#1: Charlie Lim’s Time/Space (Universal Music Group)

Good ole Charlie is an old-soul (but youthful) troubadour, so imagine him on record. The uplifting tunes here fall into the electronic pop category, but it sounds as though he’s serenading you intimately.

 

#2: Tomgirl’s Tomgirl (Deer Island Records)

The scene’s It duo-of-the-moment (Cherie Ko and Ted Dore) deserve an It way of getting heard. Put their surf-inspired tracks on the plate, and the bass and guitar licks will be delivered fuzzy and distorted. Served with romantic attitude, their noir-ish debut makes indie music dangerous again.

 

#3: I Am David Sparkle’s Apocalypse of Your Heart (Hail Satan Records)

Think Mogwai and Explosions In The Sky, which means heavy distortion riffs and ambient soundscapes undulating loud and soft, and radiating out even more with the warmth of a record’s tone.

 

#4: Obedient Wives Club’s Cinematica EP (Independent)

Lo-fi fuzz pop-rock always sounds better with an extra layer of crackle from vinyl, which means this quintet’s upcoming album Cinematica will be darker and dirtier, yet still coated with sweet melodies.

 

#5: Cheating Sons’ Cheating Sons (Independent)

It’s indie-folk with string and horn in here. Our resident record guru/art director Kim Wong calls it “the vintage sound of yesterday – calm and melodic”. Nuff said.

 

#6: Caracal’s Welcome The Ironists (Kittywu Records)

Test your set-up: Heavy, colossal riffs and epic choruses fill this album. And since it’s not digital, the music comes without overproduced polish – grittier and more dynamic on plastic.

 

#7: Monster Cat’s The Violet Hour (Kittywu Records)

The trio’s melodic rock tunes and upbeat folk rock become extra dreamy and lush through the amp-ed up turntable.

 

#8: The Observatory’s August is The Cruellest (Independent)

One of the first bands to consistently release albums on vinyls, its experimental, post-rock sounds (including those here inspired by the poetry of T.S. Eliot and Yan Jun) are already well-honed and well placed to be played through the gramophone.

 

This story first appeared in Female‘s February 2017 issue.

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