I Don't Hear A Single Albums Of The Year 2024 : Top 10

 

So we get to our Best 10 Albums Of 2024. Any of these 10 could have been Number 1 and this reflected how diverse I Don't Hear A Single has become over the years. It is essentially a home for Indie Pop Rock, but it isn't afraid of taking different paths. For instance Prog and Psych is placed well amongst the 100 albums, which is a testament to how open the ears of followers are.

We chose The Armoires because we believe it was so different to much of everything else we heard in 2024. But, any album that is reviewed on IDHAS is recommended. We only review what we have liked. The 100 albums will be posted as a list later.

1 The Armoires - Octoberland     IDHAS Review

2 The Mommyheads - One Eyed Band      IDHAS Review

3 Teenage Frames - Everything Has Led To This     IDHAS Review

4 King Black Acid - Victory For Mad Love    IDHAS Review

5 Emperor Penguin - Gentlemen Thieves     IDHAS Review

6 Silk Cut - Silk Cut       IDHAS Review

7 Amateur Ornithologist - Hide      IDHAS Review

8 Silent Forum - Domestic Majestic      IDHAS Review

9 Ward White - Here Comes The Dowsers      IDHAS Review

  

10      James Sullivan - Vital Signs     IDHAS Review

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The Armoires - Octoberland

 

I've obviously had Octoberland, the fourth full length album from The Armoires for quite some time. I deliberately waited until now to Review it for a number of reasons. The major one was to allow other Reviews to get their views across before I inflicted mine on everyone.

I have loved the band's output, but felt frustrated for them. With the Big Stir label taking off, I've always felt that they have had to rush previous albums. Then with all that goes on in the Big Stir Community, has meant that Rex and Christina have put promotion of their band on the back burner due to helping others.

There is also equal frustration of the band being labelled Pop Rock in the past, just as Big Stir is regularly noted as a Power Pop label. The irony is that this may be the most Pop Rock that the band have ever been and with having the album for some time, I see the reasons why the album is so splendid.

I'm fortunate to have heard the album from Demos onwards and the end results are magnificent. I'll also try to explain why in my opinion, it is so good. One of the main things is that the band have given themselves the time to make the album they wanted to make, removing themselves from Big Stir business busyness to spend time on the recording.

Michael Simmons production has also made a big difference. The sound is far more fleshed out. I don't know whose idea it was to concentrate on the harmonies and joint rather than separate male or female, but it is a masterstroke. The harmonies and matching of the vocals takes the album to a whole new level.

The addition of John Borack on Drums shows its full benefit here, not just rhythmically, but in the understanding of what is intended musically. But, at times, the real star is Larysa Bulbenko, her string arrangements add so much to the songs, allowing The Armoires to sound very different to paler imitations, not that there are many.

Having praised the joint vocals, the shared vocals on You Oughta Be Cut In Half are wonderful, it may be the best song here. A song lyrically adept, but scathing, yet wrapped up in such a jaunty presentation. There is a real chalk and cheese effect between lyrics and instrumental is marked. A cracking listen.

There's a lot of variety on show too. The 80s Synth on This Ones For The Swedes, The Americana Pop of Sudden Thud. How Ouroboros Blues (Crow Whisperer) mixes West Coast, Country fiddle to a Power Pop Drumbeat.

How good are the arrangement and harmonies on Ridley & Me After The Apocalypse, an instrumental tour de force and the entrance of the opener as a statement of intent that is We Absolutely Mean It. and its slight Psych Pop feel. Then there is the sheer catchiness of the chorus on Green Hellfire At The 7-11that slightly betrays its message.

Octoberland sounds like the album that The Armoires always wanted to make. As though all that went before was leading to this. Big Stir have also found the time to promote it, hence the reaction everywhere to a magnificent album, both music ally and lyrically.

You can listen to and buy the album here. It is available on Vinyl, CD and as a download. Thankfully, it is not on Cassette.

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I Don't Hear A Single Albums Of The Year 2021 : 11-20

It's been difficult to get these choices down to 100. I'm also not a believer in saying one album is better than another. Most of the time you are comparing Apples To Oranges. I'm not a List person, I just think what's the point?

However, for the last few years I have compiled annual Best Of 's  because these posts seem so popular and the aim of this Blog is to get exposure (and Sales) for the artists. There is no meaning or judgement on an album that is Number 1, Number 100 or not on the list. Anything that I review on here, mention on Social Media or play on the Radio Show is as highly recommended.

