a whole feast more. Adorn those ear buds or turn up the speaker. Kick back in the easy or as Warmduscher puts it get ‘Twitchin in the Kitchen’. Whatevs your thing, just press play. Thankyou, always appreciate your time. Annual festive playlist Xmasuite 2022 coming soon… Love and respect D@Tracksuite

Best Albums of 2022

Welcome…

Those not new to Tracksuite’s Best Albums blog will know that this list isn’t a top 50 or top 100, there is no pre-determined ranking to the albums in this list other than those released in the year that 100% deserve to be here. Only those considered by Tracksuite to be complete works with no filler sonic excellence make it in. This year there are 13 - unlucky for some but not for you dear reader/listener, you are in exactly the right place. 

THE MYSTERINES - REELING

Taken in release order, first up is Reeling by The Mysterines. These songs grabbed me early and have not let go. There’s more than a little smattering of 90s nostalgic sound in quite a lot of what I have loved this year. What can I say, it was my defining era. And The Mysterines have got a 90s edge to them as sharp as a pocket blade. Exquisitely produced hot and heavy riffs, gothic drama and grunge punk attitude. There’s little can prepare you for the utter power of Lia Metcalfe’s vocals, in every way mesmerising and compelling, it’s like you can feel her eyes fixed on you, drawing you in like a B-movie vamp. If next season’s soundtrack of BBC’s Peaky Blinders isn’t peppered with tracks from this album, like The Bad Thing, a pounding swagger of threat and intensity, and Dangerous, a song you can almost feel the searing heat off, then a trick has been regrettably missed. Its the type of debut that comes along every now and then and is just so good that it makes you question if that’s really true. With near perfect hooks, sheer production class  and pure poise and maturity that defies their years, it’s a welcome subversion of expectations. 

FERRIS AND SYLVESTER - SUPERHUMAN

I’ve only just discovered at the point of writing, now that I’m returning to this album for another re-listen, that the London based duo of Issy Ferris and Archie Sylvester are now a pretty freshly married couple and brand spanking new parents to boot. What a year they have had! Before the birth of little baby Lucky in September, their first child was arguably this, their debut album, that came along a little earlier, in March. It isn’t really a surprise to be honest. Their passion for life, each other and their music is what strikes most through this impeccable song writing and sizzling talent. They have been mostly daubed with the alt folk brush by the media but through all its guises, dressed up in a stunning variety of deftly honed styles, this music is soul to the core. Through every country slide, foreboding folk veil and bluesy grind, there is just simple joyous soulful celebration of all the tiny touches of life. At times, this peaks in incredible soaring gospel sound, most obviously in ‘This Is How My Voice Sounds’ which goes from a simple key accompanied number to full room epic and back and back again. But also, less obviously in Tracksuite’s choice for the years Top 50 playlist, the sumptuous groover ‘Golden’, a teasing, swinging infectiously and gloriously optimistic heady singalong that is sure be an ear worm for life. As American UK puts it ‘This is blistering music that slips and slides along, scoring shots with every track. It’s hard to believe the duo are British, given the way they seem to have nailed that Southern States, soul country sound. It’s funky, slinky, sassy, in your face one moment and slithering away the next; chock full of stops and starts and changes of direction that keep you guessing at what is coming. It’s a remarkably assured debut album’ Before going on to nail it with a 10/10 score. Nuff said. 

SOUL GLO - DIASPORA PROBLEMS

The first of three albums in the list with the word ‘problems’ in the title. Possibly reflective of the state of things post covid or possibly just entirely coincidental. Anyway, it tells much about my age that an album of this ferocity has failed to garner much of my interest in recent years. I think I’ve started to feel that intense hardcore noise music just struggles to deliver enough variety for my aural pallet, in both emotive range and musical style. The message doesn’t get through anymore. Then Soul Glo decided to up their game considerably and produce a major label debut that is bigger and braver in all the ways I needed it to be. Don’t get me wrong, these songs are as fierce as ever, but there’s maturity and depth at play. There’s always been a creative edge to their work but here it feels like they’ve given themselves enough space to really plough the psychological depths and push into those screeching high ends, while the band take the opportunity to really flex. One of the biggest tracks is the warning call ‘Jump!! (Or Get Jumped!!!)((by the future))’, an awesome high octane track of brain bleeding force and lyrical prowess and the perfect gateway into the album. They then slow it right down to more of a standard rap music pace for the next release but no less abrasive ‘Driponomics’ featuring the absolute class of Mother Maryrose on the verse. The stand out for Tracksuite has got to be the incredible closer ‘Spiritual Level of Gang Shit’. A steady builder that starts with the feel of performance poetry on a bass bed but then comes in with a mighty boom bap groove featuring the skills of McKinley Dixon and Lojii. Then right on queue kicks on to a double time and Pierce Jordan lays in with the screamo. And just when you think you’ve got the band and this track figured, Soul Glo bring in the horns! Both the song and the album play out with the track title sung on repeat to a riff that sounds almost like the end credits to an epic spaghetti western. It is nothing short of glorious. 

ANDREW BIRD - INSIDE PROBLEMS

In every aspect, where Soul Glo are a challenge to the ears, Andrew Bird in this mood is a salve. Even though there’s a lot of similar introspection and soul baring going on (the album title couldn’t make this point anymore bluntly), there’s a very different means to the message. The production is absolutely exquisite for starters. Like the softest of warm winter comforts, it just wraps you up, makes you some soup and tells you everything is going to be fine. Pitchfork said ‘These 11 songs may be meant to chronicle a pointedly personal inner voyage, yet he’s wound up with a warm, collaborative record that feels like a balm for fear and loneliness’. Bird’s trusty violin is always to hand but here it never screeches like on last year’s brilliant These 13 alongside Jimbo Mathus. Instead it plucks gently and occasionally soars and otherwise just nestles in amongst the rest of the perfect instrumentation. As always I find it impossible not to make the comparison with the legendary Louden Wainwright III, but now he’s lacing songs like ‘The Night Before Your Birthday’ with both the sound and spirit of Lou Reed and the Velvet Underground as well as echoing Elvis Costello at certain times throughout. Uncut said ‘Inside Problems is a rather less meticulous and more spirited band set that examines the questions that keep him awake at night, in ear-snagging songs shot through with 70s country rock, chamber pop, Balkan and Appalachian folk and Tin Pan Alley eccentricity’. Yet there’s a timelessness to this album. In reflection of the greats previously mentioned, this album sits perfectly alongside iconic works of the 70s and 80s but songs like ‘Make A Picture’ is also a contemporary indie gem. Tracksuite’s pick for the playlist is track two ‘Lone Didion’, a real pace setter for the rest of the album. It’s a near perfectly rhythmic, toe tapper but with typically Bird underlay of darkness, written about the author Joan Didion around the time in her life she lost both her husband and daughter. Heartbreaking. Stunning. 

FANTASTIC NEGRITO - WHITE JESUS BLACK PROBLEMS

A collection of songs that seemingly sprung from the almost accidental discovery that his ancestry leads back to the common law marriage of an indentured Scottish servant and an unnamed slave in Virginia in the late 18th century. The album, in its strictest sense, is a testament to the old adage of the power of love, celebrating the two people who Negrito calls Grandma Gallimore and Grandpa Courage. It is sometimes to the fore, like on back to back tracks ‘Nibbadip’ and ‘Oh Betty’, and a very difficult choice between them for the playlist (Nibbadip pipped it, mostly from the title).  They are two mid sixties-esque soul pop belters absolute. He sings ‘Talk about a love, talk about a life. From Scotland Africa to VA. Grandma Gallimore she fell in love. With a man that had no name. He said please don't sell me Cuz I'm in love with woman. Freedom's in her eyes’.  Ok, the sentiment has a certain contemporary sensibility but then ain’t love timeless? In ‘Oh Betty’ Negrito inhabits Grandpa Gallimore taking a bit more liberty with lustful tones for his beloved’s body as well as her voice while the tune grooves along a psych rock edge. Exclaim said ‘While White Jesus Black Problems is certainly an album that prompts further discovery of its deeper layers, it is also liberating in its musical profundity.’  That spiritual music that his ancestors must have sung for themselves and for each other is at the heart of all of these songs. Of course, if you’ve heard Fantastic Negrito, you will know that he then simply uses this as a springboard for the tracks to then jump their way through blues, funk, rock, gospel (of course) and aforementioned soul and psych. Mojo called it ‘A potent artistic tour de force, White Jesus Black Problems' message is ultimately a simple but life-affirming one: love can conquer all’. I’d simply say - it’s a trip.

LOGIC - VINYL DAYS

Logic the rapper, aka Sir Robert Bryson Hall II, has not dropped onto my radar before, despite being one of the most prolific producers out there over the last decade and a bit more. This could have something to do with this album, and apparently his final studio album release with Def Jam Records, having a not completely, but crucially different, sound to most of his previous work. Namely, for this listener, it throws back to the 90s and the heyday of Boom Bap, very much my hip hop and rap happy place. It’s a mighty 30 track heavyweight of Logic showing his appreciation to those who’ve inspired him and peers who’ve supported him. Woven together with regular skits, many of the tracks are short but they’re certainly no less punchy and the collection feels like a relentless turn in the ring with a formidable opponent under continuous verbal fire. After Morgan Freeman makes the album's introduction, the tracks come thick and fast, featuring a vast array of talent like Action Bronson, RZA, Royce Da 5”9’, The Game, Russ, Wiz Khalifa and more. At the time of writing, I’m still struggling to pick a single tune for the end of year playlist. ‘Blackwhiteboy’ is a furious example of the skills on show. ‘Quasi’ is thunderous. ‘Bleed It’ samples The Beastie Boys and the production is brilliantly referential of the bands early work and this could almost be a straight lift off their iconic ‘Ill Communication' album from ’94. ‘Therapy Music’ is suitably infectious. ‘Rogue One’ feels like peak Cypress Hill. ‘Kickstyle and Porta One’ echo Wu Tang Clan and Ice Cube. And on it keeps going, thankfully never letting up and even after the epic 10min plus closer ‘Sayonara’, where Logic says his fond goodbyes to the label, it feels like he’s being dragged off while still firing. It’s like he’s only getting started and this album is not an end but a new beginning. 

TAMI NEILSON - KINGMAKER

Fifth studio album from the Canadian born, now New Zealand settled fast becoming country legend Tami Neilson. She started off as part of the Canadian 5 piece family band The Nielsons before coming of age as a sole writer and performer. A powerful character in the industry, this is a complete album swipe at the patriarchy in country music. It’s a point that you wouldn’t feel needs made in 2022 but seemingly and sadly it does. Straight from the off the title track of the album, makes the point of this strong ambitious female voice in a male dominated industry. Immediately selected for the playlist, Kingmaker is a cinematic soaring epic, referencing more than a little of a former queen of country herself, Patsy Cline. Couple that with an award winning duet with none other than Willie Nelson on ‘Beyond The Stars’ and this album starts to twinkle with real class. She hammers home her attempt to readdress the sexual balance with the defiant ‘Ain’t My Job’ and the brilliant ‘King of Country Music’. Both sparse acoustically accompanied productions and the latter driven by a simple but extremely effective hand clap and a determinedly provocative vocal, singing ‘Daddy was a guitar, mama was a gun, the king of country music, the daughter not the son’. It sounds a bit like work song or an attempt to create a kids play song that intends to subvert any sexist indoctrination in young ones from the off. This infectious singalong swing style and hand clap continues on ‘Careless Woman’ she sings ‘A careless woman she played too much, she laughed too loud, she talked too much, too much, too much, she’s just too much - I wanna be her when I grow up’. Playing again to this idea that she’s talking directly to the kids and showing them they can think differently. Not afraid to turn those guitar amps up though, ‘Mama’s Talkin’ is a sassy swamp rocker showing this lady’s range and confirming The Guardians claim that the ’Kiwi queen remains an imperious talent’. 

