best of 2014: albums

the end of our year-end best-of week is finally upon us, and we’ve saved the best for last: ten full-length albums of 2014 that best represent the musical convictions of dimestore saints.  in many cases, we’ve beaten these albums to death with accolades, so this list will be strictly visual.  as usual, the link embedded in the artist and album title will lead to a stream of said album, while clicking through each photo will lead to a review that accurately conveys our feelings.  by and large, the reviews will come from this site, but a couple will be pulled from other sites and writers that we admire.  cool?  cool.

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alvvays cover

10. alvvays – alvvays

sve are we there cover

9. sharon van etten – are we there

ritual in repeat cover

8. tennis – ritual in repeat

cloud nothings cover

7. cloud nothings – here and nowhere else

too bright cover

6. perfume genius – too bright

familiars cover

5. the antlers – familiars

caribou our love cover

4. caribou – our love

lost in the dream cover

3. the war on drugs – lost in the dream

fka twigs lp1 cover

2. fka twigs – lp1

three love songs cover

1. ricky eat acid – three love songs

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cloud nothings – here and nowhere else

when i first heard cloud nothings’ tremendous third album, attack on memory, dylan baldi’s screeches of “i thought i would be more than this” resonated incredibly with my nineteen year-old state of mind.  the album soon became the soundtrack to my 2012, its raw dissonance juxtaposed with hook-laden gems like “stay useless” and “our plans.”  still, the overall darkness in mood of attack on memory, coupled with the increased abrasiveness of instrumentation, all but erased the breezy bedroom pop aesthetic baldi had cultivated on cloud nothings’ first two records, leaving the trajectory of their subsequent output open-ended.  on here and nowhere else, baldi arrives somewhere in the middle of the two extremes, resulting in the band’s most polished sound to date.

baldi’s detractors frequently cited his sub-par vocal delivery as the band’s main pitfall throughout attack on memory, and while opinions on the effect of his raw voice are entirely subjective, it’s worth noting that his voice is unquestionably at its best on here and nowhere else.  he’s in tune and more articulate, and songs like “just see fear” have moments of sheer melodic beauty.  at the same time, baldi is even more punishing and menacing than he was on cloud nothings’ last album; guttural screams emit towards the end of “just see fear,” and the repetition of the word “swallow” on “giving into seeing” sounds tortured yet purposeful.  overall, baldi the singer is very much in the foreground of the songs on here and nowhere else, putting emphasis on the last refined element of the band’s sound.

cloud nothings slimmed down to a power trio before heading into the recording studio, but the absence of a second guitarist seems to cause no problems.  jayson gerycz is an unstoppable force of nature behind a drum kit; in the early days of the band, his presence was almost comical at times, but his relentless technique mirrors and personifies the cacophony cloud nothings has perfected.  here and nowhere else doesn’t stop for a breather throughout much of its duration, with gerycz flirting with the front of each beat and bassist t.j. dukes dutifully following his example.  the songs largely return to a more structured pop formula that aided baldi’s ascension from anonymity; “patterned walks” is the only clear outlier, drawing on the expanded structure of “wasted days,” but songs like “now here in” and “psychic trauma” are upbeat and irresistible, with only hints of the post-apocalyptic dissonance that permeated attack on memory.

baldi’s prowess as a songwriter and guitarist has only grown over time; he handles all of the six-string chores on here and nowhere else, creating a thick, distorted tone befitting of the old punk bands he frequently name-checks in various interviews.  the final song on the album, “i’m not part of me,” might just be the band’s best to date, and it’s telling that they saved it for last.  from the outset of the first chord in his progression, baldi reminds everyone of his talent, fitting a subtle melodic line into the harmony.  his voice is comparatively calm for the most part, and his proclamation of “i’m not telling you/all i’m going through” seems to echo the ethos of the entire album: the dark undertones are still there, but they’re more reserved and less prone to explicit despair and self-deprecation.  here and nowhere else doesn’t quite match attack on memory in terms of raw emotion – few records ever will – but its songs continue to sculpt baldi into a fiercely formidable presence still very much capable of writing acutely polarizing and meaningful lyrics.

9.0/10