ITP 2014: Now on Spotify

As we hit the halfway point of 2014 we’ve hit a dry patch in what has so far been a great year for new music. Time to take a short breather from the cloudcasts (regular service will resume later in July). For now here’s a new In The Pharmacy Spotify Playlist featuring all the available tracks from the first six months of the year, which means all the ITP goodness will sound great on your mobile devices too.

I’ll continue to add new tracks as and when they become available, so don’t forget to subscribe using the ‘Follow’ button in Spotify. If you want to get everything first and in regular, fortnightly bite-size chunks, you should stick with Mixcloud as well.

One of the reasons for choosing Mixcloud over Spotify is that I can use advance tracks before they are added to Spotify and some (like the excellent Tacocat tracks from their debut album) are not on Spotify at all. Still, of the 210 tracks featured so far this year, Spotify does have a respectable 176 available.
NB: I use the UK version of Spotify so you may end up seeing fewer, depending on the rights in your country.

Top 10 Albums of 2012


2012 has been another great year for new music across many genres, but much of that great music has not necessarily come from great albums. I’ve listened to more new music in 2012 than I have since I left Xfm in 2008. I’ve experienced various levels of disappointment with most of them.

But among the disappointments have been some revelations. Interestingly, only three of these albums are debuts. And one of those is by a band made up of veterans of their respective genres.

10) The Walkmen Heaven

The Walkmen

It’s not always good news when a band matures, but The Walkmen have been pulling it off with aplomb for a few years now.

This their sixth album finds them 10 years on from their debut and 8 years since the heady rush of ‘The Rat’. What was their most iconic song now has a rival in its polar opposite ‘We Can’t Be Beat’, a vocal led number with a great wordless sing along refrain. When Hamilton Leithauser sings “It’s been so long at the 2:37, you don’t doubt for a second that he really means it.

Elsewhere, the even more minimal ‘Southern Heart’ provides another highlight while their more familiar scratchy drunken guitar lines and little circular motifs pop up on the likes of ‘Heartbreaker’ and ‘Heaven’. An album that delivers more with each listen.
[Listen on Spotify]

9) The Mountain Goats Transcendental Youth

The Mountain Goats

There’s currently a petition to the White House to have Mountain Goats’ mainman John Darnielle made US Poet Laureate. They could do worse than send this, his 14th album, as supporting evidence. It opens with a song for Amy WInehouse (‘Spent Gladiator’) and peaks with one for another less celebrated dead-too-young pop star Frankie Lymon (‘Harlem Roulette’)

The rest of the album finds the guitar-bass-drums set up of his last few albums augmented by a horn section on songs about agoraphobics, fictional gangsters, junkies and Judas all told with what one review called “radical empathy” and another called “deceptively plainspoken poetry”.
[Listen on Spotify]

8) Django Django Django Django

Django DjangoCame to this one late despite several glowing recommendations. These guys share some DNA with The Beta Band (literally in the case of drummer David Maclean, brother of TBB’s John).

A maximalist melting pot of poppy psychedelia, electronica, the twang and rumble of early rock and roll, Krautrock, eastern motifs and delicious harmonizing. This is an  endlessly engrossing debut.
[Listen On Spotify]

7) Beach House Bloom

Beach HouseHow do you follow an album as near perfect as Teen Dream? Beach House’s answer is clearly “with more of the same”.

While Bloom may not have quite as many peaks as its predecessor, it is still a masterclass in electronic dreampop, with the likes of ‘Lazuli’, ‘Myth’, ‘Other People’ and ‘Wishes’ among their very best.
[Listen on Spotify]

6) Bowerbirds The Clearing


Boy and girl record two albums of rough-edged folk music, one falls seriously ill and nearly dies, she recovers and they build a house / recording studio / art space in the woods of rural North Carolina. Somewhere in there they also split up and reconcile while also spending time recording their more polished but no less charming third album at Bon Iver’s studio in Wisconsin.

