Top 10 Albums of 2012 - 10 to 8

10. The Moons - Fables Of History

The Moons return with their second album 'Fables of History' and what a return it is. Their debut ‘Life on Earth’ was littered with potential but, at times, could be accused of being a bit “mod by numbers”. However, the follow up sees guitarist James Bagshaw help frontman Andy Crofts with the song-writing duties and the benefits are everywhere. All the love and warmth from the debut is still here but now a tinge of 60s psyche has been added to give the album far more depth.

‘Forever Came Today’ opens the album and immediately displays the progression the band has made with its Toy inspired synth intro. TT imagines that working with a soul powerhouse like Weller as your part-time job (Crofts is his keyboard player, btw) will teach you a thing or two about singing, and Crofts vocals are sublime. Many believe the mod genre is boxed up and ready for the archives but he manages beautifully to find a seat at the table between his mentor, Weller and the Coral’s James Skelly.

Previous singles 'Double Vision Love' and 'Jennifer (Sits Alone)' will leave you bewildered as to how daytime radio cannot find time to c-list them at the very least. ‘Double Vision Love’ has all the spaced out splendour of the Coral's debut album but with the added pop splice of The Kinks’ 'Dedicated Follower of Fashion'. Meanwhile, 'Jennifer' is this album’s 'Wondering'. Crofts’ vocals are delightful and carry such high levels of cordiality that this could easily work acappella.

'Can You See Me' is yet another fantastic pop song, a joyous mod lullaby which lends itself to Simon Fowler and Steve Craddock's writing peak on ‘Mosely Shoals’. The lyrical content here is the band’s sharpest on ‘Fables of History’ as it brilliantly chronicles the human struggle for appreciation amongst their peers. Ironically, this is a feeling the band probably know only to well with their lack of exposure.

Then there is ‘Revolutionary Lovers’. Oh how we love ‘Revolutionary Lovers’. It is the standout track on the album and one of the finest tracks of the year. It gives Lennon’s ‘Instant Karma’ a virulent dose of Syd Barrett, giving life to a simple yet adorable tune.

So, The Moons open our top albums of the year at TT and we defy anyone not to find something they can’t fall in love with on this album. Why so little success? Having two members who are part of Weller’s renaissance has hindered their touring significantly this year. Maybe it’s time for The Moons to step out from Weller’s shadow and become the main players they deserve to be.

9. Dingus Khan - Support Mistley Swans




Vitriolic, passionate and aggressive: this is what all debuts should sound like right? The combination of ‘My Body’ and ‘Mad As Hell’ is the most exciting opening to a British band’s album for many a year. It is a full on noise assault, caused by their 8 members, 3 of which are drummers and 3 others are bassists. However, they have this amazing knack to maintain catchy melodies and leave us wondering are we witnessing the birth of another Blur-esque band. Dingus Khan are far more untamed compared to Blur so it’s probably safe to say ‘Tender’ and ‘Universal’ are off the menu, but heavier modern day versions of ‘For Tomorrow’ and ‘Song 2’ are all in the realms of possibility.

As major labels retreat further into conservative signings, a doff of the cap is in order to Fierce Panda. ‘Bag For Life’ is the kind of exciting and bedraggled genius the charts has been missing since the Libertines ‘Up The Bracket’. If someone ever asks you to describe how you felt at a Crowns or Pulled Apart By Horses gig then just play them this song. It gets across the drunken, penned in sweaty nature of those bands perfectly.

‘Knifey Spoony’ sums this album up with its compelling mix of raucous guitars and undeniable melodies. At the point when you think you can’t take any more of their 3 drummers smashing the skins to within an inch of their lives, their riffs will reel you in and the vocals will send you off into a state of bliss (albeit a slightly aggressive one).

Album closer ‘Ambulance’ has the kind of vocal brilliance we came to expect from Frank Black with The Pixies and has the youthful naivety of Frank Turner that we, at TT adore so much. However, what we really like about ‘Ambulance’ is something very tenuous indeed, its track placing. After the pasting Dingus Khan deliver to your senses in the previous 9 songs, medical attention will be required.

Then there is fierce uncontrollable beast ‘How Do You Like Me Now’. This is so intense that there are rumours (which we’re starting) that riot police sing this each other every morning as their national anthem. When Pulled Apart By Horses managed this level of viciousness with V.E.N.O.M in 2011, TT could envisage nothing as visceral emerging from the UK rock scene for a while but here we are, staring in awe once more.

Many argue that rock music has ceased to reinvent the wheel of late and they’d be within their rights to continue this argument when listening to ‘Support Mistley Swans’. Nevertheless, they cannot say it has not been reinvigorated by this release. The energy and passion on this debut can only be the start of great things.

8. Josephine Foster - Blood Rushing

Many may not know that Foster trained as an opera singer, but when you hear the diverse and unique delivery on ‘Blood Rushing’, you will not be surprised. Foster manages to create a chaotic sound that always seems to make sense. How? We’re not quite sure, and therein lies the beauty of this record. At times it will leave your brain frazzled but her ability to master classical US folk rock traditions always manages to keep the melody leading the narrative and as a result, enjoyment levels remain high.

Album opener ‘Waterfall’ is some of the most distinctive pop music heard in a long time. The combination of the long lost hippy tones of Linda Thompson with a 1930’s broadcast voice is inspiring and will hook you immediately. The accompanying guitars are reminiscent of Real Estate’s ‘Municipality’ but far more immediate, which adds to Foster’s unique intensity and oddness.

‘Panorama Wilde’ and ‘Sacred Is Star’ are two contrasting songs but both show the vastness of Foster’s songwriting ambition. PW will cart you off to the American wilderness, help you set up camp and leave you with the optimistic feeling that you can conquer it alone. Meanwhile ‘Sacred Is Star’ offers up a more twisted side to the image of the wilderness Foster previously created. The acoustic guitar plucking will leave you unsettled and wondering what lies beyond the darkness, as if the attempted conquering has gone horribly wrong and left you desolate and without hope. The orchestration which kicks in half way through has the feel of an evil Pagan ceremony, merely serving to heighten the sense of dereliction and isolation created in the opening verse. If Nick Cave had a time machine there is every chance he will be returning to 2005 to add these songs to ‘The Proposition’ official score.

After discussing the vast and the grand, it would be rude to not to mention the genius simplicity on ‘Child Of God’. ‘Child Of God’is a spectacular homage to Joni Mitchell, circa ‘Blue’. It is impossible not to visualise yourself in the summer sunshine of the Eastern Plains of Foster’s home state, Colorado, drinking a cold beer and watching the world go by.

‘Geyser’ is arguably the most interesting track on the album. As an opening 10 seconds go to a song, you’ll be hard pushed to find a more insane 10. We’re not even sure what is making the noises but if Hitchcock or Kubrick were alive today, they would be using this intro to psychologically disturb audiences. When the guitars kick in, you’ll be forgiven for thinking Mark E Smith is about to sing. What you get instead is Foster mashing up her opera singing and love of Northern US folk rock to splendid effect.

Meanwhile the track ‘Blood Rushing’ is yet another slice of progressive yet loving folk music. The violin solo conjures up a wrath of morbidity in this tale of embarrassment. Foster retreats to her operatic past in the climax of the song and the lyrics become indistinguishable except the line “I begin to begin again”. If you read up on the history of Foster, this lyric sums her up perfectly. She struggled when training as an opera singer, often unsure what type she was. Well, she has begun again and with glorious results we hasten to add. Blood Rushing is one of 2012’s must listens without a shadow of a doubt.