ODESZA - THE LAST GOODBYE

The first album in five years from Clayton Knight and Harrison Mills as Odesza. An immaculately produced mass of genre styles filtered through their never groundbreaking but perfectly honed brand of electronica. Eclectic in its sensibility, at times melancholic, always tender and at anytime as capable of a poignant headphones moment as it is of filling the big room. They are supported in this journey by a wealth of talent. It approaches softly to begin with, Julianne Barwick first narrates a cinematic intro before sliding into a choral soar as orchestral strings back her in building strength. The beats arrive on queue with ‘Wide Awake’ and never let up. They break, they pound in the downbeat, they clatter and swirl in tribal patterns and they throb with the heat of the dancefloor, and they are thankfully and formidably ever present. Comparable electronic duo The Knocks lend their skills to the stunning soul groover ‘Love Letter’. English singer songwriter Holly Lapsley Fletcher, monikered as Låpsley, lends her talents for some epic house gorgeousness on ‘Equal’. Icelandic maestro Olafur Arnalds sprinkles signature magic in chillwave beauty on ‘Light of Day’. However, it’s very difficult to see past the title track with vocal credits given to the great Betty LaVette, where it is in truth just exquisitely use of sampling her 1965 track ‘Let Me Down Easy’. This is just damn perfect blending of contemporary dance production and a voice of such quality that the near 60 year gap since the originals recording has faded into irrelevance with the result nothing less than a timeless classic. As I eluded to earlier, this album kicks down no new doors but why would you need it to? This is enough for tonight or for any night in the foreseeable. 

DANGER MOUSE & BLACK THOUGHT - CHEAT CODES

In the same way as Odesza’s 'The last Goodbye’ shines despite any freshness in approach, the long awaited collaborative album Cheat Codes by super producer Danger Mouse and hip hop elder Black Thought is old school gold. As Exclaim said ‘Cheat Codes’e stands as Black Thought's most fully fleshed-out and accessible non-Roots project to date. Despite not veering too far outside his comfort zone or breaking any new ground, it holds the perfect blend of accessibility and complexity, supported by an energetic cast of guests’. 60’s and 70’s soul is by no means fresh hunting ground for hip hop sampling but these are choice picks. From Gwen McCrae’s ‘Love Without Sex’ setting the perfect tone to open, Doris & Kelley’s ‘You Don’t Have To Worry’, Kiki Dee, Hugh Masekela and more, this a treat for all those who might appreciate the vintage flavour. The Guardian said ‘Hip-hop has evolved exponentially as a genre, with ticklish trap beats and blurry cadences now selling like hot cakes. Cheat Codes, by contrast, is full of parchment and runes: obscure samples and fat breakbeats, vinyl crackle and crate-digger detail.’. Obviously, they also use their kudos to bring in a gamut of support with featured voices well known from the upper echelons of rap, Raekwon, Joey Bada$$, A$AP Rocky, Run the Jewels and more. The track for the playlist has not been chosen because, again, the choice is too rich. And I think that’s the word for this album - rich. Rich in talent, expertise and experience. It’s like velvet, fine wine and dark chocolate. It is for the connoisseur. To let The Glide have the last word ‘The chemistry shared between The Roots vocalist and Danger Mouse on Cheat Codes is so high caliber that it’s almost impossible to believe the two artists walk amongst the common man. The term “God Level” is thrown around a bit within the hip-hop community, and once people hear Cheat Codes, that saying is going to have a new definition’.

VIEUX FARKA TOURÉ & KHRUANGBIN - ALI

An absolute delight of an album by Texan psych dub trio Khruangbin and Malian singer and guitarist Boureima "Vieux" Farka Touré, paying tribute to his late father, the legendary Ali Ibrahim "Ali Farka" Touré, with a stunning collection of lovingly crafted covers, poignantly and simply titled ‘Ali’. On first glance this team up might seem like an unusual one but the father and son are no strangers to collaboration. Toure Snr himself worked with Ry Cooder and Toure Jnr with Israeli composer and pianist Idan Raichel, jazz guitarist John Scofield and experimental US vocalist Julia Easterlin. According to the Guardian this musical union was apparently sealed in a London pub over fish and chips, but however it happened, we should be forever thankful because this is sonic match making with a heavenly touch. The Wire said ‘There is a genuine synergy here. Khruangbin have crafted oneiric Manding inflected backdrops as though they have found what they were looking for all along, and Touré settles into them like he’s just got home.’ Its the kind of perfect fusion where it becomes difficult to conceive that its made up of two separate entities, neither party disappearing in deference or feeling the need to over power the other, forcing the point. Instead its relaxed and at ease, with balance and poise it has a grounding and centring quality.  The Line of Best Fit said ‘Both parties benefit from the collaboration on Ali: Touré gets to paint the songs he loves with a wider palette without diluting the power of the source material, and Khruangbin add some welcome grit to their smooth and hazy signature sound.’ It’s so good, it’s possibly to the detriment of future projects when they return to work individually again. Any track would work but Tongo Barra has that distinctive Malian folk groove and is by far the most upbeat of a wholly chill album and the selection for the playlist.   

THE BOBBY LEES - BELLEVUE

The third studio album from Woodstock, NY’s punk quartet The Bobby Lees (named after Bellevue psychiatric hospital in Manhattan) released by Mike Patton’s Ipecac label. I am guessing this (perhaps questionable) title is used to reflect the unhinged energy and noise that this band creates. A noise that has gotten no small amount of buzz this year, with Henry Rollins, Iggy Pop and Juliette Lewis and well known others talking up this band. If your thing is raw garage rock energy, punk snarl and a seemingly endless creative energy, then this is the listening post for you. The Arts Desk said ‘There’s nothing like raucous and fiery rock’n’roll to replenish your soul and the Bobby Lees have enough of that to be prescribed by the NHS…a wild ride, full of adrenaline, snakiness and a general keenness to get lost in the moment’. For me the first immediate reference point was the Dead Kennedys, instrumentally in both ability and style. With worthy comparison to a band of that stature as a starting point, it was going to be very difficult for this album to disappoint. This point is underlined when When Sam Quartin takes over the vocal duties. With an impressive range she shrieks, growls and captivates in such a way that, I am sure,  label boss Patton and former DK vocalist Biafra are nodding in approval. Distorted Sound said ‘The Bobby Lees have leaned into a new kind of confidence - a risk worth taking. They embody a level of chaos that might not be for everyone, bit it cannot be denied that they have found a sound they can pull off amazingly’.  Tracks like ‘Ma Likes to Drink’ and ‘Death Train’ are fantastic full pelt manic punk moxie, the brilliance in ‘Hollywood Junkyard’ and ‘Monkey Mind’ is their ability to bewitch as well as torment, but Tracksuite’s pick of the bunch is ‘Dig Your Hips’, where all the aforementioned attributes come together gloriously. 

MEAT WAVE - MALIGN HEX

Chicago based post hardcore trio Meat Wave released their fourth album Malign Hex via Swami and Big Scary Monsters on the 14th October. Of note, this album actually pre-dates the pandemic, delayed after being recorded in 2019. They have released fresher material before this with the EP ‘Volcano Park’ coming in the midst of things back in 2021. Weirdly though this album has a darker, more introspective feel giving it a surreal portentous quality. Crucially, it’s an edge that suits them better and they have nailed it here. Yes, there’s punk anger in spades but a whole lot more going on. It's easy to compare them to post punk scene contemporaries like Melkbelly and Dehd but here there feels like greater heft to the sound. There’s a math rock sensibility at times, a krautrock mesmerism and even a post everything nihilism but the sound I hear most (and again this brings in the 90s influences I’ve referred to a few times now) is an old favourite in alt metal band The God Machine. In fact Meat Wave’s Chris Sutter’s vocals are so similar to The God Machine’s Robin Proper Sheppard’s distinctive style that it’s plain spooky. More than that though, amongst the angst, there’s the anguish. In the way The God Machine did better than anyone at the time, underneath the harsh edge is real pain, like a creature alone in a harsh world that really just wants love and understanding but will lash out if cornered. This delicate balance is the making of this album, that it can work in the mosh pit and continue to effect on deeper levels is its real power. You feel this in every single track but screams out in ‘Honest Living’, ‘Waveless’, ‘Jim’s Teeth’ and the pick for the playlist, the brilliant ‘What Would You Like Me To Do?’ Scene Point Blank said ‘There’s a lot going on with this record. It’s abrasive, but sometimes catchy. It’s heavy, but sometime dynamic. It’s arty, but never pretentious. It’s raw, intense, carefully composed noise-punk’. 

LOYLE CARNER - HUGO

And to rap things up (Ha! Had to get at least one dad joke in), third studio album by London rapper Benjamin Gerard Coyle-Larner (who performs as Loyle Carner) has taken a huge leap forward in production maturity, songwriting craft and introspective depth. There were glints of Carner’s genius on his first two records with ‘Yesterday’ and ‘Stars and Shards’ shining out on his debut ‘Yesterday’s Gone’ and 'Ottolenghi (feat Jordan Rakei)’ and ‘Loose Ends (feat Jorja Smith) showing off an ability to skilfully lean towards contemporary jazz soul on the follow up ‘Not Waving, but Drowning’. Now with ‘Hugo’ he has found his full strength, returning to an old school sound at times that first flexed on his earlier ‘A Little Late’ EP but also keeping things chill with a lighter creative touch in trickling beats and soft keys. He clashes this sound with some of the harshest spat vitriol at those who have wronged him and the combination of these seemingly opposing forces in the sound are what give it its potency. The first single ‘Hate’ gave a clear announcement of his intentions to step back into the limelight before the album dropped. Although it doesn’t shy away from throwing verbal attack on those deserving, it’s a bit of a deceptive title, as it ends throwing grace on all those equally deserving. The Observer said ‘Like Michael Kiwanuka, Carner’s first two albums were occasionally terrific but his third is a masterpiece.’ Strong words that Tracksuite can't argue against. Tracks like ‘Georgetown’ and ‘Speed of Plight’ kick furiously while feeling suitably reflexive. ‘Homerton’ and ‘Blood on My Nikes’ are pure RnB beauty. All tracks feel intrinsically Carner while all the time nodding in respect to past greats. Tracksuite’s choice for the playlist is the soaring ‘Nobody Knows (Ladas Road)’. The Line of Best Fit said ‘A clear cut statement on what it feels like to be alive in these troubling times from an artist who is carefully cementing himself as one of the most compelling and earnest young talents.’ What filters through on all of Carner’s music, despite the frustration and animosity, is this man’s capacity for love. He appears not as a character playing a part, like a lot can in this genre with bravado in place of bravery, but as bluntly truthful with all the frailties and all the charm of the human condition. Like all of the music on this list, at the heart of it all is its heart and I can’t think of a more apt finishing sentiment. 

