Instead of writing new blurbs for each of these albums, I’m going to let the reviews stand as my comments about each of them except the album of the year. Since I had so many EPs on my EPs of the year list, there are less than my standard 20 albums of the year this year.
Album of the Year: Worn Out Skin – Annabelle’s Curse. (Review) This album came out of nowhere and established itself as a standard component of my listening life. It fits on the shelf right next to Josh Ritter and The Barr Brothers in terms of maturity of songwriting, lyrical depth, beauty, and overall engagement. Each of the songs here have their own charms, which is rare for an album: this one will keep you interested the whole way through. It’s a complete album in every sense of the word, and so it was the easy choice for album of the year.
Sometimes there’s a singular moment that pulls together everything you need to know and delivers it on a crystal platter. That moment comes early on Worn Out Skinby Annabelle’s Curse. When Carly Booher picks up the second verse of opener “Lovedrunk Desperado,” her voice floats perfectly above the yearning banjo, the pressing drumbeat, and the thrumming bass. It’s a contrast of fragility and intensity. Her delivery is confident yet vulnerable, assured yet emotional and open to possibility. It seems like hyperbole to pack this much into a single performance, but the rest of the album backs up the shivers that track one gave me. As a result, Worn Out Skin is one of the best releases of the year in any genre.
Annabelle’s Curse is ostensibly some sort of alt-country band, but that’s only a starting place for reference points: Josh Ritter, Dawes, Lumineers, Civil Wars, you name it, they’ve got a toe in the sound. But they combine their influences so deftly that from song one they’ve got their own take on the genre. “Rich Valley” is a jubilant folk-pop song with a beautiful/powerful chorus; “Wolf in Sheep’s Clothes” is a soft, careful, ominous tune that calls up the masterful moods of The Barr Brothers before opening up into a shuffling country rumination of sorts. The enthusiastic “Brother In Arms” has serious indie-rock cred with a non-ironic saxophone leading the melody, while “Skinny Dipping” throws evocative synths and flutes under a flying banjo riff and a Needtobreathe vocal line. “Snake in the Rafters” is a vulnerable but sophisticated confessional that Josh Ritter or Paul Simon could have penned, paired with a nimble guitar line the equal of both those luminaries. I could go on, but you get the point: these songs are diverse.
But more than diverse, they’re deeply moving. “Snake in the Rafters,” as I noted, is the highlight on that front, as Tim Kilbourne opens up with a sober, spare look at what’s in the hearts of men: “hold me down/crush my sins/tell me I’m different from evil men/won’t you tell me I’m different from evil men.” I don’t know about you, but I felt those lyrics go pretty deep down. Elsewhere they reminisce about the innocence of youth (“Skinny Dipping”) and the goodness of finding a partner (“Cornerstone”) in ways that spin cliches on their head. “Wolf in Sheep’s Clothing” doesn’t spin the cliche: instead, the narrator inhabits and expands it to great effect. It’s rare for me to find a lyricist that just nails me to the wall on the first listen, but Kilbourne’s got a whale of a hammer in his pen.
So the songwriting is astonishing and the lyrics are brilliant, but what of the performances and recording? Worry not–they’re spot-on. The performances are each of the beautiful quality that I mentioned earlier, and the production job corrals all their disparate ideas and wide-ranging influences into warm, inviting wholes. From tip to tail, this album knocks it out of the park. I can’t recommend this highly enough. Worn Out Skin by Annabelle’s Curse is just a remarkable album that you really need to hear. I expect to be listening to it for years to come.