What’s On Michael Portillo’s iPod – End of Year: Cassels

Here at Birthday Cake For Breakfast, we like to get to the heart of what an artist is all about. We feel the music they listen to is just as important as the music they make.

In the struggling year of our lord 2022, we’ve had all sorts talk to us about inspirations, including the likes of WITCH FEVER, The Lounge Society, WOOZE and Group Listening!

With the year coming to a close, we’ve decided to once again turn it on its head a bit and ask some of our favourite artists what releases they’ve been raving about this year. With that in mind, off the back of releasing their latest album ‘A Gut Feeling‘ (via God Unknown Records), we’re chuffed to have Loz Beck of Cassels talk us through his favourite releases from the past 12 months.

Words: Andy Hughes

Sea Power’s album Everything Was Forever

“Our Jim has been a big Sea Power fan for years, and I’m not sure why but they never really fully grabbed my attention. But this latest record completely blew me away, it sounds absolutely massive & anthemic AF, and since listening to it I’ve completely converted into a huge Sea Power fan. We both went to see them at The Roundhouse earlier this year – which in hindsight was probably my GOTY.“

Alex G’s album God Save The Animals

“I’ve been an Alex G fan for yonks, and in my opinion, he’s been writing the best sad boy tunes since 90s Elliot Smith. But this one in particular really stands out due to the close nature of the production compared to his old, roomy lofi sound. Encompassing biblical influences & themes of religion throughout, on first single Blessing (a personal fave) an almost piercing synth sound sends you headfirst into the album. The well-thought out production style and ever present, almost-ASMR like whispery vocals, makes the tracks distinctly personal and eerie up against his former works.“

Nia Archives EP Forbidden Feelingz

“UK dance music had an absolutely massive year this year, but refreshingly dictating the charts hasn’t been just your usual shite Ibiza House / EDM. Nia Archives has re-created 90s jungle & breakbeat, but with huge HIFI modern-day production, which accompanied with her delicate, melodic vocals is a match made in heaven. She’s like 19 or something too, and releases it all under her own label – an absolute inspiration!“

Bad Breeding’s album Human Capital

“Similarly to the Alex G record, I think Bad Breeding have really mixed it up with this record. Their old stuff is a great representation of the genre – fast paced and scrappy, typical of a hardcore album. With Human Capital they try something new, they up the production and get experimental with the songwriting. A great example is ‘Rebuilding’ which is a slow, droney tune and my personal highlight. For me, it’s the perfect heavy record.“

Danger Mouse and Black Thought’s album Cheat Codes

“This stands out as my favourite hip hop record of the year. Danger Mouse & Black Thought have collaborated with all these phenomenal rappers and, instead of falling into the trap of quantity over quality, they produce a well constructed album with a tight 90s hip hop vibe & all the right beats. It’s particularly special to hear the late MF Doom on ‘Belize’ as, in my opinion, Madvillainy is the best hip hop record of all time.“

‘A Gut Feeling‘ is out now (via God Unknown Records)! Grab your sen a copy of it right here!

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Release Rundown – And So I Watch You From Afar, Metronomy and Sea Power

Words: Ben Forrester

And So I Watch You From Afar – Jettison
(Equal Vision)

With 2017’s ‘The Endless Shimmering’, And So I Watch You From Afar put out what I thought was their strongest set to date. For me the album felt like an updated version of their seminal second LP ‘Gangs’, pushing their heavy side into the stratosphere. I expected the next record from ASIWYFA was going to be quite a drastic departure from its predecessor, and ‘Jettison’ sure is that.

Conceived as a multimedia project that the band have been able to perform live a few times now, in its audio form ‘Jettison’ acts as a continual 40 minute suite split into nine movements. From the moment it starts, you’re brought into an entirely different landscape to what you’d expect from your usual ASIWYFA opener; piano, strings, ambient textures and spoken word. The first half of this record is all about the slow burn and though we do get a quick dart off into an off-kilter math groove (‘Lung’) or a sprightly guitar lead (’In Air’), for the most part we ride on a wave of atmospheric soundscapes, orchestral swirls and gradual rhythmic builds.