You have been reading Tracksuite’s Best Albums of 2022.  Thanks for taking the time.
Look out for Tracksuite’s Top 50 Tracks of 2022 playlist coming soon…

Much Love

D@Tracksuite

For those who need a little more, see below for more albums of note.

Big Thief - Dragon New Warm Mountain I Believe In You

Rokia Koné and Jacknife Lee - Bamanan

The Dip - Sticking With It

Warmduscher - At The Hotspot

Orville Peck - Bronco

King Gizzard and the Lizard Wizard - Omnium Gatherum

Bob Vylan - The Price of Life

Tourist - Inside Out

Two Shell - Icons

Greentea Peng - Greenzone 108

Butcher Brown - Triple Trey

Sampa The Great - As Above So Below

Ezra Collective - Where I’m Meant To Be

Xmasuite 2021

So Christmas, as we planned it, is cancelled. Party bookings binned. Travel plans scrapped. Merriment scuppered. No laughing, no smiling, no joy to the world.

Well, it’s certainly no substitute for shared sprouts with your nearest and dearest, sharing stories of who’s been successfully dodging government guidelines so far this season, but you may choose to take some comfort in this year’s Xmasuite 2021, your traditional alternative merry mixtape. 30 yuletide treats for those of you who yearn for something far less ‘off the shelf’. You couldn’t wish for a more personal selection of rarer sought surprises to keep that seasonal smile on your face and fend off another Blue Christmas. 

There’s fresh cheer from Amanda Shires, Phoebe Bridgers and 100 Gecs. Vintage tidings from Lowell Fulsom and Rhodes Kids. Country gifts from Hiss Golden Messenger and Hayes Carll, (W)raps from Master P and jolly jazz trimmings from Louie Bellson. Lashings of Cool Yule and much rocking’ round the xmas tree with Joe Turner and Randy Bachman. Hows that for keeping your stocking full? A lovingly gifted party for one. 

Stay Safe
Happy Xmas
D@Tracksuite

Best 50 Tracks of 2021

Hope you enjoyed Tracksuite’s Best Albums of 2021 post. If you missed it, scroll on at the end of this post. Now, hot on it’s heels, faster than news of another illegal Tory Christmas party, we arrive at Tracksuite’s Top 50 Tracks of 2021. As always, it comes in the form of hand crafted playlist. There’s some well known and arguably overly playlisted bangers in there but most are lesser known unearthed album gems. Theres two heavy leaning posts in this mix that have been the prominent flavours of this year. Post Punk has been showing up more and more in choice indie rock tunes over the past few years but now seems to be the steady go to with exciting emerging bands like Wet Leg, Folly Group and two from this years Best Albums of 2021 playlist, Geese and Squid. There’s also a preponderance of Afro and Latin sounds and influences in there too from Little Simz, Josh Butler and Dennis Cruz and best album inclusion from the late great Tony Allen. Solid gold indie will always be found here, and so the flag is carried in 2021 by bands like Childcare and Postdata, on the heavy ended side of things with Idles and Black Midi and more folkier edged with Katy J Pearson, Billie Marten and Jess Cornelius. Country always sits in safe hands, once again from Sturgill Simpson, Robert Plant and Alison Krauss but Lord Huron and Ida Mae have unleashed country glory this year too. There’s rap, blues, funk, techno, reggae and more all in there, including a few out there pieces from the likes of FYI Chris and Nancy, and breathtaking beauty from Gabriels, Arroj Aftab and Caroline Shaw. I’m gutted to say my beloved rock and metal have fallen short this year but the lack of it from others is more than made up for by the ultimate wall of noise in the playlist closing monster by Beartooth.

Get in amongst it. Don’t dither neither as Xmasuite 2021 follows soon…

Love and Music
D@Tracksuite

Best Albums of 2021

Hey, you’ll never guess who’s at the door - 2022! What?! At this hour?! But we’re only half way…etc etc. Still reeling from the heavy blow to the head that was 2020 and all the symptoms that came with that concussion, we’ve barely recalibrated our thoughts into facing forwards again and the world is winding up to throw yet another year at us. Why are we even bothered to go back outside again? Oh yeah - Gigs! Gigs are back - Whoop! But now there’s a new variant. Eek. And that variant has a ‘stealth’ strain. confused.com, I want to support music, support society and community, find a way to break the shackles and not just exist but really live alongside covid. But I  still want to keep myself and my loved ones alive. We still have a long way to go. Some live music has been experienced with understandable hesitancy but pleasingly fulfilling results. It will continue to be to some degree, at considered pace but there’s no hurry. I appreciate that’s possibly easy to say from someone who doesn’t rely on live music for his existence but I come from the school of thought that favours small positive steps forward rather than risk another entire shutdown and further loss of possible future talent that would be all of our loss. 

There’s always new music but I’m sure it’s not just me that’s aware of the hit of destruction from the last two years. Covid has cut a violent and scathing blow to the music industry and the productivity can be felt this year. We mourn the loss of so much that could’ve been.

That said, there has been undoubted quality. And here at Tracksuite we are enormously grateful and cheered by that.  Here’s our list of ten top selected albums for 2021

Sturgill Simpson - The Ballad of Dood & Juanita

Never an artist to fall shy of productivity, the outlaw Sturgill Simpson spent last year’s lockdowns entrenched once more in his own exploration of mountain music roots. The fruits of his efforts were, firstly, the so-so ‘Cuttin Grass’, released at the end of 2020.  But then, in August this year, came The Ballad of Dood and Juanita. This unexpected concept album, disguised as a spaghetti western love story so straight off the page as to be almost comical, packs a punch that will send you reeling as if from the main character’s mighty fist. The story is as old as the screech of the fiddle strings and there’s a stoicism that keeps these songs on the trail, matching mood and melody perfectly. Although he’s crafted the perfect soundtrack to a classic tale, he never does succumb to an obvious temptation to croon or filler any gaps with tedious instrumental. These songs are the six gun bullet points, marking the key elements to this story, nailing the poignancy at its heart, that could be in film for real were it not for it feeling like it would be a lesser visual than Sturgill has painted it in music here. 

Despite the difficulty to pick a single track, it seems obvious to select his collaborative track with the legendary Willie Nelson - ‘Jaunita’. Although Willie only plays the guitar break, this song’s very essence is infused with him.

Andrew Bird and Jimbo Mathus - These 13

Similarly immersed in American folk music, the latest collaboration between Tracksuite favourite Andrew Bird and Jimbo Mathus of the Squirrel Nut Zippers, brings a release of sublime roots influenced songs. No strangers the other’s take on the old country sound, with Bird once a touring member of the SNZ, there’s a perfect meeting place between Mathus knowledgable antique sound and Bird’s more indie boundaries. 

Arguably the most talked about country music collaboration of 2021 was the recently released Raise the Roof by the recognised voices of Alison Krauss and Robert Plant, a follow up to their fantastic Raising Sand from 2007. As good as that is, it can’t touch Raising Sand, and despite a couple of stand outs - it doesn’t have the consistent depth and quality that this complete work has. This album doesn’t feel like a quick get together between these two, but more the connection between two musical souls producing a perfect sound long lost and sorely missed. The best of 50 playlist includes the painfully beautiful closer ‘Three White Horses and a Golden Chain’.

Amythyst Kiah - Wary + Strange 

Tennessean singer songwriter Amethyst Kiah first came to Tracksuite’s attention through the collaborative album ‘Songs of Our Native Daughters’ from 2019, alongside the supergroup line up of Rhiannon Giddens (more from her later), Leyla McCalla and Allison Russell. Her track Black Myself, a stand out track from that album, nominated for a Grammy award, has found its way on to her third album Wary + Strange, released in June on Rounder Records. It’s not a straight lift and drop though. It’s been reworked up from the acoustic, rootsy sensibilities of the native daughters project to pack more of a pulse heavy and electrified punch befitting this statement album; a work of strongly poignant and emotional heft. This feels like a collection of songs that Kiah always wanted to make and was always destined to release but just needed that right time. Now is mostly definitely her time. This album is a sublime wander through rock, blues, folk, country, Americana and pop. Her soul lays bare in every story of her struggle, bereavement and anguish. At every point there’s a fascinating balance between tenderness and strength that’s impossible to not be immediately drawn towards. On the playlist is Hangover Blues, a breathtakingly powerful self reflection on her difficult relationship with alcohol.

Flyte - This Is Really Going To Hurt 

I’m more than happy to accept that it’s just the ageing process taking it’s toll on my own ears and musical brain but a lot of this year’s best albums selection have an overall air of music that’s more interested in winding the clock backward than reaching forward. I certainly have no problem with either and I’ve heard some fascinating new sounds produced this year from artists like Little Simz, Equiknoxx, Joy Orbison, McKinley Dixon and more. For me, each album in this selection are full pieces of work from artists who understand the history of their genres and are crafting full explorations of joyous past times in music. No more so than London band Flyte’s second album, released in April. A band so thoroughly soaked in classic sounding 70’s American folk rock, the sight of them without copious and expressive facial hair, corduroy and denim flares can come as a shock. Facial hair they have, and much like the sound they produce its far more tastefully thought through and crafted. These songs are incredible, stepping up significantly from their 2017 debut The Loved Ones, to produce a selection of classic, spirited, roof down gems. Of course of you listen closely, you’ll hear the beak up heartache but its coated so heavily in that freedom sound as to present itself as the soundtrack to breaking loose and moving on.

The Allergies - Promised Land

Another nostalgic work is the new album from Bristolian producers Rackabeat and DJ Moneyshot, aka The Allergies, released in October on Jalapeño. For nearly a decade this pair have been producing a steady stream of highest quality funky bangers to rock any party. Their knowledge of the roots of the funk, hip-hop and breakbeat that feeds in to their 90s feel big beat sound is so clear in every intro, baseline, sample and drop. They are truly masters of this flavour and one which perfectly pushes the buttons of this former big beat junkie. Granted, every track safely embeds itself quickly in a place anyone who knows the genre will pick up immediately and be comfortable in, and this serves to speed the process of boots on the dancefloor. We know the message, it’s full on and funky and purely designed to move your feet. That works for me. Especially with a savvy selection of featured voices like Ugly Duckling’s Andy Cooper, Dynamite MC, Marietta Smith and Lyrics Born to sprinkle their own magic on top.

In the Top 50 track playlist is the album’s first single ‘Lean On You’ featuring the legendary Dynamite MC. An absolute destroyer that sums up exactly what these guys are all about.

Nancy - The Seven Foot Tall Post Suicidal Feel Good Blues 

The first album that had me sitting up and taking notice this year came along fresh and prompt in late January from Brighton’s ubiquitous psyche rock king, Jamie Hall, under his Nancy monicker. It’s a full length celebratory confessional grab bag of glorious treats, where this giant of a singer songwriter (in every way) explores his brutal life as an individual who’s tastes and style have brought scorn from the prejudiced around him. It’s a fairground ride through the peaks and troughs of an often suicidal existence to the joyous release from a character who has found a way to break through and shine from his stage, shaking off societal judgement and rejoicing in himself alongside those who are enjoying his incredible music. There’s stunning inventiveness throughout this album, crashing scuzz rock ditties drop down to warped psychotic ballads and back again. 

The Top 50 tracks playlist includes the title track but check our the spiralling Clic Clac and late Beatles sounding Don’t Pass Me By for more flavours of this impressive work.