There are few rules. All albums have to have been reviewed on IDHAS. Reissues and Live Albums are not included. Previously unreleased albums are included, but Best Of's are not. For each album, I've posted a song from it and a link to the IDHAS Review where you can find further details and how to listen or buy the album.

No 11 : Mothboxer - On The Flip Side     IDHAS Review





No 12 : David Brookings - Mania At The Talent Show    IDHAS Review

 

No 13 : Edward Rogers - Catch A Cloud     IDHAS Review

 

No 14 : Nick Frater - Earworms          IDHAS Review

      

No 15 : Caper Clowns - Abdicate The Throne    IDHAS Review

       

No 16 : The Armoires - Incognito       IDHAS Review


 


No 17 : The Boxcar Suite - Every Side Of The Abyss     IDHAS Review

No 18 :  The James Clark Institute - The Colour Of Happy   IDHAS Review

No 19 : The Toms - Tomplicated   IDHAS Review

          

No 20 : Quick Fiction - Fingers Crossed         IDHAS Review

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The Armoires - Incognito

 

Some bands have used the last 12 months to do nothing, others to moan about everything and too many have got their Acoustic Guitars out and added a few Beatles covers to the groaning weight out there. The Armoires turned what was initially a wheeze into one of the best albums that I've heard in a long time, showing that where there is a will, there is a way. Many of you know of my connection with the Big Stir label and I'm delighted to see how big it has become. I can reveal now that I had one regret is that The Armoires previous album, Zibaldone, got lost in all the Big Stir activity. It is a cracking album and hopefully people will discover it with all the attention that this current masterpiece is getting. It was in the IDHAS Top 10 albums of 2019. 

Rex and Christina were so busy with the label that their band took second place to what was happening with Big Stir. Two things happened to change all that. Firstly John Borack joined on Drums and it released a new found vigour in The Armoires. It was as though they began to take recording seriously again. Secondly, I remember the conversations with Rex as Paris 1919 was about to released. The smirks and sniggers were many as the ruse to release Digital Singles under a different pseudonym was planned. What gobsmacked me was what a fantastic job they made of the cover. It went on from there with continued single releases in different genres under different names.

From there on in those singles took on a life of their own. The Big Stir label artists got involved as did other labels. Having recorded three or four covers, the band revisited their archive, discovering songs that they had never finished due to them supposedly not fitting The Armoires' template and then new songs were added. The secret continued and the band decided to reveal that all these way out singles were them by releasing an album on April 1st collating their adventures. I was initially a bit concerned, because I had heard all these as individual singles. The thought of an album didn't necessarily fill me with glee. I thought all of this stuff has already been released. 

It was only listening to the album complete that I realised how wrong I was. The result is unbelievably great. This is a proper album, a revelation. It threads together wonderfully and reveals what a cracking band The Armoires are. This album will be deservedly played for years to come. I deliberately held back my review because I felt a bit too close to it. I wanted to see other opinions and thankfully my thoughts have been endorsed by the wonderful reviews that Incognito is getting. Not only is it a splendid album that is packed with variety, it is also a rare thing. An album that you listen to from start to finish and who would have thought that from a collection of singles. 

The cover of John Cale's Paris 1919 remains my favourite here. Not because it was the thing that started this off, but because it is an absolute joy of a song. So much is packed into its nigh on four minutes. It sets you off for the joy that is to follow. The wondrous Psych Pop of I Say We Take Off And Nuke The Site From Orbit, the doggone Country ache of Shame And Bourbon and the wonderfully inventive confusing brilliance of Ghost Of Fall Singer In Depopulated Griefscape. All very different, all equally great.

Christina goes all Seekers on Magenta Moon and Rex leads on an ace cover of one of my favourite summer songs, Yellow River and Andy Gibb's Words And Music comes over all Abba. Awkward City Limits goes all 80's with a twist of Reggae bursting to escape. The other song that I have to mention is the band's version of The Night I Heard A Scream for the Futureman Records 20/20 Tribute album. Initially released as a single for Halloween, it was an inspired and unusual choice for that album.

Incognito reveals what a special band The Armoires are. They are like few other acts on Big Stir or anywhere else. More than anything else, the album reveals what a varied roster that the label has. But more importantly, how wrong we were to sit The Armoires in a corner. 

You can listen to and buy the album here and here.

