We're into the Top 3 with a band that I've supported since this blog's inception. It's been a tumultuous couple of years in the world of this band, and we've seen them build and change in front of and alongside their fans in a way that's never been so poignant. Now dropping in at number three is Architects with the magnificent Holy Hell.

In the wake of Tom's passing last year the band and fans alike were utterly devastated, and if I'm honest, I was steeling myself for the news that they wouldn't be continuing on without him. However, when they announced that they would be releasing new music, I wasn't sure what to expect but I was excited. Watching their film - Holy Ghost - about the making of this album was difficult but definitely shed some light and confirmed a few assumptions I'd already made about how things were playing out behind the scenes. Tom's role in the band was always a big one but it was suddenly very clear just how big; like realising just how deep the water you're in is. Architects have taken that pressure and swam with it, being sure to keep Tom's input and influence at the forefront of their music, whilst also being sure that each of their parts swelled and broke with emotion around it.

My favourite tracks on the album at the moment are "Death Is Not Defeat", "Holy Hell", "Royal Beggars", and "Modern Misery". Architects have tried to articulate their feelings of processing and 'dealing with' pain on this record. The struggle and effort that come part and parcel with this are something that they don't try to shy away from at all. Rather, they identify it and use it to spur them on, which only makes you appreciate this album more.

If there's anything to critique I would note that the strings could use a bit more thought where they appear and could add a more theatrical moment to it. However, this realisation only came to me after a few listens. All in all, the album ebbs and flows in a way that takes the listener on a journey of grief, sure. However, it's the charging voice of Sam Carter that steals the show for me on this. It's more melodic than their past projects but somehow the vocals hit harder in pockets than they have previously. This is a huge album and a beautiful tribute.

Here's a look at the album that ushered in my Top 3 last year.

Well, you know what they say, "good things come to those who wait" and that could not be truer of Sampha's debut. I'd like to say that I was cautiously optimistic on first listen but mostly I was just itching to have it on repeat. This came to us on a day of music release mayhem and it's made a point to standout...


1. Plastic 100°C
Out of the non-singles, this song is my current favourite. Sampha has one of the most distinct voices around at the moment and whilst rising to the top; when his voice chimes in on this track, the sound just washes over you. I remember thinking, "this is a song that I could wake up to for years to come". Every time I hear this, it sounds like a new beginning. Talk about starting as you mean to go on... 

2. Blood On Me
Prior to listening, this was my favourite single and one of my favourite songs and videos released last year. Now, having listened to it in the context of the album, more than ever, the feeling still stands. As familiar as it sounded, it was given a new lease of life on the album and although I didn't think that I could - I love it even more. So intricate and so simple.
 
3. Kora Sings 
I would love to hear a Hiatus Kaiyote remix of this one actually. The instrumental wins this song hands down for me; I was just immersed in the way that the beat transitions. So many influences held together with Sampha's signature sound. Strong track and early standout for me.
 
4. (No One Knows Me) Like The Piano
After listening to Sampha's Dual EP over the last 3/4 years, as soon as I heard the opening chords on this single it brought me back to those six tracks and how much they made me appreciate piano-centric music. Hearing his vocals on this song I could feel every word he sang, and finding out that he wrote this album and in particular this song, shortly after his mother died; only made me adore it even more. 
 
5. Take Me Inside
This was probably the least memorable song on the album for me after first listen. Although listening to it as I write this, I can say that it's good song, something about it just underwhelms me unfortunately. To me it felt a lot more like an interlude than a full length song. However, I love the way it seamlessly bleeds into the next...
  
6. Reverse Faults 
So I'll be spontaneously singing "took the breakpads out the car", for the next few weeks. The beat after this line is one of those 'close your eyes, lift your hands' kinds of beats. This track and the next might be the most different of the ten but here it fits in so, so perfectly; you almost don't notice the vibe change. This might turn out to be the dark horse that people refer to whenever you discuss the album. 

7. Under
My feelings towards this song change every time I listen to it. Occasionally it feels like a b-side, but then I listen again and it holds my attention and leaves me wanting more. Maybe after a few more listens I'll have a more committed feeling for this one.

8. Timmy's Prayer 
Here's the single that I'm waiting to listen to live. At first I didn't latch onto it as much as the general public did. Then I heard it after a while on 'Insecure' and gave it another chance. Since then, it's grown on me more. My head knows that this is probably one of the strongest songs all-round on the record, but whenever I've come back to the album, it's sadly not been near the top of my list to go to.

9. Incomplete Kisses 
Almost as soon as this track started, I had a visual in my head. A while ago I read a comment on YouTube where the person had written "this must be what colour sounds like". In a way, I feel that with this; like when you listen to a song and you imagine yourself in the video, here I see it as if watching a dream.

10. What Shouldn't I Be?  
What I think Sampha's managed to do beautifully with this album is create a clear journey. Every feeling that has brought me to this closer was vivid and distinct. Also, this is one of the most, dare I say it, exquisite songs of 2017 - and I know it's only February but I say that with the confidence that it will likely not be outdone by many. 


I think with this album I just have to remind myself that it's actually a debut record, because as a debut, it's near-on remarkable. After all of the anticipation, I have to say that I was a tiny bit disappointed with parts of the record. Some of the standouts made the "good-but-not-great" tracks easier to pick out and a little less memorable in my opinion, and I think that I prefer the first half to the second. However, this album lyrically is one of the most beautiful pieces I've come across in a while. I will definitely be returning to a lot of this for years to come, but whether or not I'll listen to it over and over again as a whole, remains to be seen. After I catch him live next month I'm sure that I'll return to the album and hear something completely different.  

Overall Rating - 8/10

Numero ocho goes to the lovely Laura Mvula and her album The Dreaming Room. It's been a long time since I could say that I've enjoyed a sophomore album noticeably more than the debut but Laura's definitely done it.

Don't get me wrong, Sing To The Moon had some gems on it for sure but every single song on this album is a gem. Whether I'm listening to it upside down, back to front, shuffled up - this album has not disappointed once yet. In fact, my most played song on Spotify this year was actually "Phenomenal Woman" - the last song on this album. After first hearing this song, I'm pretty sure I woke up to it consistently every day for close to a month. What a way to get the day started! Such an uplifting song! There's no way that I can listen to this and not "jig me foot" as Laura's Nan says.

One criticism I may have for the album itself is that although I enjoy every song on there, lyrically and instrumentally, there may be portions where it falls a bit short and where some others have surpassed it this year. However, the reason this made it onto my list is because it played such a huge part in my day-to-day - it truly served to lift my spirits and keep my head up, and for me, that's reason enough. As cliche as it sounds Laura's music was there for me this year, and I enjoyed every note! Although, don't just take my word for it - The Dreaming Room was also nominated for The Mercury Prize this year over and against some other very big british names, so I guess I wasn't the only one.

I hope that Laura continues to go from strength to strength after this one, she's always had the talent, there's no question of that - I just never know what creative direction she might take next. Another few favourites from the record for me were "Overcome" and "Let Me Fall". If you haven't already given this a listen or if you've never even heard of her - give up a good 36 minutes of your time to listen to this album. I guarantee it will leave you with a smile on your face.