Tony Allen - There Is No End

The posthumous album from a legendary pioneer of Afrobeat. The former Fela Kuti collaborator spent an incredibly prolific 60 year career shaping funk, soul and jazz through a genre that has become more and more prevalent in contemporary production, so it’s a perfectly fitting end to Allen’s journey that this final album brings a collaborative collection of songs with a highly impressive array of fresh emerging voices and veteran talent. Never confuse this with being one of those albums where an ageing performer seeks to prop themselves up on the zeitgeist or fill the emerging gaps in their abilities with that of those coming through and fighting for space. This is cool meets cool.  It is a veritable feast of raw and established names like Danny Brown, Jeremiah Jae, Sampa the Great and Lava La Rue. The Top 50 track playlist choosing the first album release ‘Cosmosis’, an intense and insistent tune that brings together grime artist Skepta with Nigerian poet Ben Okri. It’s a perfect encapsulation of an album that proves the fact that Tony Allen’s great legacy is in safe hands.

Squid - Bright Green Field

Probably Tracksuite’s most anticipated album of 2021 after more than a few fantastic teaser releases like ‘Houseplants’ and ‘Match Bet’. This debut album of all new material released in May, on Warp, certainly did not disappoint. The Brighton post punk 5 piece apparently lost out on a European tour from Covid lockdowns in 2020 and instead spent their time putting together this incredible album. We have surely to thank Covid for some things. Its one of two albums in this year’s ‘Best of’ list most easily labelled Post Punk and Squid prove themselves capable of much more by flexing their musicianship muscles throughout this work. These epic sprawls swagger with deft jazz touches, dub style, krautrock throb and punk edge.  There’s also more depth to their music now in comparison to those early, more playful singles. A serious, angrier and more politically motivated aspect only adds to what was already a fantastic listen.

The awesome and vitriolic ‘Pamphlets' is the pick for the Top 50 track playlist.

Geese - Projector

Another band surfing this year’s post punk wave is another five piece, this time a bunch of very talented teenage high school grads from Brooklyn who play as Geese. Their debut album dropped just last month on Partisan Records. Much like Squid, post punk is a bit of first impression sticker. The most obvious influence in this sound is the noughties indie rock cool of The Strokes,  impossible to believe the vocals aren’t Casablancas at times. There are echos of lots of rock royalty in these tunes, from the spit of early Arctic Monkeys and Idles to new wave greats that were around way before these kids. One thing you can’t do is judge these guys on their age, because nowhere is it evident other than the conviction in its sound. They have been playing together for the near majority of their young years and this comes through in the quality of the product. The perfect match of youthful enthusiasm and talent, coupled with the skills of go-to producer Dan Carey at the helm, makes for a mighty heft of a record that demands your attention.

Selected for the Top 50 track playlist is ‘Opportunity is Knocking’.

Rhiannon Giddens and Francesco Turrisi - They’re Calling Me Home

Released in April is Rhiannon Giddens new album They’re Calling Me Home. Once again she returns to the core elements of folk music, made with her partner in music and in life, multi instrumentalist Francesco Turrisi. Possibly inspired by their lockdown together in their new place in Ireland, you can feel them exploring the timeless but certainly topical themes of home and death, it features covers of well known staples like I Shall Not Be Moved, O Death and Amazing Grace. The latter, a stunning reinvention of the work, with just drum and wordless voice, gives it a cinematic expansiveness beyond it’s relatively simple production. Giddens’ voice is so near to perfection that it always, for me, seems to initially be unfitting in folk music, where a singer’s voice seemingly broken by the ravages of hard living appears to settle quicker. In her case, however, she always crafts her music with such delicacy and poise that when she sings the opera of Monteverdi on ‘Si Dolce è’l Tormento’ and echoes that on songs like ‘When I Was In My Prime’ it feels almost like no other voice can exist.  

Listen to Amazing Grace in the Top 50 track playlist coming right here to the blog very soon…

Best Albums of 2020

The time has come around once again to celebrate this year’s highest quality long players. This year having arguably more reason than most to cheer the output. As always, this blog post is elder school in its celebrating of the album as a complete work of art, not because of any stand out tracks. No outright winner this year, which is not uncommon but a high achieving twelve albums all worthy of your time and attention and possibly a two minute clap on your doorstep.

Let’s take them in release order. January being one of two bumper months of bonus brilliance.

Chubby and The Gang - Speed Kills

Released January 17th on Static Shock Records, back when Covid still remained someone else’s problem in another part of the world. Over here joyous punk positivity kicked open the front door of 2020 and all was looking healthy in the mosh pit of life. Charlie Manning Walker, aka Charlie Fresh, aka Chubby Charles and his gang have spiked the vein of the growing range of pretentious hardcore sub genres and released an absolute masterpiece of high spirited stomp that fully embraces the fun side of noisy rock. It’s certain that many a pet has been scared off and furniture broken as this album sounded off during lockdown. This year’s Tracksuite Best 50 Tracks of 2020 has selected ‘All Along the Uxbridge Road’ 

but check out the brilliant ‘Moscow’ aswell.

Lina_Raül Refree

Released on Glitterbeat on the same day as Speed Kills but a wholly different animal altogether. Portuguese singer Lina and Spanish guitarist producer (and previously Rosalia collaborator) Raül Refree paired up to update and pay homage to legendary Portuguese Fado singer Amalia Rodriguez. A singer so revered that many may claim her work untouchable but there’s such a genuine honesty and love for her music in these contemporary productions that it’s difficult not to see both purists and newbies to this beautiful material being brought together. The Best 50 kicks off with their interpretation of the song ‘Medo’ 

but here is also the sublime and moving ‘Cuidei que Tinha Morrido’

Black Lips - Sing in a World That’s Falling Apart

Then only one week later from Fire Records came the first of another two fantastic albums, giving Tracksuite a somewhat false impression of hope for the year ahead. Atlanta’s garage bad kids The Black Lips, reassessed their sound and released an absolute alt country lo fi rock gem. Only 2mins into the twisted and hilarious opener Hooker Jon, it’s clear that the album ahead is a treat box full of dark wry wit and gloriously subversive world outlook but still soaked in awesome traditional country rhythms to rope you happily in.

Here’s ‘Hooker Jon’

But the playlist went with the raucously triumphant ‘Rumbler’

Bonny Light Horseman

And then, as Lina and Raül Refree were the flip side of Chubby, so Bonny Light Horseman are the holy light of country to The Black Lips bedeviling influences. Again, arriving on the same day. And also like Lina and Raül, reworking and shaping old folk music for new ears. The folk supergroup made up of Fruit Bats singer Eric D Johnson, veteran multi instrumentalist Josh Kaufman and singer songwriter Anais Mitchell, take long forgotten folk classics and paint them up so fresh they feel new again. There is such genuine affirming care here for these classic ballads that where the originals may have lost a touch of their power through the ageing process, here the trio bring a kiss of new life and distant heartache and passion is truly felt again.

The playlist opted for the gorgeous ‘Jane Jane’

But you’re spoiled for choice. For instance, the beautiful ‘Deep In Love’

The Cool Greenhouse

But also, check out ‘Sticks’

Baauer - Planet’s Mad

Baauer - Planet’s Mad

And then came the bumper summer. Starting with the new album by Harry Rodrigues, aka Baauer, the producer to internet smashing mega viral Harlem Shake from the before times. Released Jun 19th on LuckyMe, a thoroughly expansive full set of twisted bass heavy breaks and bangers. Picking up a variety of Latin American and African rhythmic influences and distilling them all into his inimitable big room style. This complete work is a breathless summation of our lost nights we’ve all been simulating in our kitchens this year and hope to see the return of in 2021.

‘ReachUpDontStop’ illustrates it perfectly. 

This time ’Pizzawala’ made the playlist. 

TTRRUUCES

One week later, another two welcome works came along. The first of which is easily the most pop accessible of the bunch. The debut self titled album from Jules Apollinaire and Natalie Findlay, aka TTRRUUCES released on All Points. Indie at heart but skirting closer to the mainstream than Tracksuite usually likes to get. It’s utterly joyous though, a mixed bag of electro tricks full of youthful ideas and energy. Pin point accurate to a variety of genres and pop reference points with hooks a plenty. It’s moving, hilarious, infectious and a complete piece of jubilant listening.

‘The Disco’ is in the mix

But check out also, ‘I’m Alive’

Pottery - Welcome to Bobby’s Motel

You wait around for brilliant debut releases and two come at once. On the same day Canadian five piece garage rockers Pottery put out Welcome To Bobby’s Motel on Partisan Records. An outrageously raucous, art rock ride through contemporary post punk and new wave. These guys know their sound and have the attitude and personality to get it under the skin. But with all of its jagged edges and elusive cool, there is seduction within this indie rock journey. 

In the playlist is Texas Drums Pt I & II. ‘demonstrates this reach and ambition, a cowbell-laced, guitar-powered earworm that could play at a soda fountain on Mars. Around three minutes, the pings that signal “go” in a Mario Kart race kick off a raucous second half where the drums build to near-masturbatory excess’ - Pitchfork

And also ‘Take Your Time’ 

Keleketla!

Next, on July 3rd came the simply awesome multi artist collaborative British/South African musical project Keleketla! brought together by Johannesburg’s Keleketla! Library founders Rangoato Hlasane and Malose Malahlela and English legendary electronic producer duo Coldcut. Players include Shabaka Hutchings, the late great Tony Allen, Ed 'Tenderlonious' Cawthorne, Dele Sosimi, Afla Sackey and so many more. This is an absolute delight this work. So many flavours and influences from contemporary South Africa, mixed up into a heady brew with legends and greats from there and here in the UK. But nothing about if feels disparate or loose, its so succinct and tight that it feels instead like the work of decades worn musical companions, which can be put down to the sheer weight of talent on board. Neither does it sound like the sum of its parts, by which I mean, with a changing club scene and afro house in definitive ascendency, it sounds like a jazz house work rather than a world music/afrobeat staple. And with trip hop, urban bass, dub and breaks influences, it’s fresh as hell and it knows it.

The playlist has the album opener ‘Future Toyi Toyi’

But also enjoy the lyric video to ‘Crystallise’

Advertisement - American Advertisement

Then, released on July 10th on Patchwork Fantasy came an album so immersed in classic roots rock Americana and psychedelia that it feels like an unreleased and unearthed treasure from some unsigned lesser known stoner garage outfit from the early 70s. Seattle’s Advertisement have birthed a collection of stellar songs so truthful to a hazey bygone era that not only do we pang for all things pre Covid just now but there is a definite push to go further back to a time free of technology that separates us and seek the simpler needs of little beyond, love, connection and music. This is escapist music in a very real sense. Vast, progressive, psych rock escapades that just keep driving on with no worry of losing the way or need for destination. Every track another marker in this murky road trip of frazzled guitar and irreverent spirit.

Album opener ‘Freedom’ is in the playlist.

But try also ‘Always’

Blu & Exile - Miles: From An Interlude Called Life

Then the last of the year’s three bumper album days gave us first, the hugely welcome return of L.A’s Blu & Exile, the duo known for their acclaimed 2007 debut ‘Below The Heavens’. Released July 17th on Fat Beats ‘Miles’ is an absolute epic and another instant classic. Partly named after Blu’s son Miles but also jazz legend Miles Davis and this is where the album takes its greatest influence. It’s classic laid back boom bap with utterly sumptuous production, laced with the deftest of jazz touches and gorgeous uplifting gospel. There’s a sense of taking stock here, looking back over land travelled with no point left to prove. It almost appears to rise above all contemporary rap works, not getting involved or even judging the battles, rivalries or feeling the need to compete. Instead there’s a feel of wisened heads recognising what they have, rather than what they want. Never has this sentiment seemed more pertinent. 

