Top 10 Albums of 2012 - 7 & 6

7. Jake Bugg - Jake Bugg

Billy Bragg recently made Bugg the fulcrum point of his John Peel Lecture; something we at TT consider apt due to Bugg’s similarities with Uncle Bill, albeit not in style but definitely in approach to song writing. They both share a social awareness which their generation can rally behind and an ingenious ability to write a love song.

Former single ‘Lightning Bolt’ gets the ball rolling on the social observation front and attacks the apathetic nature of Britain’s karaoke-game-show-loving millions by saying:

“They say you gotta tow the line/ They want the water and not the wine / But when I see the signs I jump on the lightning bolt”

With the album reaching Number 1 in its first week of release, the tide may just be about to start turning back in the favour of people like Bugg and produce a  world where artists and musicians refuse the shortcuts and express themselves. In the words of Damon ‘It really really really could happen’.

Backing up ‘Lightning Bolt’ is a fine group of songs whose common denominator is escapism. In ‘Two Fingers’ he has the single of the year in our view. Every era of youth should have a song like ‘Two Fingers’ to unite behind. Many Arctic Monkeys comparisons have been made and far too many of the negative. This is not a rip off or rehash of an Alex Turner song but simply inspired by him, along with the Kinks, early Weller and early Townshend records.

‘Seen It All’ is another one of those songs which sees Bugg in an escapist mood. The intro fades in like Oasis b-side ‘Rockin’ Chair’ and shares similar narrative themes of looking back at a town which bears little relevance to the journey the writer wishes to be on. What separates the two is the perspective they were written from. Noel was writing in his late twenties about a life which seemed to be passing him by (he soon caught up, all back to Supernova Heights anyone?) whereas Bugg clearly has life by the scruff of the neck already and is reviewing the brutal nature of what stands in his way.

Then there is the other side to Bugg. The sweet sensitive side which will make the women fall in love with him and the men wish they could express themselves like him. ‘Simple As This’ will have Ryan Adams losing sleep for weeks wondering how he never wrote this song. On the surface, it is a beautiful Dylan-esque lullaby but scratch a little deeper and you realise Bugg is on the verge of discovering the key to happiness in this world. How the hell can someone so young be so wise? We recommend you don’t dwell on this question and just marvel at a young man who has the world at his feet.

Billy Bragg’s use of Bugg in his BBC6 lecture signifies a glorious handing of the baton (albeit an overdue one) from one generation to another. Bugg’s debut has TT bringing Bragg’s debut album ‘Life’s A Riot With Spy vs. Spy’ to mind with its triumphant displays of social observation and tales of love, often unrequited. The growth of Bugg as a songwriter has TT salivating but for now he is not looking for a new England, just looking for another girl. 

6. Moon Duo - Circles

Many of you may recognise Moon Duo’s vocals, and you would be right to as they are Ripley Johnson’s, the terrific singer from Wooden Shjips. He has teamed up Sanae Yamada to make Moon Duo’s second album ‘Circles’. If ‘Circles’ is as good as Moon Duo get they can grow old knowing they have created something magical.

The notion of a concept album often makes TT wince and cross the street immediately.  The Who’s ‘Tommy’ can still produce bile and a month of nightmares with just 3seconds of airtime. So, imagine our surprise at falling in love with an album which is based on a 19^th century essay. Thankfully though, the essay ‘Circles’ by Ralph Waldo Emmerson tackles the transcendental nature of the human condition and how many strive for greatness. As concepts go, attempting to become immortal via music is alright by TT.

Musically, ‘Circles’ is not a million miles away from their debut ‘Mazes’ but the production is a lot sharper and in sections Yamada’s guitar playing makes ‘Mazes’ look like he just wasn’t arsed . The closing guitar solo on ‘Dance Pt. 3’ is a prime example. If you imagine Black Rebel Motorcycle Club ditching their leathers and dropping acid then your half way there to knowing how mystical his guitar sound is.

‘I Been Gone’ on the other hand lends itself to the current crop of noise-rock bands of this world. It is more direct than Deerhunter’s ‘Desire Lines’ and far more accessible than Autolux’s ‘Audience No.2’ and as a result establishes a sound which begins to define those perfect moments on ecstasy or MDMA where the music aligns with your emotions.

‘I Can See’ is one of those tunes which makes you feel like you’re on tip toes at a precipice wanting to take flight but you never quite jump off. It holds you in a suspension which will have you scratching and clawing your way back to the start of this song to relive this intense pleasure.

No noise-rock/krautrock album would be complete without an 8minute epic and in ‘Rolling Out’ they have just that. ‘Rolling Out’, from start to finish captures the greatness they have striven for beautifully. The drums and bassline provide a platform for Yamada to take his guitar for a little walk, and on occasion end up in 17^th dimension causing havoc. It really is that good! The guitar parts are similar in sound to Richard Hawley’s on ‘She Brings The Sunglight’ but with one notable difference. Hawley used classic song structure to get to a guitar solo and as incredible as it is when you listen to ‘Rolling Out’ you might not bother with it anymore.

’Circles’ is a gem and will undoubtedly have given Kevin Shields wet dreams about this album and give McGee the knowledge that a return to the music industry is indeed the right move. These guys are exactly what the music scene needs, two insane visionaries who couldn't give a fuck!

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.