This is a time of looking forward. To the familiar artists that will return. To the new artists that will be discovered. This year, like any other, comes with a wish list. Some albums will never materialise. Others will slightly disappoint. A few will remain life-long friends. Fingers crossed for the latter. In no particular order, apart from alphabetical, my 2018 wish list includes new releases by Alela Diane, Anäis Mitchell, Bill Callahan, Caitlin Harnett, Cat Power, East River Pipe, Field Report, First Aid Kit, Jacob Golden, Jenny Lewis, Jessica Pratt, Jim White, Jonathan Wilson, Laura Veirs, Lewis & Clarke, Pearl Charles, Phosphorescent, Pinegrove, Richard Edwards, The Delines, Vetiver, Wooden Shjips, Wye Oak and the artist formerly known as Young Man.

And yet, there is a special place in the 2018 wish list for a new album by Kramies (pronunciation to be determined). With rumours going back at least a couple of decades, there are unconfirmed reports that an album is finally on its way and that Ireland had some part to play in it. We wait with fingers crossed, though we have learned not to hold our breath. The hard way. In the meantime, here’s a wonderful feature by Shon Cobbs and his Behind The Scenes colleagues from Denver. It features Kramies answering questions and sometimes asking them too. Plus a lot of laughing.

Happy New Year. Surely, 2017 can only be better than 2016. But who knows at the moment? What’s for sure is that music will always be a comfort. In that spirit, highly anticipated 2017 releases include confirmed albums from Elbow, Fleet Foxes, Foxygen, Grandaddy, Grizzly Bear, Horse Thief, Nadia Reid, Nikki Lane, Real Estate, Ryan Adams, The Shins, Son Volt, Strand of Oaks, and Sun Kil Moon. And then there’s always the H-LM wish list. This year, it includes Adrian Crowley, Alela Diane, Anaïs Mitchell, Bill Callahan, David Vandervelde, Feist, Field Report, Fionn Regan, First Aid Kit, Israel Nash, Jason Isbell, Jim White, Laura Veirs, Lewis & Clarke, Noah Gunderson, and Phosphorescent. Mind you, some of these artists were on my wish list this time last year. So, fingers are tightly crossed. Whatever happens, let’s start the new year with some good news. Word is in that Kramies is recording new demos. I can’t wait to hear the end result. In the meantime, here’s Kramies (feat. Jason Lytle) with ‘Clocks Were All Broken’.

Welcome to part 2 of the best albums of 2013, AKA the miserable 5.

Dan Michaelson & The Coastguards – Blindspot

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The gravel-voiced Gollum of gloom returns with an album so downer-sounding it’s positively uplifting. After all, at least you get to realise that someone out there is worse off than you. While poor old Dan and his Coastguards give the impression they’re about to hit the rocks any day soon, they tell their stories with such a delicate beauty that you can’t help but want to throw them a lifeline. Sure, they’d probably drop it anyway.

Mark Kozelek & Desertshore

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Just when you’ve managed to come to terms with the ultra-miserabilist themes of the new Mark Kozelek album, doesn’t he go and release a second one. Kick a man when he’s down, why don’t you? If it wasn’t so freaking affecting. If it didn’t sound so darn beautiful. Well, you’d have reason to be resentful. Instead, you put ‘Brothers’ on repeat and wonder how anyone write a song quite so emotional.

Alela Diane – About Farewell

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Alela Diane writes about the pain of breaking up. The anger of having wasted part of a life. And the excitement of starting afresh. Well, two out of three ain’t bad. There’s plenty of unfinished business at the end of this particular journey. It’s tough to listen to a first-hand account of the break-up of a marriage. But hopefully the process of writing was cathartic and with luck we might yet get to hear the part about starting afresh.

Jason Isbell – Southeastern

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Jason Isbell is an interloper. He’s got over his troubles. Kicked his destructive habits. But, thankfully for the rest of us, he can remember just enough of his dark days to tell some great stories. And he recounts them with tremendous verve and panache. This is a songwriter at the absolute top of his game. An album full of great songs with wonderful hooks and lovely arrangements.

Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

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There are times on this album when Neko sounds really angry. She’s had a difficult time recently and sometimes it shows. When she sings about murdering a man by shooting him through his jelly eye, you start to smile politely and back away. But don’t go too far. There’s plenty here to keep you amused and entertained.

Alela Diane – About Farewell

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EHL – 1 month

Like break-up albums? You’ll love this one. Ten songs all dealing with Alela’s break up with husband-guitarist, Tom Bevitori. It’s so focused, it’s almost a concept album. There’s a chronological element to it. The sense that things are ending. The knowledge that it’s finally over. The looking back misty-eyed. The packing up and moving away. There are no good times times at the beginning. There’s no catharsis at the end. This is just an album about the bad bits. And it’s all the more moving because of that. The observations are so detailed that at times there’s almost a Mrs Dalloway quality to some of the writing: “The four white walls in every damn hotel, A light by the bed, Stains on the floor, And it’s here I will wait out the storm, Killing time on the fringes again, Before the leaving”. But while the lyrics tell the story, they’re only a part of the experience. The songs are fragile, quiet, but they sound great, fully realised. Nothing really comes close a full-on band sound, but the basic palette of guitar and voice is rarely unaccompanied. The backing varies between piano, cello, violins, double-tracked vocals, slight percussion, another guitar, and plenty more. And it varies from one song to the next. There’s no formula. And then there’s the voice. Alela Diane’s vocals are some of the strongest around. Right across the range, there’s a Neko Case power to them. But she’s restrained. Here, there’s absolutely no showing off and she could if she wanted to. Instead, the vocals just emphasise the power of writing, the sadness of the situation, the beauty of the music. If there’s a weakness, then it’s the sense that things are left hanging at the end. There’s no resolution. No excoriating kiss-off. No reconciliation – fat chance. No sense of moving on. But maybe that’s the point. Time is the only healer. And it sounds like there’s still plenty of time to go.

Pitchfork review

The Line of Best Fit review

Pop Matters review