Well, here we are. The culmination of yet another musical year. And the great thing? Next year’s only just around the corner. Can’t wait.

Lucinda Williams – Down Where The Spirit Meets The Bone


Released on her own record label, Lucinda Williams returned with a new-found freedom. The songs were strong. The lyrics were stark. The band was tight. And there was a great JJ Cale cover at the end.

Jenny Lewis – The Voyager


After a period of musical self-doubt, Jenny Lewis returned with her first release in six years. And it was well worth the wait. Voyager was chock-a-block with foot-tapping melodies and grown-up lyrics.

Lana Del Rey – Ultraviolence


Ultraviolence has been largely overlooked in end-of-year, best-of lists. Perhaps it’s unsurprising. Slowing things right down, LDR managed to alienate most of the people who loved the dance-floor anthems of the last album. What a relief! Let’s hope she’s got the strength to explore the altogether darker nooks and crannies of her current musical space.

The War On Drugs – Lost In The Dream


By contrast, TWOD are a seemingly obligatory inclusion in everybody’s end-of-year list. But it’s a no-brainer as to why. This was an old-fashioned sort of album. Full of great build ups, long wind downs, and thrilling middle sections. (Don’t tell anyone, though, but it ran out of steam a little bit towards the end of side 2).

The Antlers – Familiars


Familiars was full of slow but irresistibly funky songs, most of them led by a trumpet or two. It was the sort of party you’d have if you were stuck in a funeral procession. Against your better nature, you’d be really enjoying yourself.

Jenny Lewis – Voyager


There’s more than a whiff of pop about Jenny Lewis’ new release, Voyager. On a scale from Katy Perry to Scout Niblett, superstar producers Beck and Ryan Adams have delivered an album that’s somewhere shy of Haim but still well north of Annie Clark. It’s a good place to be. Everything sounds wonderfully crisp. The hooks are in exactly the right place. And around the land FM radio stations are updating their playlists accordingly. It’s a genuinely enjoyable record. But is it a Jenny Lewis record? As the head girl of former indie favourites Rilo Kiley, she has a resolutely ‘alt’ reputation to live up to. As the author of two country-flecked, yet slightly folky solo albums, she’d started to create a different niche for herself. And a nice one it was too. So, how does Voyager fit in? Very snugly is the answer. The pristine nature of the production emphasises the phrasing really well. Jenny Lewis is someone who sings likes she’s reciting Shakespeare. Every syllable is perfectly present. Here, her voice is placed right up front. And that can only be a good thing. The themes are also immediately recognisable. Without falling into the trap of thinking that every lyric must be autobiographical, it’s an album of mature themes. Jenny Lewis is the undisputed spokesperson for a lateish-thirtysomething-woman-usually-in-a-relationship-but-with-no-kids-yet generation. She counts the trophy girlfriends among her set of ageing male friends. She sings about making babies rather than making love. It’s a refreshingly strong voice from a cohort of women that is usually silent. And there are some fine songs too. Perhaps the pick is ‘Late Bloomer’. Containing not just one but two great hooks, one for the verse and one for the chorus, it’s a story about a teenage trip to Paris. Take it literally it at your peril, but revel in the songwriting. Jenny Lewis may have ventured out on a voyage from ‘alt’ to pop, but if so there’s still plenty of ground to travel. And it may yet take some time. Let’s hope so.

The Line of Best Fit review

The 405 review

The Guardian review

All Music review

American Songwriter review

Irish Times review