For music fans, passionate and assured about their opinions, December is either a month of vindication or outrage when professional critics in mainstream media applaud the songs and albums they feel are most deserving of recognition. However, aggregating the opinions of critics naturally results in a lowest-common-denominator opinion, with underground releases being ignored in the interest of public appeasement. Therefore, it certainly feels like there is a need to highlight the year’s overlooked albums, those that bring something unique and interesting to the table, but aren’t featured heavily in end-of-year lists.
Jordan Stephens – Let Me Die Inside You
While it is clear that Jordan Stephens has evolved since the days of Rizzle Kicks, he’s definitely kept the quick wit and sharp tongue that was intrinsic to the iconic duo. An impressive blend of smooth spoken word, playful rap, and raw, but satisfying, vocals, Let Me Die Inside You sees Stephens explore, accept, and celebrate what society has told him to suppress, from his ADHD to his skin colour. His willingness to break rules is reflected in his composition, and attempting to fit the album in a single genre proves a fruitless venture. Alongside producer New Machine, Jordan leans on influences from jazz, classic rock and even drum and bass, to produce a varied but cohesive tracklist. The album is a deep dive of the artist’s mind that gives enlightening commentary on his personal relationships, social status and drug use, from the perspective of a man who doesn’t want anyone’s advice. Stephens is embracing himself, his habits and his imperfections, and wants you to do the same.
Conway the Machine – God Don’t Make Mistakes
Not many people can say they have been through what Conway the Machine has, and even fewer can say they came out the other side so in touch with reality. Throughout God Don’t Make Mistakes, the Griselda Records co-founder raps about losing his infant son, his brush with death, living with Bell’s Palsy, and his deep-seated paranoia after being shot in the neck. While discussing these deeply personal traumas, Conway demonstrates a unique level of humility and candidness which makes it impossible not to empathise with him. Such an effect is hardly ubiquitous with the genre. Instrumentally, the twinkly pianos and classic drums which accompany the deep bass throughout the album create a Mafioso vibe that re-emphasises Conway’s longtime status as a real boss, a kingpin. Having said that, La Maquina’s devotion is to music now – the troubling nature of his early adulthood is a product of his upbringing, where the infrastructure around him meant he had no choice in the sort of life he lived. He knows the brutality of the world he was born into could’ve defeated him, but he didn’t let it and now he never will.
Honeyglaze – Honeyglaze
This self-titled debut from three-piece Honeyglaze is the most obscure cut on this list, but offers a route to the underground scene for fans of folky indie-pop. Lead singer and guitarist Anouska Sokolow discusses her personal struggles, from jealousy to commitment, with remarkable delicacy. Meanwhile, bandmates Tim Curtis and Yuri Shibuichi (on bass and drums respectively) make intricately devised contributions that teem with personality. Despite the individuality of the instrumentalists, each of their components fits wonderfully in the greater landscape of the album. The trio’s chemistry and cohesiveness allow them to build tension and control the mood of the listener as we are treated to 37 minutes of musical storytelling. Honeyglaze have mastered the ability to develop a narrative without fleshing out their lyrics with boring details. They are able to express emotion beyond words, an ability which sets them apart from other, more boring lofi groups and as a result, I can’t wait to hear from them again.
Courting – Guitar Music
As I watched Courting front-man, Sean Murphy-O’Neill, pass around a cowbell to the eccentric members of the audience above the Port Mahon pub in Cowley, I realised this band was not really comparable to any other on the increasingly broad and busy post-punk canvas. On Guitar Music, they display unprecedented ambition for a small band making their debut record. By combining elements of noise and hyperpop to their guitar-led tracks, the band have managed to carve out an exclusive niche, an admirable feat in the streaming age. Whether they are compounding 13 guitar tracks on the outro to “Loaded”, dedicating a nine minute epic to a romantic relationship with an AI (“Uncanny Valley Forever”), or complaining about facelifts and car parks (“Famous”), Courting’s music is laced with charming irony and relentless mockery. Their art is clearly influenced by their absorption in pop culture, evident in their amusing array of references, from Take That and Charli XCX to David Beckham and Lil Miquela – the result is highly addictive. Provided they continue on this path, and continue to tinker to improve an already winning formula, Courting may be the band to watch out for over the next few years.