The playlist selected ‘You Ain’t Never Been Blue’

But also, check out ‘Miles Davis’

The Blinders - Fantasies of a Stay At Home Psychopath

Lastly, Manchester’s The Blinders released their second album, ‘Fantasies of a Stay At Home Psychopath’, July 17th on Modern Sky and without meaning to keep returning to the theme of Covid constantly (although its impossible to avoid really), I think this title sums up this year’s mind state of isolated frustration in most of us. In many ways, inclusive within the similar hardcore indie package as Idles and Fontaine’s D.C but where both of these bands have had highly acclaimed albums this year, neither have nailed every track like The Blinders have here. Yes, they’ve leant heavily on an early Arctic Monkeys sound and there’s more than little bit of Jim Morrison and The Doors sound in tracks like I Want Gold and Black Glass but I fail to see anything whatsoever wrong with that. It’s got post-punk swagger, goth nonchalance, heartfelt rage but also fragile beauty at times. It deals out a variety of rock beauties with utter conviction and absolute class.

‘Mule Track’ is in the playlist

But lets wrap up with the frenzied brilliance of ‘Forty Days and Forty Nights’

That’s your wack for 2020 folks - get around it. There’s also a further list of 14 albums below well worth your attention if you’ve not quite had your fill yet. And continue to scroll on to the Best 50 Tracks of 2020 playlist.

Xmasuite 2020 playlist coming soon…

Love in Lockdown

D@Tracksuite

Terry Allen and The Panhandle Mystery Band - Just Like Moby Dick

Shopping - All or Nothing

AceMoma - A New Dawn

R.A.P. Ferreira - Purple Moonlight Pages

Waxahatchee - Saint Cloud

Logan Ledger

White Denim - World As A Waiting Room

Steve Earle and The Dukes - Ghosts of West Virginia

Jazz at Lincoln Center Orchestra with Wynton Marsalis - The Ever Fonky Lowdown

Sven Wunder - Eastern Flowers

Colter Wall - Western Swing & Waltzes and Other Punchy Songs

Cut Worms - Nobody Lives Here Anymore

The Nude Party - Midnight Manor

Aesop Rock - Spirit World Field Guide

Best 50 Tracks of 2020 Playlist

We made it! December has finally arrived and 2020 nears its end. But despite everything, once again our hats are off to the frontline musicians, artists and players who’ve saved our lives by soundtracking the silver lining to this horror show of a year. This year’s playlist is a demonstration that quality music is still being made and it’s a testament to both the resilience of artists to produce in extreme circumstances as well as the all encompassing nature of the art itself. It’s time now to take stock of what we have and really celebrate the best of what this year has brought us.

But first, please allow me this platform to address an unsettling situation for the music industry. There’s unlikely been a tougher year in living memory for musicians. Since the onslaught of streaming, the live scene has been long recognised as the financial saving grace for artists, a means to recoup what decreasing physical sales have taken away. Now this year, that has been taken away too. Having a knock on effect, of course, to all road crew, venue staff and the many others who rely on the live music network for employment. Without the live music financial stream, the structure that is supposed to sustain the industry is crumbling, the ability to produce is being stretched to breaking and there is real danger of cutting off the well of music that we all need to drink from.

Petitions and legal bids are ongoing against streaming services to look again at their policies and readdress the balance for fair remuneration, but the creatives whose work enriches all of our lives are still losing out. As thousands of online groups scream for the return of live music and copious hashtags fight for the right to party, the makers of the music are literally going hungry and the future of an art form that means so much and respected so little is at real threat of disappearing. Yes, if you have shelter, be appreciative. Yes, if you have food, recognise that. Yes, if you have loved ones, cherish them. But also, if you like music, make sure you buy some. Don’t cash in your cancelled gig tickets, instead book more ahead to help ensure its survival. Look out for the brilliant fundraising project Whole Lotta Roadies, released on 18th December. A compilation by Rod Jones of Idlewild of covers by road crews to raise money for road crews, featuring the likes of The Rezillos, Arab Strap and The Proclaimers lending their vocal talents to their own covers.

I grant you it’s an arguably hypocritical statement from a playlist blog that uses free streaming services but most of the industry now agree that the establishing of streaming platforms has now gone so far as to make withdrawing them a bigger risk to the majority of acts. Many bands and artists still need that platform to highlight their work but the longer they are taken advantage of and not recognised as the primary reason for the overall success of it all, the sooner production will slow and art will dry up. Not all of it of course, those whose tastes are limited to major label pop dictation will probably be forever catered for and so can continue to want only for what they are given. But if your capacity lies anywhere beyond that then you are truly obligated to invest.

So here’s Tracksuite’s take on the top 50 tunes of the past year. As always, it comes in hand crafted playlist form. The vast majority of these artists are emergent and indie crafts people who have unlikely yet bought their first yacht. They are the ones aforementioned, struggling to make ends meet and find the parity between the level of quality in their art and in their bank account. So, please proceed to enjoy the genius on show but remember to delve deeper and cough up where you can. 

Dig in. Best Albums of 2020 coming soon…
Love and Hope
D@Tracksuite

Xmasuite 2019

There’s never any need to settle for the standard music fare at this time of year. Wizzard and Mariah might be some people’s signal for that festive feeling but for ears out there that seek the new seasonal sounds, there’s always Tracksuite. So here you are, your traditional alternative merry mixtape. The playlist in a pear tree. The compilation that answers all your Christmas wishes. From classic boogie blues to fresh country, through everything else and even an epic mashup in the middle. All crackers.

Peace, Love and quality tunes.

D@Tracksuite

Best of 2019 Playlist

And so, here we are again. Hope you’re all caught up with Tracksuite’s Best Albums of 2019 blog out last week. If not, no probs, just scroll down before or after this.  Now it’s time to break it down further into 50 Best Tracks of the year - and as always, in tasty playlist form. 

We’ve had some glorious returns from greats of the recent past like DJ Shadow, Slipknot and Chase & Status – while golden greats of the even further past like Chaka Khan, The Specials and Mavis Staples have turned it on again too. Spectacular debuts from the likes of Brighde Chaimbeul, Roseanne Reid, Black Pumas and Fontaines DC all made the Best Albums list. We waited eagerly for Logan Ledger’s debut album, which was expected in the autumn but is now due for release next year. All of these made it extremely difficult to just pick a single track from for the playlist, as with Lankum’s new album The Livelong Day, remaining at the top of the game after the standout ‘Beneath the Earth and Sky’ from 2017, Lillie Mae, Blanck Mass and Reese McHenry, all albums are so packed with quality that there was an abundance of choice. But selected they have been; plucked, savoured and crafted into a joyous 50 track 3 and a half hour ride through everything from sublime Scottish folk country to seething American post punk via Swiss techno rework and more jazz genius out of London. You damn lucky people.

 So allow yourself the luxury, set Christmas aside and treat your ears to the Best of 2019.

 Don’t forget to check the Best Albums of 2019 blog and look out for Xmasuite 2019 coming soon too. 

 Big Love, D@Tracksuite.

Tracksuite Best Albums of 2019

Well 2019 has come and nearly gone, scattering an array of musical treats as it shot by faster than any other year ever has. Here are the Tracksuite select ten albums of the year, listed in no particular order. With some added extras of note.

Roseanne Reid – Trails

I first saw Roseanne Reid appear at a Townes Van Zandt tribute night at the Glasgow Americana Festival a couple of years ago. As with all the performers that night, she did one Van Zandt cover and one tune of her own. I recall her as very quietly spoken but what appeared first as timidity, soon disappeared as a gentle confidence brought a beautiful performance. As good as all the other acts were, Roseanne’s own song that night stood out as something considerably more special to my gig companion and me. We were looking forward to following the progression of this career very closely. And so, after a steady drip feed of fantastic new work development on social media, the album ‘Trails’ finally arrived in April this year, courtesy of a crowd funding campaign and the sought production talents of Teddy Thompson. It was so worth the wait, a thing of absolute beauty from start to finish. Downplayed and subtle – heartbreaking and breathtaking. The first release ‘Sweet Annie’ features Steve Earle no less! But the most surprising thing about guest vocals from someone of the status of Steve Earle is just how so unsurprising it sounds. Yes, they’ve known each other for a few years after Reid attended one of Earle’s Camp Copperhead songwriting workshops, where apparently Earle heard a first draft of Sweet Annie among others but the point is that nothing here sounds like a debut. Reid’s ageless folk country sound speaks tales of love and heartache seemingly from a wise old soul tested and unbroken, and with a tenderness that surely couldn’t fail to affect even the hardest hearted listener.

Blanck Mass – Animated Violence Mild

In amongst the best in this year’s music, mostly dominated by fairly classic song styling, Blanck Mass smashed its way through with ‘Animated Violence Mild’, released in August on Sacred Bones, a refreshingly welcome wall of violent noise. Joe Creely gave it a 5 star review in the Skinny, saying the latest work by Edinburgh based artist Benjamin John Power, one half of the electronic duo Fuck Buttons, ‘may well be Power’s finest solo record, a continuation of the last decade-and-a-half of pushing himself into new sonic realms. It’s an astonishing work; actively abrasive and incandescent with fury with a core of unaffected raw feeling.’ After the intro the album’s rage builds instantly on ‘Death Drop’ and give or take a couple of small points of respite, it relentlessly feeds the fire for the duration. Those amongst us for whom this appeals, and I would argue to a whole load more who might not think it would, this is an epic treat. Upon its release Power released this accompanying statement as a reference point  “In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep. I believe that many of us have wilfully allowed our survival instinct to become engulfed by the snake we birthed.” – and if that’s not terrifying enough, this album is the perfect apocalyptic soundtrack to that vision.

Lankum – The Livelong Day

In the autumn of 2017 I heard the opening song ‘What Will We Do When We have No Money?’ from the album ‘Beneath the Earth and Sky’ by Lankum (formerly Lynched) the self described Dublin folk miscreants. Instantly I heard the sound of what folk music could, and arguably, should be. In this same blog of that year, I described how the song on first listen made me cry and has done on every listen since. What I failed to clarify was why. It wasn’t because of any saccharine sentiment but simply because it had sheer weight of power. The music seemed to channel the souls of people long since dead who suffered under the weight of this world but yet who bore their burden steadfastly. That power and strength is for me, what lies at the heart of Lankum’s music. The new album ‘The Livelong Day’ released in October on Rough Trade continues reinterpreting folk music of the past but again, as with all they’ve ever done, nothing sounds like the treading of familiar ground. You may think there’s no new way to go with the well frequented folk staple ‘The Wild Rover’ but well into the full 10 min album track version (the video below is shortened, seek out the album version), all has changed and the instrumental torment that closes the track just may have you questioning your own sanity and may have nudged you from whatever soft safety you thought you had before you started listening.  I knew immediately it had to be the closing track for Tracksuite’s Best Tracks of 2019 playlist, which will be coming soon. It was between that and the gorgeous ‘The Dark Eyed Gypsy’, a story of hard fought love played at such a sluggishly slow pace that would be usually unbearable but which Lankum have truly mastered as the means to the message. Jude Rogers wrote in The Guardian ‘Nothing less than a thorough exploration and devastation of folk’s most conventional tropes is Lankum’s impressive game.’ 