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I Don't Hear A Single Albums Of The Year 2019 : Top 10

01 Norman - Buzz And Fade       IDHAS Review







02 Ulysses - On Safari       IDHAS Review

03 Nick Frater - Full Fathom Freight-Train       IDHAS Review








04 Mansion Harlots - All Around A Fairground       IDHAS Review

05 Bryan Estepa - Sometimes I Just Don't Know       IDHAS Review








06 The Junior League - Adventureland       IDHAS Review









07 The Brothers Steve - #1        IDHAS Review

08 The Armoires - Zibaldone        IDHAS Review








09 Ben Vogel - Whistling After Midnight        IDHAS Review








10 Pernice Brothers - Spread The Feeling       IDHAS Review







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Rex Broome On Reviews And End Of Year Lists

2020 is a big year for all things IDHAS. Before all of that, there has been a lot of talk around various scenes, particularly the ones that encompass Pop Rock, about both Reviews and End Of Year Lists. Rex Broome wrote an excellent article about this on Facebook today. It is certainly relevant and I can attest that a lot of what Rex says is happening.

Rex comes at this from various angles. With Christina Bulbenko, he runs the Big Stir Records Label, in my book, the label of 2019. Big Stir is a community based label that releases albums from a wonderful mix of artists. Last year saw the weekly Digital Single releases which enhanced their reputation. Big Stir also run a successful monthly series of Live Shows and both Christina and Rex are part of The Armoires who released their excellent second album late in the second half of the year.

People are doing a lot of debating about qualifications for year-end "Best Of" lists. Lists are cool, valuable, often revelatory, and of course shouldn't be taken personally. But naturally, there's going to be controversy. Ideally that should spark debate about the music itself, but too often it gets off track and nosedives into other issues. Obviously our label (and our band) are delighted with the many nods we are receiving and we would never take it as any kind of slight to not be featured on anyone's personal Best Of.

Reviewers are of course free to follow whatever policy suits them in terms of what qualifies a release for consideration. Readers are of course free to put any kind of conditions on how they read the lists with those policies in mind. They may give more or less weight to the opinions knowing that, for instance, digital releases are excluded. There shouldn't be much need for a public fracas about it. The lists are made public and so are the policies behind them and any given reader can add it up as they see fit.

As someone who's on several sides of this whole thing, As an artist, label, live booker and a whole lot more, I have a whole bunch of perspectives at my disposal. From the individual artist's perspective, pressing physical products of any kind is just plain expensive and at times prohibitively so. Sending out endless copies to people who are not likely to review stuff based on prior experience kinda sucks, so you can see why folks might baulk at it. It ain't easy to go it alone, which is one big reason for why we started a business concern that takes the community-based "we're stronger together" ethos as its core value.

As a label, though, Big Stir Records releases everything physically. It's just our thing, for our own reasons and we don't expect anyone else to do the same. We have many great friends who don't, for reasons we totally understand. This year we put out 12 CDs with several of them also on vinyl as well. That's a lot of money, some from the artists and some from the label. Shipping costs are absurd. Now, in our opinion, all 12 of those releases are superb, of course. But we also know that with the diversity of our output, not everyone is going to love every one of them. However. we still feel obliged to get all of them out to as many potential reviewers as we can.

With the volume of stuff we put out, if we've gone to the trouble and expense of getting all of our releases to a reviewer, we hope tat they will review them. When we notice that they're essentially ignoring them while favouring very similar and sometimes frankly lesser records, we wonder why. Even taking personal taste into account and being in a position to observe personal politics, positive and negative, on the wider scene, things start to look a little odd to us.

We might sense something else is in play other than the music. We might be wrong, but we have to make a decision on the situation. Decide whether or not it's worth our time, effort and money to keep feeding the music we're so proud of to someone who's displaying pronounced indifference to our efforts. That's just basic business sense, coupled with our belief in our artists and their music and our need to do what's best for them.

It's imperative to take the reviews and lists at face value out of respect for the writers and DJs and I respect the hell out of them. But let's also be honest that people play favourites and there are potential conflicts of interest out there. The tip of the iceberg is that a number of eminent critics and DJs are IN some of these bands. In other rare, but notable cases, there are public displays of favouritism and/or personal grudges that might get in the way of professional impartiality. Then there's also endless debate about separating the artists' politics from their work.

