Nothing : "a short history of decay"

 

Nothing's 5th album is a more organic excursion, with strummed acoustic guitar and vocals stepping out from behind the indifferent haze of effects. This is not so say Domenic has shed the idea of being a shoe-gaze, in fact he more closely aligns himself with that sound on the second song and lead single 'Cannibal World' that finds a break beat drum samplele moving things in a manner much different from what you expectg from shoe -gaze while still bathing you inthe woozy swirl of My Bloody Valentine influenced guitars. Even then, you learn to get too comfortable with what you assume this band to be. 

Guitarist Doyle Martin is the only member to carry over from the "Great Dismal" sessions. The title track finds the more programmed drum beat leading the way into the song again, until they kick through the haze. It's only three songs in, but I am not hearing the more fuzzed-out guitar punch that once gave a nod in the direction of grunge. The vocals sit further back on the title track, which shifts through a slow-burning dynamic that adds intensity with each progressive step in the arrangement. The vocals are more thoughtful than your average shoe-gaze band, even when sitting back in the guitars. 

Things drop back down to a more delicate strum for "The Rain don't care."  There is a great, lonely reverb haunting the guitar tone of this song, which makes it sound more like something Chris Isaak might do, until the breathy plea of the vocals comes in to create more of a Smashing Pumpkins feel. It's dreamy, but the vocal arrangement is not as hooky, leaving the guitar to do most of the heavy lifting. Overall, the vocals have expanded the range of color they use on this album. 

The acoustic guitar opening "Purple Strings" feels more like early Radiohead. It's fragile like their 90s era ballads. When the drums come in it even feels like it is building like "Creep". But unlike Radiohead, here they are not kicking in with grungy guitar and busting out power chords; they are just floating further down the dreamy trail. There is also more of a 90s feel to "Toothless coal," which does bring the power chords with it. It might be the album's best song as the melody works really well and is subtle. Sure, the band has it harder before, but this is a great compromise. 

There is a more David Lynch feel to "Baller of the Traitor". It's like the nuance in the guitar riff that keeps the song floating in its introspection. The breathy vocals are another layer of sound. I appreciate how they weave around the guitar. The interplay of drums and guitar is more defined on "Nerve scale." This leads to the vocals fading more from the spotlight to a ghostly croon. The album closes with the hesitant strum of 'Essential Tremors.' it touches on the crossroads where early emo intersected with the atmosphere of shoe-gaze, before building into a more Hum-like rock climax.They had moved away from your typical shoe-gaze sound on the last couple of albums so taking a step back into this introspective atmosphere is an odd choice, but it works from a songwriting perspective, so I will give this one a 9.5, and see how it grows on me.Coming out on Run For Cover Records 

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Cloakroom : "Last Leg of the Human Table"

Having always enjoyed the albums I've heard from these guys, I am giving this one a shot as well, the vocals feel like there is more purpose here. The dreamy waves of sound continue to wash over you with weighty fuzz, as we have heard from previous releases by these shoegazers. "Ester Wind" finds the drums kicking things up. The third track is more of an interlude. "Unbelonging" finds the opaque guitars creating more of an indie rock feel, as the vocals begin to fall into the background. The vocals do not take a larger role until "The Lights Are On" which follows. 

"Bad Larry' makes me think of Stone Roses if they flirted with Americana rather than digging into Brit Pop. This might be one of the album's strongest songs. The honest vocals ride the gaps of reverb-heavy guitar with hooky grace. There is a cool layering of guitar sounds here. "Story of the Egg" finds the woozy wonderment of tones that bring the My Bloody Valentine vibes to the forefront working well. The vocals drift further back in the mix, though they are still attempting to write memorable songs here. This sonic swathe of noisy edge guitar is more of a sound than a song, but they still put a great deal of thought into how it all plays out. 

"Cloverhopper" rambles with energetic drive, though is not the most memorable song on the album, however, they nail the sound they are going for. The dense atmosphere they slow dive into on the last song does perhaps focus more on the sound than the song, but they try hard enough on this album to make it a worthwhile listen for fans of shoe-gaze. I'll give this one a 9, which is not the 9.5, of previous albums, but certainly puts them at the top of the heap when it comes to shoegaze bands in 2025. It just dropped on Close Casket Activities. 

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Cloakroom : " Dissolution Wave"

It's been a minute since I listened to this project, but this has a more organic 90s rock feel than I remember coming from them. Where their shoe gazing from 10 years ago might have been more abstract, this finds the vocals with more form and function and adhering somewhat to more conventional song structuring, all while not selling out. There is more of a dreamy glaze to the second song. It is more focused on a sound than the song, but the sound is pretty cool so that is ok. They bounce bounce back with more of an indie rock on " a Force at Play" which works really well, so despite loving the first song, I am not tied down to them having to rock like that. 