Fontaines D.C. – Dogrel

This startling piece of work is undoubtedly on the vast majority of Best album lists this year and the second Dublin based album in Tracksuite’s short list. Susan Hansen of Clash Mag wrote ‘Dublin in the rain belongs to Fontaines D.C., and rather than being too real this album is just right, it is a ragged delivery. The trick lies in the seemingly un-filtered rawness combined with its stark poetic reality. The three components help secure this album’s position as an example of authenticity; authenticity in its most concentrated and truest form and expression.’ The two words raw and authentic are open terms but do accurately sum up the quality on show in this startling debut by post punks Fontaines DC. They are so good but also more importantly, so accessible that they’ve gone from scene stealing upstarts to dominant untouchables in the space of a year. The Guardian said ‘This is the kind of song writing quality that bands can take years to reach, or never reach at all: brilliant, top to bottom.’  They are many a dichotomy this band – poetic yet visceral, underdog yet accomplished, familiar yet mould shattering. The mid album stormer ‘Hurricane Laughter’ is Tracksuite’s pick for the ‘best of’ playlist - DIY Mag describes ‘its verses full of stream-of-consciousness intrigue before building to a moshpit-inducing, shout-along inclusive chorus’.  The opening track is called ‘Big’, they know they are something special.

Reese McHenry – No Dados

North Carolina’s Resse McHenry is such a force of nature that not even a major stroke, several life threatening aftershocks and an irregular heartbeat can stop her. Instead, where the level of personal health scare she’s had might force the most die-hard rocker to take pause, McHenry seems only spurred on. As put by Zachary Lipez of Bandcamp following much medical attention ‘Maybe it’s overly sentimental to put too much on the rebuilding of a heart, but McHenry makes garage rock and soul for thick-skinned romantics: it just comes with the territory’. After her first solo work ‘Bad Girl’ in 2017, the follow up ‘No Dados’ is a non-stop bonanza of high quality furious garage rock loaded with soul. The sheer blistering passion behind the first four tracks ‘Magnolia Tree ‘Detroit’ ‘Bye Bye Baby’ and ‘Fever’, played straight feels like a dive bar moshpit you’re never getting out of and don’t mind one bit. Her full dial powerhouse vocal style, reminiscent of the great Janis Joplin, carries the fire of any straight rocking number but its not too much to compare her further to Joplin to say she also has the range in that voice to lace incredibly affecting blues and soul into the slower numbers. Eric Danton of Paste Mag said ‘A voice like hers is a rare quality, and it’s surely as gratifying to McHenry as it is to her fans that she finally has a chance to make the most of it.’ 

Brighde Chaimbeul - The Reeling

The debut album from young Skye piper Brighde Chaimbeul has had lavish critical recognition since its release in mid January on the River Lea label. It received 5 star reviews in fRoots and Songlines, came down to last 20 of the Scottish Album of the Year award and The Guardian named it album of the month, calling it "Simultaneously ancient and modern, profound and direct."  Recorded live in a church on the Black Isle town of Cromarty and produced by Lau’s Aidan O’Rourke, Chaimbeul’s mastery of the Scottish pipes is obviously evident but she’s literally breathing new life into the sound. The songs feel fresh and light, almost playful in parts, dropping any macho laden pre conceptions you might have with the instrument. Don’t worry though, none of the passion and heart that the sound of the pipes has conjured in a thousand odd years has been lost here. The music has been reinvigoured from an impassioned and youthful heart. 

Black Pumas - Black Pumas

Another one of four debut releases in this years list. Much like the others but arguably more so – this Black Pumas record sounds like the distillation of many years crafting a sound rather than a debut. Damian Morris wrote in the Guardian: ‘Like Portishead 25 years ago, it’s a debut so perfectly realised by the standards they’ve set themselves that you wonder what could possibly come next.’ The Texan duo of Adrian Quesada and Eric Burton released this collection of heavy beat backed soulful delights back in June on ATO and are among the nominations for Best New Artist at next years Grammys. From the moment the lazy kick groove comes in on the brilliant opener ‘Black Moon Rising’ and Burton’s quality vintage voice pours over, you know there’s some aural honey coming your way. Leading straight into the incredibly beautiful ‘Colors’, the Tracksuite favourite picked out for the playlist. As Hal Horowitz writes in American Songwriter – ‘it’s so inviting, subtle and enticing, you can’t help but be sucked into Black Puma’s heartfelt musical swirl’. Indeed you can’t. Infact why fight it? Find your space and time for this album, it deserves it, a luscious package reminiscent of a plethora of great soul records from the golden eras of the genre but one which still feels perfectly placed for right now. 

Lillie Mae - Other Girls

Well ain’t I a sucker for a genuine country croon? Lillie Mae has Patsy, Loretta, Dolly and Tammy all wrapped up in her old timey heart wrenching voice. Coupled with classic string soaked composition and production, this is a fantastic set of songs that just carry on breaking your heart over and over again. This wanders along standard country music roads of longing, heartache, love both lost and unrequited but when you’ve got song writing and performance this authentically good, who could possibly mind? It plays a familiarity that you don’t know you need till it fills your ears and heart, and she knows her craft well. She started to play and perform live at the age of 3, guitar at 5 and fiddle at 7, performing with her family for years before going on to work closely with Jack White on a series of projects. She released, both her debut ‘Forever and Then Some’ in 2017 (produced by White) on White’s Third Man Records, and also this her follow up record in August, this time produced by multi Grammy award winning producer Dave Cobb, maybe most famous recently for his contributions to The Star is Born movie soundtrack. While pausing from touring as she recalls for the first time in her memory, she told Rolling Stone ‘This has been the slowest year of my life’ and Pitchfork notes that ‘the effects of this slowdown can be heard everywhere on this album. Regrets and disappointments linger in the music the way they do in life, casting long shadows. On her last album, she was at her finest when near breathless, but here she soars in the pauses.’

Sturgill Simpson - Sound & Fury

The fourth full-length album release for the outlaw country’s outlaw. Another stunning piece of complete work fired off at yet another tangent for the artist who can’t be pinned down. Nothing necessarily experimental or unapproachable here though, Simpson simply describes it as a ‘Sleazy, Steamy, Rock ‘n’ Roll record’, it’s just nothing like he’s done before. Released in Sept on Elektra, and launched by the furiously enjoyable ‘Sing Along’ with a video that referred to the albums accompanying anime film on Netflix, apparently loosely based on the Kurisawa samurai epic Yojimbo. I haven’t seen the film and although I’m sure I probably would enjoy it, I’m happy to just let the songs tell their own story for now. It’s a massively exciting ride from start to finish and you do hear the cited influences Simpson claims of everything from T.Rex to La Roux.  He builds up his heavy country sound through glam rock and synth pop, tears through classic rocking numbers and finishes it all off with the extraordinary ‘Fastest Horse In Town’, a slow paced epic scuzzy brooder of a track that took me back to the early Soundgarden album ‘Louder Than Love’ with tracks like ‘Hands All Over’ and ‘Loud Love’.  As Alexis Petridis wrote in his 5 star Guardian review ‘He isn’t the first musician to throw his label a curveball while protesting about the pressures of fame and the grim nature of the music business. That said, it’s hard to think of anyone else who’s done it by making an album as gripping and enjoyable as this.’ Tracksuite is immensely grateful to a friend who has held on to tickets to see Simpson in Glasgow next year, despite my tardiness in replying to the invite – thank you David, can’t wait.

Various Artists - Digital Kabar (Electronic Maloya from La Réunion Since 1980)

Released in June on the alt electronic French label InFine. Possibly the first compilation album featured in a Tracksuite best of list. Strange, because I am drawn to these things like a pet to a shiny Christmas bauble. Rare geographical musical setting, old meets new, folk/roots meets modern electronic – give me the shiny thing now! Unfortunately, temptations like these rarely fulfill the promise, there always tends to be considerable filler. However, this collection succeeds and delivers throughout. Maloya is a slave/roots style that dates back to 17th century from tiny French island of La Reunion, some 500 miles off the coast of Madagascar. Then in the 60’s, the church controlled political establishment suppressed and outlawed it. It reemerged again alongside the electronic musical developments of the 80s and 90s and this album picks up the story from there, selecting original material from that period aswell as work remixed by contemporary artists. If that sounds remotely like your thing then get around it. Alex Barck of Germany’s Sonar Kollectiv has built one of the scene’s figureheads Christine Salem’s track Oh Africa into a sublime tech house groover. Probably the most radio play was got by the Sheitan Brothers track, Gardien Volcan, a highly infectious shaker with lots of Arabic influence known to their work. Tracksuite’s pick is the amazing pounding, driving techno rework by Swiss outfit Alma Negra of Christine Salem’s band Salem Tradition’s song Kabaré, and as I think is clear by now, you can find that in the Best Tracks of 2019 Playlist, coming very soon to this here blog.

There’s a suggested ten must haves. Here’s some more highly recommended.

Warmduscher - Tainted Lunch

The Specials - Encore

Ronnie Bosh - All People Expect

Gaffa Tape Sandy - Family Mammal

Christian Scott aTunde Adjuah - Ancestral Recall

Andrew Bird - My Finest Work Yet

Jake Xerxes Fussell - Out of Sight

Songs of Our Native Daughters

Slipknot - We Are Not Your Kind

Subjective - Act One. Music for Inanimate Objects

Naomi Bedford & Paul Simmonds - Singing it All Back Home

The Yawpers - Human Question

Thats it for now. Thankyou for your time, go get around the music. Best Tracks of 2019 playlist and the fast developing traditional Xmasuite playlist coming soon to the blog.

Much Love

D@Tracksuite

Best of 2019 so far

As half time for 2019 approaches, let’s do what is expected of every music based website on the face of the internet and look back at our favourite releases of the year so far – and because we’re Tracksuite, you get a playlist. 

Like an old school M.C, - let’s break it down.

 First up, the opening track from one of the earliest releases of the year, ‘Midnight Monsoon’ by Subjective,  the new collaborative project from Goldie and James Davidson and their album ‘Act One: Music for Inanimate Objects’. The Line of Best Fit describes how the ‘Sweeping strings and shuffling percussion soften the pounding kick drum’ as this track establishes the quality ambient work to come. Then another album opener, ‘Feet’ from Peckham alt rock outfit Fat White Family, who’ve seen a surge in 2019 off the back of their new album Serf’s Up!  Skinny said – ‘Lead single ‘Feet’ is the group’s statement of intent: a sprawling, decaying disco track that puts up a united front.’ Followed swiftly by the return of The Twilight Sad on mighty form with ‘VTr’ from the album ‘It Won/t Be Like This All The Time’ – NME said “it’s a track as driven by change and hope as it is loaded with sadness’. Kicking on from this with ‘Woman’ from another new collaboration by Karen O of the Yeah Yeah Yeahs and American producer Danger Mouse from the album ‘Lux Prima’ released in March. Also released in March was the album ‘On The Line’ by indomitable country rock singer songwriter Jenny Lewis and the incredible track ‘Red Bull and Hennessy’ – Rolling Stone said ‘The singer channels the groove of Fleetwood Mac’s “Dreams” throughout “Red Bull & Hennessy,” crooning over a steady, two-note bassline, rippling tremolo guitars and chiming piano melodies.’ The playlist breaks free from the guitars and takes up the beats with the standout track ‘Afrika’ from new DJ Yoda album ‘Home Cooking’, then follows with two back to back legendary returns – first from Chaka Khan with the utter groove monster ‘Like Sugar’ from ‘Hello Happiness’, her first album in 11 years and then ‘B.L.M’ from new album ‘Encore’ by The Specials, their first studio album of new material in over 20 years. This politically charged track NME describes ‘finds Lynval Golding telling the story of his father arriving in the UK on the Windrush to help rebuild a war-torn Britain, and his own experiences of racism in the UK and America’. The beat sticks with French producer Yuksek and fresh disco fire in ‘I Don’t Have A Drum Machine’ and steps up again from English DJ producer John Ford aka Joyryde with the epic hard house mixer upper ‘I’m Gone’. Tracksuite would very much love to hear more big tunes take this alt route in future. 