It’s understandable why issues including a preoccupation with mortality, belonging, and balancing the domestic rural idyll with the life of a touring band permeate these songs, but these themes are tackled with some of the most straight-up beautiful music of 2012.
[Listen on Spotify]

5) Hospitality Hospitality


Released back in January, the gentle charms of this near flawless album seem to have been forgotten by many despite a bunch of glowing reviews at the time. For shame.

This collection of glowing indie pop songs may not be breaking new ground but there’s a timelessness to Amber Papini’s songwriting that will find you coming back to this collection for many years.
[Listen on Spotify]

4) Dirty Projectors Swing Lo Magellan

Dirty ProjectorsDespite owning a couple of their previous records, I’ve often found Dirty Projectors’ music something to be admired rather than embraced. They’ve often had the odd moment of brilliance, but the idea of listening to one of their albums the whole way through rarely appeals. This made Swing Lo Magellan one of this year’s greatest revelations.

David Longstreth channels everyone from Led Zep to the Beatles to The Beach Boys to The Velvet Underground to Talking Heads, weds it to his taste for West African guitar styles, polyrhythms and layered vocals, throws in some judiciously placed strings and raises the quality of the songwriting exponentially. In ‘Gun Has No Trigger’ he has crafted a production the equal of any of John Barry’s classic Bond themes.
[Listen on Spotify]

3)   Tame Impala Lonerism


Whereas their debut Innerspeaker was a stone cold retro-rock classic packed with 11 great late-60s indebted songs that sounded like it could only have been made in a valve-tastic analogue studio, Lonerism is a slightly different beast.

Although the overall psychedelic feel and Kevin Parker’s Lennon-indebted vocals remain, the production techniques reveas itself to be much more modernist in its approach. It’s the striving for the warmth and breadth of those analogue recordings the late 60s by combining instrumental chops with the modern production tehcniques of electronic music, coupled with the excellent songwriting that make Lonerism work.
[Listen on Spotify]

2) Grizzly Bear Shields


Brilliant though Veckatimest was, it’s a shame that this wasn’t the record that introduced most people to Grizzly Bear. Those that have written them off for being difficult or wilfully eccentric may have found much more to love within the grooves of this their fourth and most accessible album.

Lush and multifaceted,Sheilds moves seamlessly from the crunching Led Zep riff of ‘Sleeping Ute’ to the piano and snare-led ‘A Simple Answer’ to the warm and enveloping ‘Yet Again’ to the fretless bass and electronic effects of ‘Gun-Shy’, this album worms its way into your heart not just your brain.
[Listen on Spotify]

1) Divine Fits A Thing Called Divine Fits

Divine FitsSpoon’s Brit Daniel, Wolf Parade / Handsome Furs’ Dan Boeckner and New Bomb Turks’ Dan Brown team up for the album that had me returning to it the most this year. Scratchy guitars, supple bass lines, new wave keyboards and some of Boeckner and Daniel’s best ever tunes.

Not only is this my favourite album of the year, in ‘Baby Gets Worse’, ‘Flaggin’ A Ride’, ‘My Love Is Real’, and ‘Like Ice Cream’ it also includes some of the greatest individual tracks, while their take on Boys Next Door’s ‘Shivers’ ranks amongst 2012’s best cover versions. And how iconic is the album artwork? The whole package.
[Listen on Spotify]

101 Medications – Best of 2012

In The Pharmacy’s top tracks of 2012

Six hours of music featuring some of the best songs from 2012. These are in order of what makes the best listening experience rather than ranked from first to one-hundred-and-first. Keen followers of the In The Pharmacy cloudcasts will find some tracks that weren’t amongst the 357 tracks featured this year. They may also note that while psych-rock, psych-pop, electronica, electronic pop, hip hop and all things retro still get a look in, this list tends more towards the indie rock end of things. I make no apologies for this, these were simply the best tracks of 2012, imho*. 

*It’s a Spotify playlist so a few of my favourites weren’t available (notably tracks from Lambchop, Ladyhawk, Kate Boy, Ceremony and Mungolian Jetset) but that just made it easier to get the list down to 101.