It is on "Dottie Back Thrush" that they come to a dynamic compromise between the atmosphere of shoegazing and a more rocking for of post- hard core indie rock. It also does not pigeonhole them into sounding 90s either. The claiming of their identity might be one of the album's high lights. They crank up a fuzzed-out bass done to provide a contrast to the airy space left by the vocals that float around the song like a ghost cloud. It might not stick in your head like the previous song but works really well for what they are going for. 

They return to a breezier version of their jangle indie sound on "Lambspring" there is the undercurrent of more distorted guitar that fades in and out which reminds me of sounds My Bloody Valentine played with. They are not as experimental as MBV , just similar tones in places. "Doubts" finds them drifting even further out, but it is a very cool melodic place they venture off to that has more in common with Pink Floyd. "Dissembler" is another song that blends the varied aspects of what they do to their full effect, allowing sedate vocals so sit along the wavering guitar driving the song. I will give this album a 9.5 as it is an infectious listen that grows on me and can just be allowed to play on a loop. It comes out Jaunary 28th on Relapse Records.

The Top 10 Indie Rock Albums of 2017

So Indie rock is a category I am throwing anything too aloof to be rock and not loud enough to be punk. So this is where some of the post-punk that is not exceptionally dark is going, along with shoe-gaze. Music is going in a weird place and circling the 90s without admitting their is a 90 retro thing going on cus they want to be too cool for Gen X. It was a weird year for indie rock, and one key thing to note is there had to be band to rock it, many blogs like Noisy threw all kinds of other things into their indie rock lists, like hip hop or electronica. I say fuck that there has to be some sort of band dynamic going on. Like many of these lists I am finding that the veterans are beating out their younger competition. To help ease the debate, despite the fact you can't argue about what I listened to the most since I have the numbers on it, I also added why each album beat the one ranked lower than it.

10- Cloakroom- Time

 Well Even with the burly guitar tone there is no denying that the opener of  Cloakroom's new album is shoe-gaze. The drumming is very tasteful and the guitar tone shifts with fluid grace. I guess it could be grunge tinged at times if we are calling early Smashing Pumpkins grunge. The vocals sound like they are very depressed stoned and falling asleep. But that works for the mood they have created.

 http://abysmalhymns.blogspot.com/2017/08/cloakroom-time-well.html

9-Hundredth- "Rare"

  While I like these guys, I think before you are quick to throw the post-punk label on them and start comparing them to The Smiths or Joy Division, know that they have much more in common with Silversun Pickups. The cooed androgynous yawn of the vocals begin to start sounding the same come the second song. This also reminds me of many of the post Pumpkins bands that came out of Britain in the late 90s - early 00s. They some times pack a little more of a metallic punch. Word on the street is these guys used to be a hard core band. They stay in the middle of the road shoe-gaze inspired flavor of alternative rock .

 Why they beat out Cloakroom ? ...more interesting and infectious guitar work.

 http://abysmalhymns.blogspot.com/2017/06/hundredth-rare.html

8-Cherry Glazerr- "Apocalypstick" 

Here is a wacky indie rock band that works best off best clever, though they can build into a more punk infused punch on the opener "Told You I'd Be With the Guys".Overall this album is sonic and compelling indie rock that's familiar in some ways , but they are very much their own person. Why they beat out Hundredth ? There was a wide margin between 8 and 9, truth be told "Told You I'd Be With the Guys" could have beat out Hundredth's entire album by itself.


 http://abysmalhymns.blogspot.com/2017/03/cherry-glazerr-apocalipstick.html

7- Bully- "Losing"

 Found the first song off this album during my research for the top 50 songs of the year list Treblezine was doing. The second song is noisy and not as hooky as the first song, but over all they cruise along the kind of detached indie rock that bands like Sebadoh made popular in the 90s. More organic and less focused on the atmosphere created by bands like Sonic Youth. The guitar parts are more interesting and melodic than punk.


 http://abysmalhymns.blogspot.com/2017/11/bully-losing.html

6- Torres - "3 Futures"


Mackenzie Scott's third album finds her going in a more experimental direction. Not in terms of arrangements in song structure or instrumentation used , but how she forms her melodies against the web of electronics woven beneath her voice. It takes a minute for song to click with me. There is an angular and almost atonal aspect that keeps you on guard. The further you get into the song it becomes apparent this album is going to be much more layered and nuance than her last, "Skim" even rattles my ear bud. It bumps in a more restrained manner than say a new Taylor Swift song. Guitar is used in a manner that has more common with St. Vincent.

 Why it beat out Bully? ...a more unique sound and marginally darker.

