Music-Drop Magazine

It’s time to look at singer-songwriter Weyes Blood’s latest record, her first sub-pop release, Titanic Rising . Weyes Blood is an artist who has been working for years at crafting her sound. She’s the sort of artist who you’ve perhaps stumbled upon and listened to once on a late night of YouTube recommendations. You sit there intrigued by her sound of the carpenters meeting the 21 st century and sit mellowed out to her songs until suddenly its over and its forgettable, it simply doesn’t grab you, assault your ears and force you to remember it. Instead you look at the name Weyes Blood and think ‘hey I kind of like her.’ For me that was my experience with her song Do You Need My Love from Front Row Seat To Earth (2016) , I liked it but I didn’t love it. It soared, it was beautiful but it was shy of great. With Titanic Rising her sound hasn’t changed exactly. She hasn’t left the Karen Carpenter comparison behind but she no longer sounds quite so pastiche. ...

Angel Olsen entered 2016 with an image of a well-respected indie folk artist, she leaves the year with the album, My Woman, and a neurotic art pop sound. Angel Olsen has been a curious artist over the past few years, she first sprung up as a vocalist for Bonnie Prince Billy and she began to find acclaim thanks to the lo-fi indie folk Burn Your Fire For No Witness  in 2014. However none of those things even sound like they are something the artist who made My Woman would have done. My Woman has no pretenses of nostalgia like Burn Your Fire For No Witness  did and it’s as far from folk as possible unless Angel becomes a death metal artist that is. The album covert for Angel Olsen's third studio album. If there was a song that most embodies the album’s infectious sound it would be Shut Up Kiss Me, which is, not coincidentally, the best song on the record. While the lyrics of the song leave a lot to be desired the simple chorus is infectious leaving it ...

Skinny Love made Bon Iver famous, Bon Iver, Bon Iver confirmed their critical acclaim and 22, A Million has ripped apart the reputation Bon Iver built as a indie folk icon. 22, A Million isn’t a huge departure from Bon Iver’s routes however despite what critics tell you, in fact it was predictable that Bon Iver would take a experimental path though production, after all he made headlines for hanging out with Kanye, who is one of the best working producers. At the same time however 22, A Million is a vivid breakaway from the stereotypical Bon Iver sound. In this album we hear him playing with Art Pop, experimenting with electronics and really fighting to rid himself of the folk label. He succeeds. The album artwork of Bon Iver's third album. This album is one of the only albums I heard all year where there wasn’t a single song that I didn’t like. Each song is good, some are even great, but not one is bad, or even boring. 33 God and 29 #strafford ...

Antony and the Johnsons was a band I didn’t like. I get it Hope There’s Someone is a pretty good song, but I have to be frank their lead singer’s Anohni’s voice just put me off. It wasn’t bad necessarily but to me it overwhelmed all other aspects of the band, and it simply didn’t appeal to me. So Hopelessness by Anohni wasn’t something I listened to with high expectations however I’ve always thought that it was me with something wrong rather than Abohni so I did quietly hope the album would be great. It wasn’t, it started fine and I almost thought it would be a incredibly good art pop album but past Watch Me the songs sort of stop being even mediocre and become boring. The album cover of Anohni's debut solo album. I’ve never been someone who believes in a divorce between music and politics and I understand that Anohni has some unique viewpoints as transgendered musicians, who aren’t usually heard in our society, but to me it simply overstepped the line bet...