December Hotel's favorite albums bring together familiar classics, independent releases and overlooked records that deserve a wider audience.
The selections span a broad musical landscape, connected by memorable songs, distinctive performances and the lasting impression they leave. Explore the reviews, revisit an old favorite or discover an artist whose music has yet to find its way into your collection.
Music never stands still. Every few years, a new version of anti-pop arrives, and before long listeners begin reacting against that, too. Even a familiar genre like emo can be difficult to pin down to a single defining band. Ohio's Brandtson enters that changing landscape with Hello, Control.
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Black 14 arrived during the height of the alternative-rock explosion, yet April's Motel Room never received the attention this record deserved. From its combination of sounds to its catchy, thoughtful lyrics, the album stands out as a winner. The lack of support it received remains difficult for me to understand.
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Once in a while, you come across a band with a sound that could reach a much larger audience with the right exposure. Popcult is one such band. Justin Renaud, Tyler Venter, Alex Halvorson and Brandon Proff deliver a set of polished indie pop-rock tracks that are charming and easy to listen to.
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If I had to find one word for this album, it would be “spectacular.” The Normals take a more stripped-down approach, and their growth becomes clear within the first few songs. “Every Moment” is a U2-like anthem carried by Andrew Osenga's passionate vocals. From there, the record continues to impress, with “Black Dress” and “We Are the Beggars” among its memorable moments.
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Wyclef Jean caught listeners off guard with Carnival Vol. II, arriving a decade after The Carnival. His work with The Fugees had already established a distinctive musical personality. This record offers another opportunity to follow his wide-ranging approach beyond that earlier chapter.
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The first thing that strikes me about GlassByrd is the gorgeous singing of Marc Byrd and Christine Glass. His voice is heart-melting; hers is angelic and ethereal. The recording's Christian focus is clear throughout, but it is the beauty of the music that keeps drawing me into this album.
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Writing and rewriting the pop song can seem repetitive, especially when so many artists draw from the same well of relationship themes. Yet those familiar feelings have inspired memorable music across generations. Never Felt This Way Before brings The Billions into that long-running conversation.
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I have to admit that the first time I heard this CD, I wasn't especially taken with it. There is something familiar and almost throwback about the sound. Lead vocalist Scotty Cantino reminds me of Wayne Coyne of The Flaming Lips, which is a good thing. Rejoice deserves a little time to make its impression.
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If you know post-rock, you probably know giants such as Explosions in the Sky, Godspeed You! Black Emperor and Sigur Rós. I have discovered plenty of good music in the genre, but its repetitive tendencies can be frustrating when other bands imitate those familiar styles. Prelude to the Sea offers another record to explore within that landscape.
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