5- Gold -"Optimist" 

 This Dutch band is back, this time with more introspection to their gloom.They kick the shadow fest off with "You Too Must Die" which carries more of a Chelsea Wolfe flavored drone than what I remember these guys having.The emphasis is more on rock than indie as it has balls and is not just space jangle.


 Why it beat out Torres- see above "more balls less space jangle"

 http://abysmalhymns.blogspot.com/2017/05/gold-optimist.html

4- Morrissey - "Low In High school" 

 I am sure it's surprising that Moz did not rank higher. This album has grown on me. He doesn't give a shit and makes the music he feels like now. Sometimes this free reign allows him to take too many chances and experiment to the point of certain things being weird for him. But this is Morrissey and he still has his song writing chops even if his voice is not in it's prime. 

 Why he beat out Gold...this is Morrissey we are talking about.

 http://abysmalhymns.blogspot.com/2017/11/morrissey-low-in-high-school.html

 

3- Nadine Shah- "Holiday Destination" 

 Well it's clear writing for a few different blogs makes me not always remember who I reviewed for what as it was not until right now that I realized I had not covered this one for Abysmal Hymns ( in case you forgot what site you are on as well). This album is not as dark as the previous , but finds her covering a wider range of sound. This is perhaps a little more of a rock album as the guitar goes more places. Why she beat out Morrissey...This album came out before "Low In High School" which factored into why I listened to it more, but it is also the case of two artists at different places in their career and Nadine has a clearer vision of what she set out to do here.

2 -Minus the Bear- "Voids" 

 Glad to have these guys back in fine form as I felt with "Planet of Ice" that the song writing was not as focused as the first album. Things have changed and there is a better balance. The opening song sets the tone for the rest of the albums with one of the albums most lyrically powerfully songs while retaining their normal cool, calm and collected detachment. It's a apathetic take on a break up song and most of the other songs fall in line as being hard looks at the human condition with a upbeat and sometimes electronically tinged backdrop.

 Why it beat out Nadine Shah? More upbeat and catchy while giving me lyrics that smoothed over the sting of 2017.


 http://abysmalhymns.blogspot.com/2017/05/minus-bear-voids.html

1- Ride- "Weather Diaries "

 Robert Smith once refused to play a festival unless this band was added to the bill, so that has to factor into why they took the number one spot. I mean lets face it they are one of the forefathers of shoe gaze, they proved to be more versatile than other bands in the genre.The guitar tones on this album are incredible. The breathy vocals you are used to hearing on shoe gaze albums, come in but stronger than some of the breathy moans as they are able to harmonize and ride the groove with confidence. While it might seem patronizing for them to take the number one spot, they did earn more repeat listens to they put themselves here and why they beat out everyone else.

 http://abysmalhymns.blogspot.com/2017/07/ride-weather-diaries.html

Cloakroom : "Time Well"

While they have a burly guitar tone there is no denying that the opener of  Cloakroom's new album is shoe-gaze. The drumming is very tasteful and the guitar tone shifts with fluid grace. I guess it could be grunge tinged at times if we are calling early Smashing Pumpkins grunge. The vocals sound like they are very depressed stoned and falling asleep. But that works for the mood they have created. "Big World" has more of an indie rock jangle to it. The bass is beefed up when they kick it with the distortion. The vocals also have more feeling to them.They actually contribute with a melody that helps carry the latter half of the song.

There is more of a stomp to the jangle of "Concrete Gallery" that reminds me of when grunge and indie rock met in the 90s , with bands like Sebadoh and Pavement. The hazy melody is somewhat up beat even in it's lethargy.  The is more weight behind "Seedless Star". It has more heft than even say Dinosaur Jr, so bordering on metal. But still not quite there in terms of heaviness. The first song that doesn't connect with me as strongly as the others is "Sickle Moon Blues" . I know slow is there thing, but it kinda drags a little without justification of dynamics to sell me on it. They drift off into a gospel version of the kind of slow core that Low invented. There is almost a country feel to "the Sun Won't Let Us Go". The vocals are more tuneful, but not mustering much more energy, though they do reach for a higher note here and there.

If I still smoked pot I think a song like title track would work better for me. Perhaps it might just need to grow on me. The clean strum of guitar is a nice dynamic change so they get credit for that. I had to listen to "52 hz Whale" a couple of times to get it and even then it still needed to wake up a little, though it does have the same hypnotic pull as Jesu if they were not metal. It's another song that takes time to grow on me and when I really focused on what was going on enjoyed it. The album closes with "the Passenger". They do rock out in short bursts on the last song and it's more dynamic than many of the songs. They also delve into more beautiful guitar tones as if this album didn't have enough. I'll give this one a 9.5.