Changing direction a little after the first third of the mix with ‘Sugar Mama’ from the haunting genius of multidisciplinary performing artist Dua Saleh from the ‘Nur’ EP, the earliest release in the mix from January 3rdon Against Giants. Continuing to bring you down smoothly with the stretch sound of third generation mardi gras Indian chief Christian Scott aTunde Adjuah and the title track from his new album ‘Ancestral Recall’ feat Saul Williams. Then the electronic nu-jazz sound of Ninja Tune’s Cinematic Orchestra and ‘A Caged Bird/Imitations of Life feat. the unmistakable tones of Rodney Smith, aka Roots Manuva from their fifth album ‘To Believe’.  The wheel then turns again as we follow on with the highly stylised and impossible to compartmentalise alt country sound of Canadian musician Orville Peck – who Loud and Quiet says ‘His rich, crooning tenor is heavily reminiscent of Roy Orbison being appropriated by David Lynch’. The Line of Best Fit says ‘album opener "Dead of Night" is held around a faint percussive tambourine rattlesnake and a solitary allure. As Peck’s lustrous voice swills effortlessly into the intonated croon of Chris Isaak, you can hear the Nevada desert’s incompatibility to young, same-sex love.’ We stay in alt country territory with Sweden’s Daniel Norgren from his release ‘Wooh Dang’ and the affirming ballad ‘The Power’. Then troubled and reformed trio Ohtis with the brilliant ‘Runnin’ from their album ‘Curve of Earth’ – The Line of Best Fit again says “Runnin” shows Ohtis not in a state of disarray despite the track’s content, but rather a group with razor-sharp focus, simply conscious of how things once were.’ Roseanne Reid follows on with ‘Levi’ from one of Tracksuite’s favourite albums of the year, her debut ‘Trails’ – an incredibly mature and accomplished collection of tracks that lays the foundation for a must follow career. Another of Tracksuite’s favourite all time female vocalists Naomi Bedford along with partner in life and music Paul Simmonds reworking again the fantastic old folk ballad ‘Matty Groves’ that she first did on her Bluebirds EP in 2012.  Then back on the country tip with some pure good old boy sound from Logan Ledger and ‘Starlight’, one of two taster songs dropped ahead of the release of his debut album due in the autumn. Legendary Americana producer T Bone Burnett describes his first impression of Ledger; ‘He had, and has, a voice filled with history. I could hear echoes of one great singer after another in his tone’. Sticking with the old country sound on ‘Flint City Shake It’, a highly infectious shit kicker from Justin Townes Earle on the album ‘The Saint of Lost Causes’. 

Another change of gear into the final third with another best album of the year contender in the aptly named ‘My Finest Work Yet’ by Andrew Bird. AV Club said ‘Tracks like “Olympians” … a full-throated sing-along that wouldn’t be out of place in a Beatles tune like “All You Need Is Love.” Then the opener ‘Change’ off the fourteenth studio album by  American rhythm blues and gospel queen Mavis Staples sets up the force of nature that is North Carolina’s Resse McHenry and the blistering passion fuelled ‘Detroit’ from her astounding album ‘No Dados’. Another voice loaded with greats of the past is American soul singer `Kelly Finnigan who stokes the fire with ‘I Called You Back Baby’. Charging on with ‘Who’ by German electronic duo Modeselektor feat . Estonian rapper and artist Tommy Cash. Clash Mag described it as ‘Frantic but without sacrificing melody, 'Who' feels like a dance-rap masterpiece from an alternate dimension.’ Chase and Status returned recently with their new album ‘RTRN II JUNGLE’, a blazing homage to their drum and bass, jungle music roots that feels truthful and fresh in equal measure. Hard to pick a favourite but right now its ‘Program’. Carrying the pace and energy straight into ‘Summon the Fire’ by The Comet is Coming – Shabaka Hutchings continuing to rule with another fine selection of huge jazz gems. Taking the baton, Dublin post punks Fontaines D.C. with ‘Hurricane Laughter’ from their debut album ‘Dogrel’ – DIY Mag says ‘its verses full of stream-of-consciousness intrigue before building to a moshpit-inducing, shout-along inclusive chorus’. Now screaming up the final straight with Gothenburg’s Westkust with the opener ‘Swebeach’ from their new self titled album. Nothing But Hope and Passion said of it, ‘Swebeach is shoegaze direct-injected with rocket fuel, a great wall of scorching, abrasive guitar sound cut through with Julia Bjernelind’s vocal, melody that stands its ground through the musical storm’. And finally, taking us over the finishing line, Tracksuite faves from Denver, The Yawpers and ‘Forgiveness Through Pain’, that Popmatters also picked as an album highlight saying, ‘Parmet's thunderous guitar overtakes Cook's bluesy noodling in the opening of "Forgiveness Through Pain", driven maddeningly forward by Koshak's drums and Cook's white-boy jive vocals (the best I've heard this side of Steven Tyler at his peak)’. 

And that be the playlist – get around it. Tracksuite abides. 

Xmasuite 2018

Your annual alternative select, a playlist of the sort of tunes we should be hearing more of at xmas.

Don’t forget to scroll down the blog for Best Tracks and Best Albums of the year. Thanks for your ears throughout 2018 - keep it ‘suite and Happy Yule.

D@Tracksuite.

Tracksuite - Best Albums of 2018

For those of you who’ve read Tracksuite’s Best Albums of the Year blog before, you’ll know that there is no countdown rating and no definitive number of albums included. The albums here appear as stellar stand out complete works worthy of recognition. This year there are ten. In no particular order, here is that list (along with some words).

Further to this list is a further list of some more albums worthy of your ears

The Beths – Future Me Hates Me

The debut from Auckland indie pop rockers The Beths was released in August on Carpark Records.

All jangle guitar riff and catchy vocal hooks. No secret recipe here, just a perfect example of the genre. Tracksuite Best of 2018 playlist (keep scrolling down the blog after this) picks out the track ‘Happy Unhappy’, which Rolling Stone magazine titled in an article as the song of the summer, 2018. They went on to label it as a ‘blissy, pissy break up jam’ and ‘Courtney Barnett gone bubblegum, or the shy-sugar lift-off of Belle & Sebastian with some Replacements stank in the cute, careening guitars. It almost could’ve been any of the songs though really.  ‘You Wouldn’t Like Me’ was released in conjunction with the first video and the high school themed explosion of colour and playfulness illustrates the bands angsty teenage themes while bringing a huge smile to your face. 

‘This is taut, Blondie-cool guitar-pop with a finger on the self-destruct tab’ – Mojo

‘The album plays like a greatest-hits collection, and since it doesn't seem to cater to a musical or emotional middle ground, it makes for a guilt-free pleasure’ – AllMusic

‘Future Me Hates Me is more than proof that she and her bandmates made the right choice on refocusing their musical concerns--and it’s an absolute thrill to think about where this young band will take their talent next’ - Pitchfork

Sons of Kemet – Your Queen is a Reptile

Released in March on Impulse under the Verve Records banner, the 3rd album from the London jazz frontiersmen.

A super-group of sorts led by clarinetist, saxophonist and composer Shabaka Hutchings (a man whose star has continued in ascendence over the last few years as part of various outfits such as Melt Yourself Down Shabaka and The Ancestors Sons of Kemet The Comet is Coming and more…) with Oren Marshall on tuba and both Tom Skinner and Seb Rochford on drums.

The Mercury Music Prize was stolen from them earlier this year, an absolute travesty of justice proven by their topping The Wire magazine's annual critics' poll.

The album title is a no holds barred message challenging listeners to contemplate the ongoing lack of racial equality in the country and the world in 2018. It invites us to consider great black activist figures of the past, going direct for the jugular with a direct hit to reference Johnny Rotten by attacking the supposed figurehead. Tracksuite pick ‘My Queen is Harriet Tubman’ references the infamous former slave turned freedom fighter, soldier then activist for black rights and woman’s suffrage, a woman who has become an icon of courage and freedom. Spin magazine says: ‘“My Queen Is Harriet Tubman” opens with a flurry of percussion that does not abate for the next five minutes, a dazzling indicator of Sons of Kemet’s musical loyalties, which lie with rhythm above all else. The white-knuckled drumming contains traces of Trinidadian soca, Jamaican dancehall, London grime, New Orleans second line bands—channeling a multi-continental and -generational legacy that has survived in the face of oppression across the globe.’

‘An immaculately conceived record, the latest from Sons of Kemet is proof that British jazz is alive and well and, even beyond that, may be one of the best cultural tools we have in fighting the oppressive and deeply troubling political landscape that appears to be forming in the west, of late’ – Under The Radar

‘The richness of the source material and the deftness of interplay of each member of the band ensures that Your Queen is a Reptile leaves you with a sense of having been a part of something truly special’ – The Line of Best Fit.

‘Your Queen Is A Reptile, is 55 minutes of ecstatic insurgency’ – Exclaim

Charley Crockett – Lonesome as a Shadow

Released in April on Thirty Tigers. 

By proclaiming himself a descendent of the legendary Davy, Charley Crockett paints the ideal picture of himself as a timeless preserver of classic American roots music (making it very difficult to say he isn’t). Wide Open Country magazine said "The old soul has made a name for himself as not only a master interpreter of traditional songs, but also one of the finest torch-carriers of classic-minded country, blues and Cajun music for the modern world.”

As Folk Radio said, ‘the first thing that strikes you about this album is Crocketts voice.’ All the influences from Old Timey, Creole, blues and southern soul combine to an enduring crooner baritone as rooted to the earth as the endless miles this man has travelled with music and message. Couple that with his incredibly catchy authentic songwriting and you have the appeal in a nutshell. He says of his writing ‘I write songs as a resolution to conflict. That’s what I think the blues is,”

Songs like ‘Ain’t Gotta Worry Child’ have the genuine soul blues tint of Bill Withers and Dr John, there’s pure bar room blues in there and the title track ‘Lonesome as a Shadow’ is pure honky tonk pleasure that charmed its way into the Best of the year list.

Zeal & Ardor – Stranger Fruit

Released in June on MKVA records. First full band album release by the avant garde metal project Zeal & Ardor led by swiss American musician Manuel Gagneux. Said to have come to fruition with Gagneux asking fans to name two separate music styles that he could combine and they gave him Black Metal and Black Spiritual (or negro Spiritual). With Gagneux’s interest pricked, he asked: What if during the height of slavery, instead of following Christianity, the slaves found sanctuary in Satanism? The album title referencing the Billie Holiday song Strange Fruit from 1939, a song about racism and the lynching of African Americans.

