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Eagulls

Albums of the year 2014

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Swans-To-Be-Kind

Swans – To Be Kind

After thirteen studio albums, Swans have not diluted their power or talent one bit. But somehow, since their rekindling in 2010, they have become more popular. To Be Kind is just as provocative and challenging as Swans’ early material, with half-an-hour-long songs like “Bring the Sun/Touissant Overture” and off-kilter oddities like “A Little God in My Hand”, but the sound and instrumentation has matured, becomings both less distorted and somehow more dissonant. As we witnessed in November, Swans are still a brutally loud and relentless live band, a constant provocation to audience and peers, and much loved because of it. – CC


 møMØ – NoMythologies To Follow

Karen Marie Ørsted is my hero. My braid swinging, ex-punk rocker, stage diving hero. I remember the first time I listened to one of MØ’s tracks, loading up Spotify and finding myself blasting ‘Pilgrim’ and ‘Let The Youth Go Mad’ for hours on end and wondering how one individual could contain quite so much effortless cool. She was the Danish alternative pop princess I’d been waiting for, ready to join a royal court populated by Björk, Kate Bush and Lana Del Rey. I waited for No Mythologies To Follow for over a year, as singles like ‘Glass’ and ‘XXX 88’ trickled out from MØ HQ. I was delighted to find that the debut album did not disappoint, as Ørsted shared something that was exciting, thematic, beautiful and most importantly, sounds fucking fantastic. From the first time I heard it, I knew that No Mythologies… was my album of the year. – HT


WhatIsThisHeartHow To Dress Well – What Is This Heart?

Tom Krell’s third album What Is This Heart touches on lighter subjects than his previous two albums Total Loss (2012) and Love Remains (2010). Not one to shy away from touching personal matters, the album starts off with ‘2 Years On (Shame Dream)’ and leads you softly into a journey that expands an extremely vivid personal dream about his family. ‘Face Again’ the stand out single along with ‘Repeat Pleasure’ work in his signature indie R&B coupled with stunning falsetto which leave you questioning how these tracks aren’t further up the charts. WITH takes a turn with grand orchestral ‘Pour Cyril’ before leading into cute power pop ballads ‘Very Best Friend’ and ‘Precious Love’ proving key changes are making a come back! – TS


 Angel OlsenAngel Olsen – Burn Your Fire For No Witness

The most immediately striking thing about Angel Olsen is her voice, a voice that could easily croon country hits but instead lopes over scruffy, dampened guitars. Her voice alone should earn her and Burn Your Fire for No Witness a place in hearts and best-of lists, but what really makes Burn Your Fire… so special is that it’s wholly intuitive. Olsen’s second full length album is her first with a full band, and it’s the album her debut hinted she was capable of making. She hasn’t abandoned minimalist solo tracks, but she balances them against full-band arrangements. And it’s not just the range of her voice that’s striking but it’s incredible malleability; that it’s raw yet gentle, that it jumps from disaffected to emotive from one line to another, that it rasps and twangs with equal affect. And while she’s not too proud to pay homage to the ‘90s on “Forgiven/Forgotten” and “High and Wild,” these frazzled moments give way easily to stark folk ballads. The album comes down so slowly that by the time you’ve reached the hushed conclusion of “Windows” there’s a sense of catharsis. Burn Your Fire… doesn’t just leave you feeling satisfied, but completed. – AF


 sharon van ettenSharon Van Etten  – Are We There

Somewhere in Tennessee there is apparently an ex-boyfriend of Sharon Van Etten who, during their relationship, kept telling her that her music was terrible. There is a lesson to be learned here.
“Are We There” is one of those records that grows on you. There is something extremely vulnerable and honest about Sharon Van Etten’s song writing and performance on stage. Her voice has depth which is completed by the unique vocal harmonies with Heather Woods Broderick. As Sharon Van Etten told The New York Times when she released her previous album “Tramp”, she does not really consider them harmonies: “I just hear two notes at once — I just hear two melodies.” – MK


6) East India YouthTotal Strife Forever
7) IceagePlowing Into The Fields Of Love
8) Scott Walker and SunnO)))Soused
9) Tune-yardsNikki Nack
10) The War On DrugsLost In A Dream
11) Future IslandsSingles
12) Sleep Party PeopleFloating
13) FKA TwigsLP1
14) EagullsEagulls
15) St. VincentSt. Vincent
16) Alt-JThis Is All Yours
17) Wild BeastsPresent Tense
18) Mac DeMarcoSalad Days
19) Ice Cream CathedralSudden Anatomy
20) Lana Del ReyUltraviolence
21) Get Your GunThe Worrying Kind
22) SpoonThey Want My Soul
23) WarpaintWarpaint
24) Shiny DarklyLittle Earth
25) BeyoncéBeyoncé

LIVE REVIEW: Eagulls, Stengade, 23.04.2014

in Live Reviews by

There aren’t any surprises with Eagulls. If what you are looking for in their live set is the blistered amalgam of shoegaze and post-punk guitars with wailed Robert Smith-esque vocals, well, that’s exactly what you get. There is a curious energy about them, with singer George Mitchell bobbing and weaving in a self-contained way, his lanky build twisting and contorting to emphasize just how lanky he is. You get the impression that if he were to start jumping or thrashing around on stage the audience would follow suit, and there are moments, particularly during opener “Nerve Endings” where that feels appropriate. But it doesn’t happen, and so the crowd’s movement is limited to a few spirited individuals who look like they want to slam dance but instead just bang their heads a bit.

On a stage that’s tiny for five people, there’s a grungy effect in having one guitarist bent over for most of the set with his hair completely obscuring his face, while the oft serious-faced bassist shifts around as much as the limited space allows. It’s worth mentioning the talents of their drummer, who manages to maintain some level of nuance while still being heard over that fuzzy wash of noise.

But the set is short by headlining standards, even for a band with only one full length album out. They don’t actually play through the whole album. They end with “Possessed,” at which point Mitchell steps off the stage and walks through the crowd towards the door. It should signify a definitive end to the evening, but the crowd isn’t convinced. It isn’t until the guitarist begins packing up his pedals and shakes his head to an insistent audience that they finally take a hint.

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