That's all okay. Again the results tend to speak for themselves. I've seen people give glowing reviews to records by people they can't stand personally. I've also seen others pan efforts by dear friends and most of the time everyone displays the proper grown-up attitudes about that. Most of the time. When ego gets in the way, it's usually self-evident. Since we at Big Stir Records really ARE "all about the music", we see no need to call it out on a case-by-case basis.

We have much better things to do and the joy of sharing the music is much more important than any petty squabbles along the way. It would be nice if the focus stayed where it should across the boards, but that's unrealistic. We can only express our gratitude for the people who keep their hearts where they should be. Your diversity of opinion makes this community sing and we love you for it!


You can find out more about all things Big Stir here.


........

California Hits Manchester

I rarely do previews of upcoming shows. It's not really what I usually get involved in, but I have to tell you about this. There's a number of reasons why I should, but I'll limit it to two. I've long moaned and groaned about how hard it is to see great Power Pop or Pop Rock in the UK. In the past, we've had great bands coming across from the States, Europe and as far afield as Australia, with the odd exception such as The Posies, that's much less so now.

So when you get an opportunity to see four on the same bill with the added bonus of two of the best UK offerings on your doorstep, we have to get out and support it. Six bands for a fiver, it's like I really do live in 1975.

Secondly, if ever a line up explained what I Don't Hear A Single is about, it would be this one and it's a rare chance for people to see these acts in the flesh. From my own side too, I never fail to be surprised at how IDHAS took off and how it has become known worldwide. I don't get out and about as much these days and so it's even a chance to talk to me about the new stuff that you think I should be covering.

I won't make this too long, so I'll try to briefly give you some idea of what you could witness. I can attest that one of the bands that get the most interest amongst us are The Cherry Bluestorms and they are especially delighted to play in Manchester. The review of their See No Evil single remains one of the most popular posts on here, unknown for a single. The UK influence is written all over their music, it's like a 60's Beat Pop version of The Byrds and of course you have The Dickies connection.

It's been eight years since Plasticsoul's magnificent Peacock Swagger. Well they are back with the newly released Therapy album. Steven Wilson hasn't lost anything in the gap. The album is a real rock out. It's melodic rock at it's finest and you'll see the review of it here tomorrow.

One of my favourite bands are The Armoires. Rex Broome and Christina Bulbenko's brand of sunny California Pop with a twang is an absolute joy to listen to. Bulbenko has the voice of an angel and I defy anyone not to be tapping their feet within seconds. Rex is also the brains behind Big Stir, a monthly Power Pop live showcase that is Big Stir. A Californian treat that receives rave reviews rightly.

It's wonderful to see Spygenius back in the live arena. The Canterbury four piece remind me so much of those Not Lame days. Imagine Robyn Hitchcock in a 60's Psych Pop band. Peter Watts describes himself as a magpie, but it's the way it's all put together. Wonderfully inventive and the nearest the UK has to the type of bands that we adore from the States.

Without hesitation, I'd say the band that grabbed me most at IPO was Huxley Rittman And The Rusty Hitmen. Very much the future of Power Pop, in line with Denmark's The Caper Clowns. I'd heard a couple of their EP's and liked them, but was not prepared for what an incendiary live band they are. Their set was over far too quickly and it was outstanding. They are currently recording their debut album, but these will be definitely a band that you will tell everyone in ten years time that you saw in a small venue.

Last, but very much not least, we have David Jaggs, leader of the North West's pride and joy, The Ragamuffins. I come across a lot of local bands, no one does what they do. There's a real lyrical depth in songs with organ and brass. I like to think of them as a modern day Dexy's, but there is far far more of them than this.

So this is not going to be a thing that I do to often, but I cannot miss the opportunity to go out and support these artists. What a night it is going to be.

Various - Big Stir (Power Pop And More At CIA (The First Year)

I wrote about my envy of Los Angeles's Big Stir monthly event here. Since then things have gathered apace. There are plans for a tour in the UK and Sweden in conjunction with appearances at IPO in Liverpool and Sweden this year.

The Big Stir compilation from last year, the quality of all 22 bands is exemplary, it's a disc that I return to almost daily. The compilation is available to buy at Ray's excellent Kool Kat site here.

I could feature any of the 22 artists in this review. Due to the rarity of many of the tracks, the availability of streaming links and the fact that I will feature all 22 as new releases occur, means that I've limited my choices to six. Any of these artists are worthy of your support.