It’s not until movements six to eight (‘Submerge’, ‘Emerge’ and ‘Jettison’) that things really start to kick off and we get the rock band we all knew was hiding in the wings. Guitar wise, some of the licks soar higher than they ever have before and it’s a pretty euphoric feeling when it really starts to hit. For this to then finish on ‘A.D Poet’, a gorgeously heart wrenching strings arrangement, shows clearly that ASIWYFA want to hit every emotion with maximum impact. Intended as a counterweight to the tense social climate, there is a lot of light and shade within the arrangements here that only enhances the very human connection that consumes it.

Those that get their enjoyment from the more expansive, grandiose dynamics of post-rock will love this. Those that expect the full throttle, riff driven madness of And So I Watch You From Afar material may need to wait it out a bit longer. It’s totally worth the wait though and definitely brings out some classic ASIWYFA moments. ‘Jettison’ manages to continue to do what this band does best whilst pushing their sound into places we’ve not heard before and for this, this is a transcendently triumphant piece.

Metronomy – Small World
(Because Music)

The last time we heard from Metronomy in album form was on 2019’s ‘Metronomy Forever’; a sprawling, ambitious affair that very much felt like an amalgamation of everything we love about the project in its then 20 years of existence. After something that felt so grandiose, I was intrigued to see where Metronomy would go next. My thinking was, if they went big last time, then maybe this time they’d focus in and cut the fat.

My assumptions were correct as they hand in seventh album ‘Small World’, their most concise record to date. Concise not just in its nine track, 30 minute runtime, but also in its musical and lyrical themes. Usually ones to blend electronica, disco, indie and punk, here they gun for a simplistic indie pop sound, honing in on that traditional band-in-the-room feel.

Influentially it’s hard not to hear 80s Indie goliath’s such as The Cure and New Order seep in, especially on ‘Hold Me Tonight’ and ‘It’s Good To Be Back’ respectively. Ultimately, it has a very timeless quality to its songwriting and doesn’t get too flashy with its production or dynamics, just straight up, heart on sleeve pop songs.

On ’Things Will Be Fine’, band leader Joe Mount rewinds to his teens; when decisions and big ideas started to creep in and young adulthood was gently starting to unravel itself. This is a common theme across the record, which he beautifully links to his present life as a husband and father. This is an album that takes stock in the little things and as with most Metronomy songs, love prevails; especially on ‘Love Factory’ and ‘Right on Time’. I’ve always taken solace in Metronomy’s lighter, candid moments, so it’s really cool to see them craft a full album of them here. Shimmering in simplicity, ‘Small World’ is their most succinct and delightful album to date.

Sea Power – Everything Was Forever
(Golden Chariot)

Exploding into the mid 00’s with wonky rock songs, elaborate stage sets and costumes, Sea Power really seemed to be in a league of their own. I’d argue that they’ve very much stayed there too, growing old with grace. With a sound that has flourished into being both lush and anthemic, you can count on Sea Power to deliver with consistency and distinctiveness.

‘Everything Was Forever’ comes five years on from the sparkling synth pop tones of ‘Let The Dancers Inherit The Party’. Having particularly loved the crisp, glittering production of that record, I was hoping for a continuation of the rich, warm textures that swirled across it. If anything, Sea Power go even bigger, with some of their most widescreen material on show.

’Scaring At The Sky’ comes in as a bit of a curveball, opening the record with warming, atmospheric indie folk stylings. It’s a beautiful easing in and definitely throws you off the scent as the next two tracks (‘Transmitter’ and ‘Two Fingers’) come in with stadium sized melodies and euphoric synth lines that feel as if they could move mountains. From there it’s a beautiful mix of psychedelic pop and dreamy indie, with just the right amount of post punk slotted in (the latter sounding particularly energising on the snappy ‘Doppelgänger’).

As always, Sea Power deliver a well balanced pallet of sounds with much elegance – I love, for example, the way ‘Fear Eats The Soul’ elegantly leads into ‘Folly’, a hauntingly beautiful and cinematic piece that manages to move into this electronically infused chamber pop track that still has an ethereal tone, but moves into a new direction. It’s a really well structured record that manages to flow so gracefully, despite its ever moving dynamic changes. In conclusion, ‘Everything Was Forever’ is a bold and beautiful effort that sounds like a band at a comfortable place in their career.

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