From Björk’s blissed-out return to the art-rock of North London newcomers Sorry, we present Another Man’s guide to November’s best new music releases
As the weather gets colder, summer is swiftly becoming a distant memory. But while next summer and festival season might feel a lifetime away, there’s still a heap of exciting new music to get stuck into as you pile blankets on top of yourself in an attempt to keep warm.
From the glacial return of Björk and buzzy newcomer Sigrid to the more fiery likes of London post-punks Shame and psych hero Ty Segall, there’s something for every mood in Another Man’s November tracks of the month, as winter settles in and we begin to ready ourselves for the festive season. Get stuck in below.
Björk – Blissing Me
Björk’s new album Utopia was released this month to widespread adulation, demonstrating an incomparable artist at the height of her powers. Blissing Me is a rarity of its own: a document of intimacy and the delicate touch of falling in love, the song offers an insight into an artist who can feel unreachable; she paints relatable, youthful images of “sending each other mp3s / falling in love to a song”.
Shame – One Rizla
Sarcastic post-punks Shame announced their debut album Songs Of Praise this month with the brutal One Rizla. A no-fucks-given documentation of everyday woes cast out atop a jagged punk backing, Shame and their inimitable frontman Charlie Steen capture their youthful disillusionment with a snarl and a spit, each note as grisly as the modern British malaise they so perfectly depict.
Hookworms – Negative Space
Careering into view with a tumbling, kaleidoscopic selection of synths, Hookworms’ return was far brighter than expected. For a band who’ve thus far built their name on an impenetrable cloud of shoegaze-y sound, new album Microshift marks something of a heel-turn moment. Negative Space is the perfect introduction, pairing desperate, grief-stricken cries of “how long’s forever?” with a soaring, dancefloor-ready sound – it’s that beautiful duality which carries Microshift.
Shamir – Straight Boy
Few records this year will harbour a victorious streak quite like Revelations, Shamir’s sophomore LP. A stunning tale of resilience in the face of industry pressures and mental health struggles, Shamir Bailey has mastered the art of remaining true to oneself amidst near-constant turmoil. Straight Boy is a lo-fi indie mini-masterpiece, dedicated to shitty attitudes and the importance of true, trusting friendships.
Sorry – Wished
Undoubtedly the most intriguing prospect of London’s much lauded new indie scene, Sorry thrive on a horror-influenced, unsettling vibe. Debut single proper Wished is a twisted take on alternative rock – packed full of barbed melodies which take unexpected turns at every opportunity, it’s a stomach-churner in the very best sense of the term.
Sigrid – Strangers
Not content with dominating summer stages and radio playlists with huge pop hit Don’t Kill My Vibe, Sigrid has set her sights on the colder months too. Strangers is a frostier offering, her Norwegian home’s winter chill permeating its reserved verses. By the time it all erupts into yet another avalanche-baiting chorus, the Scandi wunderkind proves once again that 2018 is hers for the taking.
Ty Segall – The Main Pretender
Psych king Ty Segall’s relentless schedule shows no sign of slowing. His latest release, The Main Pretender, is a mad-hatter arrangement of clipped saxophone parps and glam-rock excess, all frantic drum fills and cacophonous soloing. Sure to be a highlight of his renowned live shows, it’s every bit as raucous and unpredictable as those sweat-drenched evening excursions.
Sunflower – I Was A Fool
Sunflower Bean offered the first follow-up to their critically-acclaimed debut album Human Ceremony this month, with the sepia-hued I Was A Fool. Reminiscent of Fleetwood Mac’s most gauzy, melodic moments, it’s a foggy, romantic cut of pop-rock – one which crackles and pops like an unearthed 70s tape recording.
Camp Cope – The Opener
Australian punks Camp Cope have kept a close eye on the sexism embedded in their scene, and The Opener is their long-awaited revenge. Biting back at a world that still remains depressingly unfairly gender balanced, it’s a barbed, brilliant cut of indie-rock, propelled by a noodling bassline, which takes aim at faux-punk mansplainers in both their personal and professional lives.
Thunder Jackson – Guilty Party
A smooth, soulful pop debut from oh-so-mysterious newcomers Thunder Jackson, Guilty Party is an intoxicating introduction. Yearnful and hiding a bloodied heart, its stabs of gospel-funk melody do little to mask the self-deprecation within, Guilty Party’s protagonist “dancing in the mess I made” and “pushing everyone away” as the dark disco thunders on.