It comes in like the O Brother Where Art Thou soundtrack and while simultaneously committing to that, doubles up with mind melting metal riffs and gutteral vocals that have managed to re-engage an age old Metallica loving metalhead in a way that no like genre album has done in a long time. Stepping on from the breakthrough Zeal & Ardor project Devil is Fine, which revealed glimpses of this projects potential - Stranger Fruit is a fully accomplished, complete work of vein ripping intensity. 

Metal Insider said ‘Zeal & Ardor’s sound is undoubtedly different from any other musical project. This status as a sonic breath of fresh air and a puzzling level of inconsistency surrounding album composition set their next album up to be a highly anticipated potential disappointment. Stranger Fruit shattered these expectations. Zeal & Ardor has created 13 songs that flawlessly integrate the band’s doleful disposition and phonic soul with instrumental ferocity.’

Stick in the Wheel – Follow Them True

Released in January on their own From Here Records. 

East London folk outfit Stick In The Wheel have been making a concerted attempt to subvert the traditional folk genre while simultaneously preserving its roots, since their debut album From Here in 2015. No small mission but one with which they are undoubtedly achieving considerable success. While much of the work evokes a pre industrial 19th century world, as used mostly by the genre, there are subtle elements deftly introduced here to give it a very contemporary feel.  The title track ‘Follow Them True’ is a stripped back vocal piece of incredible power and beauty. With a couple of instruments swapped out and a production tweak, both that song and ‘100,000 years’ are dark enough to almost have a death metal edge that could settle well in the previous album discussed, Stranger Fruit. The closing track ‘As I Roved Out’ with its deconstructed rhythms and samples is more reminiscent of popular downbeat electronic work than any Folk Radio staple.

‘The heavier tracks are the album's most interesting moments, allowing for singer Nicola Kearey to stomp out her vocals with extreme force’.– The Skinny

‘Urgent, uncompromising, intelligent--Stick In The Wheel are the bristles on the clean broom the UK folk scene badly needs.’ – Record Collector

‘They've grown and blossomed without sacrificing an ounce of what made them exciting in the first place.’ - Mojo

Rosalía – El Mal Querer

El Mal Querer is the second studio album by Spanish singer Rosalía, released in November through Sony Music

Writing for The Guardian head critic Alexis Petridis highly commended the album, giving it the highest rating and describing it as "the calling card of a unique new talent." He praised Rosalía's vocals for giving the album "a head-turning freshness", noting that her singing style "is audibly rooted in a different musical tradition to the usual styles in which pop vocalists perform.

Easily the closest Tracksuite has ever gotten to including an album with inarguably pop sensibilities in a Best Albums list but suffice to say that this work has far more happening within. It’s a Spanish album by an already established star, so inevitably there are strong Flamenco elements but when you flavour this with tastes from further east and no lack of experimental production touches, it becomes a very special listen indeed. Comparisons with Bjork seem easy when you consider that she has been working with Venezuelan producer Arca and the album was co-produced with Pablo Díaz-Reixa, both of who have worked extensively with the Icelandic superstar. As Petridis continues, he says ’This is music potent and adventurous enough to grip you without you understanding a word of what she’s actually singing.’

‘A bastion of control and quaking vulnerability that strikes a match against its sombre surrounds’ – Q Magazine

‘It is one of the most exciting and passionately composed albums to appear not only in the global bass tradition but in the pop and experimental spheres this year’ – Pitchfork

Swamp Dogg – Love, Loss and Auto-Tune

Love, Loss, and Auto-Tune is the twenty-second full-length studio album by American R&B recording artist Swamp Dogg, released in September on Joyful Noise Recordings.

Jon Pareles of The New York Times said, "On this album, the naturalism of Swamp Dogg’s lifelong soul and funk all but disappears. But in its way, Love, Loss, and Auto-Tune is completely true to everyday 21st-century experience: ubiquitous and intrusive technology, splintered attention spans, mediated presences and onslaughts of random information. And yet, somewhere within all the digital commotion, there’s still a human being in search of love”

Now if you didn’t know anything of the original D-O-G-G’s, 60 year spanning career and you saw the following;

“Swamp Dogg is a national treasure.” - Swamp Dogg 

I think it’s safe to say you might be intrigued to look a little closer. Known through the 50’s and 60’s as Jerry Williams and Little Jerry Williams, this consistently exciting musical outsider rebranded his sound and image in 1970 under the moniker we now know. He has continued to shock and astound ever since and has re-emerged this year with a little help from Poliça’s Ryan Olson and Justin Vernon, aka Bon Iver to produce this incredible piece of work. Funky soul blues meets doo wop, downbeat and clash of electronica in a heady mix of unforgivably catchy tracks. ‘$$$ Huntin’ was picked out for the Best 50 Playlist but with polar opposite songs like ‘Lonely’ and ‘Sex With Your Ex’ in the mix of diverse funky genius, your kept laughing all the way to the dancefloor.

‘The textures are deliberately synthesised, but the songs themselves couldn't be realer’ - Uncut

Mojo staff stated that ‘Overall, Love, Loss, And Auto-Tuned is a deviant masterpiece’

Idles – Joy as an Act of Resistance

Joy as an Act of Resistance is the second album by Bristol band Idles, released in August 2018.

Jordan Bassett, reviewing the album for NME, awarded the album five stars, calling it "an instant classic"

"Britain’s most necessary band" – The Guardian

‘everything anyone could have wanted or expected it to be: Idles have released the most relevant and at times gut wrenching album of the year.’ – Drowned In Sound

"a heart-breaking but jubilant exploration of joy, honesty, fragility and expression as our most powerful means of human resistance” – Classic Rock mag

"an album that manages to combine grief, self-loathing and a realisation that life’s better played honest, with a fine-tuned, brutal sound: something like bent sheet metal being hammered straight” – Record Collector

Singer Joseph Talbot stated "This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world."

Snarling, angry, abrasive punk noise but with no lack of humour, includes a cover version of Solomon Burkes ‘Cry To me’ and certainly not designed for the low brow. There’s wit and wisdom in spades, aiming directly at targets like backward political sensibilities, toxic masculinity and racism. Tracksuite picked out ‘Danny Nedelko’ for the playlist but despite some critics calling the album too samey, its jammed with typical Idles brilliance; the anti brexit anthem ‘Great’, the raw edged ‘Colossus’ and the hilarious ‘Never Fight a Man with a Perm’.

‘Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.’ – DIY

Gwenifer Raymond – You Never Were Much of a Dancer

Released in June on Tompkins Square.

Welsh born Gwenifer Raymond has been playing guitar since she was eight years old, coinciding with an introduction by her mother to Nirvana with the Nevermind album. Through time she traced the heritage of the music right back to American primitive where she has entrenched herself in the last few years, culminating at the moment, in this incredible collection of pieces. As debuts go, its assuringly cultivated and considering the distance between her own roots and the music she plays, makes this an all the more astonishing work. All technical and mastery critique aside though, this is an instrumental pure listening pleasure throughout. Standouts are ‘Off to See the Hangman, Pt. II’ and ‘Sack 'em Up, Pt. I / Sack 'em Up, Pt. II’ but ‘Sometimes There’s Blood’ made the Best of list.

‘This is a gorgeous album, and Gwenifer Raymond is a profound talent.’ – The Guardian

‘For all her professed preference for slower, gothically-inclined blues, it's old-time rippers like Sometimes There's Blood or land speed banjo record attempt, Oh, Command Me Lord!, where she really excels--and, critically, excites’ – Mojo

Car Seat Headrest – Twin Fantasy

Twin Fantasy (Face to Face) is the eleventh studio album by American indie band Car Seat Headrest, released in February, a complete re-recording and reworking of the band's sixth studio album, Twin Fantasy released in 2011.

An epic album that ebbs and flows, smashes, jolts, staggers, falls, gets up and explodes continually and repeatedly in a constant wall of sound full of faulty workmanship and holes. Singer/creator Will Toledo’s voice comes seeping through the gaps in the wall as he pours out his heart wrenching angst and tenderness with utter sincerity. ‘Cute Thing’ made the playlist – much like the other songs, its a raucous ramping up of the original with a refined howl in his vocals. ‘Nervous Young Inhumans’ and ‘Bodys’ are also standouts. 

‘Twin Fantasy marks another leap in ambition’ – Uncut

‘Twin Fantasy leaves no doubt that Toledo is a strikingly gifted and thoughtful songwriter who also has a firm grasp of how to make his material work in the studio, and isn't afraid to think on a grand scale.’ – AllMusic

Indulgent? Possibly, but it works, because this record – even the longest tracks--is punchy, witty and razor sharp.’ – The Skinny

So that’s that, thank you very much for reading folks - hope you got some stocking filler ideas, or just iTunes filler for Xmas.

Take care, be ‘suite to each other

D@Tracksuite.

And if you’re still not sated - these are also very worthy listens;

Hiss Golden Messenger - Virgo Fool

Vera Sola - Shades

Ty Segall - Fudge Sandwich

RAM - August 1791

Waxahatchee - Great Thunder EP

White Denim - Performance

Kompakt - Total 18

Colour Me Wednesday - Counting Pennies in the Afterlife

Slaves - Acts of Fear and Love

Phantastic Ferniture - Phantastic Ferniture

Serpentwithfeet - Soil

Low Cut Connie - Dirty Pictures (Part 2)

Horse Feathers - Appreciation

Confidence Man - Confident Music for Confident People

Physically Sick 2

Turnstile - Time & Space

Nils Frahm - All Melody

Everything is Recorded

Calexico - The Thread That Keeps Us

Alt-J - Reduxer

Starcrawler - Starcrawler

Leon III - Leon III

Nightmares on Wax - Shape The Future

Laura Jane Grace & The Devouring Mothers - Bought to Rot

Tracksuite - 50 Best Tracks of 2018

Ok, the moment has arrived. Don’t panic, don’t worry - you’re 12 month countdown has come to an end – here is Tracksuite’s choice of the best 50 tracks of the year. Of course, and as always, in tasty playlist form.

We’ve lost a few from the 30 Best Tracks of 2018 so far list (scroll down) from earlier in the year but the last 6 months have been epic with tracks from albums that have made the Best Albums of 2018 list (coming soon) like; The Beths, Rosalia, Swamp Dogg and Idles. It’s an awesome collection of gems collected from travels through the best of Kiwi Indie punk pop, American spiritualist metal, British jazz, Haitian folk, Aussie pop house, Swedish techno, Creole soul and plenty more…

So pause Christmas and treat yourself to the best (just over) three hours of 2018

‘Tracksuite - Best Albums of 2018’ and ‘Xmasuite 2018’ coming soon.

Dig in – stay ‘suite.

Much love, D@Tracksuite.

Remembrance - 100 Years On

Whether red poppy, white poppy or purple poppy - just remember them.
And for goodness sake, learn from them.

Mercury Prize 2018

Mercury Prize 2018 awards ceremony tonight. Have you picked your winner? I made my call with this year’s selection a while ago now (*cough* Sons of Kemet) but in keeping with tradition, here’s Tracksuite’s playlist selection from the shortlisted 12 for you courtesy of YouTube and Spotify.

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