Brandon Schott writes and performs great gravitas pop. Lyrically excellent with great hooks, these songs are real mood lifters. Following on from 2015's superb Crayons And Angels, one of my favourite albums of that year, Brandon has recently released a pause point compilation, (Revisited). You can listen to and buy that compilation here. You can find out more about Brandon here.






Fernando Perdomo has developed a glowing reputation as a singer songwriter and producer. Initially with the excellent Dreaming In Stereo and onto solo excellence. His last album, Voyeurs, was released last year and was the first album recorded utilising Facebook Live. His band album from 2004, This Can Be You has just been made available. Both can be listened to and bought here. You can find out more about Fernando here.





Rob Bonfiglio is noted for his work with Wilson Phillips and more importantly for his time in Wanderlust in the mid 90's with Scot Sax. Wanderlust were one of the great lost Power Pop bands and their reunion for 2012's Record Time delighted this writer.

Rob's solo career has continued that excellence. His work reminds me a lot of Jason Falkner, a compliment, I do not hand out lightly. His 2014 album, Freeway is a stormer and you can listen to and buy that here. You can listen to and buy Wanderlust albums here.





Plasticsoul are currently recording a new album, The Girl Of Many Tribes that can be pre-ordered here. Their 2009 album. Peacock Swagger remains a favourite of mine, very reminiscent of Cotton Mather and that can still be bought here.

Band Leader, Steven Wilson is heavily involved with Big Stir and all that it is trying to acomplish.




The Armoires are responsible for the wonderful Incidental Lightshow album from last year. A great slab of west coast harmonies via twin vocalists Rex Broome amd Christina Bulbenko. The hints of Psych on that album make it an album I return to regularly.

Rex and Christina are also the people behinf the magnificent Big Stir Project, both this album and the monthly showcase. You can listen to and buy that album here and find out more about the band here.





Los Angeles's The Living Dolls are a newer band to these ears and they are right up my street. It may be how UK influenced they appear or my love of Psych Pop, but whatever it is, I love what they are doing.

You can listen to more from the band here. Four of the songs are available as free downloads.




You can find out more about the Big Stir Compilation here.

I Want A Big Stir Over Here

Good to be back after an extended break. Lots of reviews to get through in coming days, but my return reveals my envy of something that goes on over the water.

The Power Pop scene has never been massive over here in the UK. That's not to say that there aren't a great number of fans, they are just spread so far afield. We get IPO in Liverpool once a year and that's a great way to pick up on new bands, but when a band come over here at other times, at best we may get a London gig. There are honourable exceptions such as The Posies, but these are few,

I don't blame the bands, it is just not viable to tour the UK these days for the majority of artists we like. Record Companies used to support tours and they are inconsequential these days. Record Sales, the same.

There are some great music venues in the North West and Liverpool is thriving, but the bands don't seem to have the money to play them all. Music is largely a secondary income, if that, for most now and so main work gets in the way. The likes of James Lee's Hangar 34 in Liverpool bodes well as a venue. James has long been a supporter of the Liverpool Indie Scene and I can see that venue becoming something special.

What I'd love to see over here is a monthly night of great Power Pop / Guitar Bands at whatever venue. That's why I am so envious of Big Stir in North Hollywood. Rex Broome and Christina Bulbenko run this monthly event and as it reaches it's first anniversary, some of the artists who have appeared make me wish that I could be transported there.

Plasticsoul, Cait Brennan, Butch Young, Fernando Perdomo, Brandon Schott, Rob Bonfiglio, Jason Berk, The Cherry Bluestorms, Blake Jones. These are names we can only dream of seeing over here. Yes we get their music, usually as downloads, but how we would wish to see them live. A Liverpool or Manchester night with a mixture of the known and local bands as a regular monthly meet up. How cool would that be?

Rex and Christina don't only organise Big Stir, they are also The Armoires and what an excellent affair that band is. I'm made even more miserable by looking at the line up for the two night First Anniversary shows on the 27th and 28th January. I've a good mind to make them stream it to me Live.

The Anniversary shows include Plasticsoul, Blake Jones And The Trike Shop, Robbie Rist, The Armoires and Rick from Maple Mars. The events are DJ'd by John Borack and I'm told David Bash will be present. All this for 10 dollars a night. Liverpool loves it's IPO, but we are greedy, me more than most. Can we not have a monthly thing too?

Well done Rex and Christina, you'll have me in tears by the end of the month.

You can find out more about Big Stir at the Facebook site here.