4.David Bowie - The Next Day
David Bowie is from the future, that much we can be sure of. An androgynous extra-terrestrial, porcelain-skinned, flame-haired and chameleonic; predicting the tidal shifts of pop, and adjusting the sails of his spaceship accordingly. That's what we see, and the rest is speculation. We know not what motivates him, and that's fine by us. He doesn't tweet: he gives eclectic masterpieces that act as time windows to his soul. 'The Next Day' concludes a trilogy of sorts for Bowie though. For a man that always looked forward, discarding his previous work as "going through a phase", 'Heathen' and 'Reality' have both been coyly nostalgic. 'The Next Day' continues this trend, but actually, it's as fiercely bold and inventive as any other classic Bowie's put his name to. On first glance, there's the playful nonchalance with which Bowie defaces one of his defining record sleeves. It's sacrilege to some, wryly hilarious to others, but it makes for such wonderful promo material; instead of emblazoning the album cover all over town, Bowie's marketing team have only pasted the central square over existing billboard ads, even in one case, over an advert for Foals' Holy Fire. It slots the album into an over-saturated 21st century with enigmatic subtlety; similarly, the decision not to give interviews or promo shots has prompted the world to dig through their favourite Bowie eras and guises. So many of his albums came with an iconic image, but on this one, you choose your own. This is looking back, but doing it cavalier creativity. And then there's the music; the beautiful, almost homesick music. The aural whirlpool of 'Low' resurfaces on 'Heat', glam-funk is reconfigured for the title track and 'Ziggy Stardust' is reworked for the stupendous 'Valentine's Day'. Everything is new, but known, like returning to a city you lived in thirty years ago; "just walking the dead", as the man himself says in 'Where Are We Now?', a wistful, waltzing love letter to Old Berlin. 'The Stars (Are Out Tonight)' similarly recalls the glamour days, as riffs and oohs conflate with kaleidoscopic beauty; and over it floats that voice, the one thing that never changes: smokey, stirring and as distinctive as the electric-orange lightning bolt, splashed over his right eyelid. 'Love Is Lost' recounts everything new in the life of one person, before declaring "But your fear is as old as the world". We don't like looking too far forward, it's fair to say, but with this record, Bowie has truly arrived at 'The Next Day' he's prophesying about his whole career. He's an alien from the future, with the heart of a human being, and the career of a rock god. This is a celebration of that. A glorious, and possibly last, celebration of David Bowie.
Words by Mark White
3. Vampire Weekend - Modern Vampires Of The City
Modernised and more mature vampires emerge from the band's third studio album. Breaking from tradition and exchanging hanging around in coffins to hanging out with coffees they now live in the city and have access to big-time producers like Ariel Rechtshaid and voice changers too. The new emphasis on a more distinct production-finish earned the band #1 spots in both the UK and US Billboard charts. This album is often favourably contrasted with their self-titled debut. Since the second album failed to set the world alight it is refreshing that a third was able to slingshot the band back into the spotlight, proving that every band does not live or die on 'that follow-up album'. Modern Vampires of the City is thoughtful and exquisitely produced. The band maintains their individuality, better defining themselves with tighter, more personal, song writing. Light and shade are provided vividly in their two singles released to date 'Diane Young' and 'Ya Hey'. The first is light, bouncy and more importantly for a comeback track, memorable. Meanwhile, the second is full of melancholy and doubt, earning it a spot at the heights of our singles chart. 'Worship You' offers a startling display of speed-singing while 'Hannah Hunt' stands out for its tender, slow pace. The introduction of the latter will remind fans of Oxford Comma, and prove the album is not wholly an attempt from Vampire Weekend to distance themselves from earlier material. High placing in both best album and single of 2013 in our chart proves the band has returned to form. They also won Q award's 'Best Act in the World Today' for 2013. This record captures a widely held sense of 21st Century malaise, puncturing it with rays of hope for an alternative way of living. With the world tour ending in May, does the Glastonbury Pyramid stage beckon?
Words by George Meixner