In The Pharmacy Cloudcast 23

The 16 best tracks from the last four weeks. For a minute there, it looked like there weren’t going to be enough great tunes to make another cloudcast in 2012, but while it’s taken an extra two weeks, I hope you’ll agree that these tracks are more than worthy of your attention. What you’ll hear:

  • a husband and wife duo channelling The Cult and the Jesus and Mary Chain
  • baroque psych pop from the Netherlands (and Los Angeles)
  • electropop from Sweden
  • proggy indie rock from Oxford
  • moody analogue electronica from Adelaide

Plus a bunch of 80s references from Vangelis’s Bladerunner score to The Cure and gothy post-punk and a Fleetwood Mac cover for good measure.

Haunted Hearts ‘Something That Feels Bad Is Something That Feels Good’
Married couple Dee Dee Penny (Dum Dum Girls) and Brandon Welchez (Crocodiles) team up for their new project. Pitchfork compared this to Automatic-era Jesus and Mary Chain and while I get that, you’d have to be deaf not to hear the influence of Billy Duffy on those guitars.
[Haunted Hearts]

Pacific Air ‘Float’
Los Angeles duo (who recently changed their name from KO KO) with insanely catchy, effervescent pop tune.
[Pacific Air]

Girls Names ‘Hypnotic Regression’
Third appearance this year for the Belfast band whose gothy post-punk is almost Krautrock in its rhythmic insistence, with flanged guitars and basslines that recall the early work of The Cure.
[Girls Names]

Kate Boy ‘In Your Eyes’
Swedish electropop duo indebted to The Knife follow up their debut track ‘Northern Lights’ (featured in ITP #22) with another instant classic.
[Kate Boy]

Majical Cloudz ‘What That Was’
Montreal musician Devon Welsh contributed to the Grimes album, but this is much more wistful stuff. This sounds like one of those lost early 90s pop bands like Poppy Factory.
[Majical Cloudz]

Chromatics ‘Cherry’
Portland electronic band follow up this year’s Kill For Love album with a new tune. It’s 80s paleofuturism in the vein of one of M83’s more atmospheric moments

Grave Babies ‘Over and Underground’
Gothic post-punk with strong melodic pop bent from Seattle-based NIN and Nirvana fan Danny Wahlfeldt.
[Grave Babies]

Jacco Gardner ‘The Ballad of Little Jane’
Dutch baroque psych pop.
[Jacco Gardener]

Maston ‘Young Hearts’
Baroque psych pop from Los Angeles.

Mean Jeans ‘I Miss Outerspace’
Melodic punk from Portland
[Means Jeans]

Pet Moon ‘Hold The Divide’
Proggy indie rock from Oxford led by former Youthmovies Soundtrack Strategies frontman Andrew Mears.
[Pet Moon]

How To Destroy Angels_ ‘Ice Age (The Soft Moon Remix)’
What was the quite lovely minimal stand out track from the An Omen_EP gets a bruising atmospheric makeover from San Francisco neo-post punk types The Soft Moon.
[How To Destroy Angels]

Rites Wild ‘Rites Wild Theme’
Adelaide’s Stacey Wilson makes moody analogue electronica.
[Rites Wild]

Mountains ‘Living Lens’
Atmospheric instrumental droning – but much better than that makes it sound.

Oneohtrix Point Never ‘Blue Drive’
This is an old Daniel Lopatin track that’s part of the recently re-issued Rifts compilation that collects all his early work under the Oneohtrix Point Never name. This could be lifted directly from Vangelis’ Bladerunner score, it’s that good.
[Oneohtrix Point Never]

Julia Holter ‘Gold Dust Woman’
Many have raved about Julia Holter’s 2012 debut album Ekstasis. Some of us have failed to get excited about it as, although it sounds great, there’s a distinct lack of tunes. Here, she rectifies this by borrowing one from Fleetwood Mac.
[Julia Holter]