My Method Actor by Nilüfer Yanya

I remember seeing the artist at #17 – London, England’s Nilüfer Yanya – back in 2019 when she was promoting her debut album, Miss Universe, by opening for Sharon van Etten’s national tour. Yanya made quite the impression on van Etten to ask her to open the tour, and on the crowd in attendance. It’s not an easy feat to open for a powerhouse like van Etten, but Yanya filled the spot easily.

Because of that performance, I’ve been tracking her career for five years, and I’m so glad to report that the strength of that opening act five years ago is finally translating to a recorded version that has ascended to a place on the Top 31. My Method Actor, Yanya’s third album, is fantastic. Her sound falls into the quieter side of Sharon van Etten, or somewhere alongside Mitski. Not as pop-y as Japanese Breakfast, and also not as unexpected as Naima Bock back at #23, My Method Actor is a perfect gem of an album.

Yanya, born to an Irish/Barbadian mother and Turkish father, was (according to Wikipedia) named after a Turkish pop singer from the 90s who went by the singular “Nilüfer.” Turkish and classical music were the most common sounds that Yanya grew up with, and she is apparently starting to embrace her Turkish heritage even more by learning the language.

My Method Actor was produced by Yanya’s longtime production partner Will Archer, who cowrote the songs and plays nearly every instrument on the record. Yanya’s voice is often doubled throughout the album, to give her a more full sound. “Like I Say (I runaway)” (featured above) is my favorite track on the album, evoking St. Vincent in its rhythm and loud treatment of the chorus. Yanya has released a couple other videos for the album: the title song “Method Actor” and the lovely acoustic-guitar driven “Just a Western.”

If you’re a fan of any of the strong female voices I’ve mentioned above, then you need to be listening to Nilüfer Yanya. Much like Doechii from yesterday, I suspect Yanya is just getting started. I’m excited to hear where she takes us next.

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Below a Massive Dark Land by Naima Bock

The artist at #23 is truly a product of the world. Naima Bock was born in England, to a Greek mother and Brazilian father. As a child she spent equal time in England and São Paulo. Living in two global metropolises, each an order of magnitude larger than New York City, has got to have a positive influence on your outlook on living. The myriad cultures of both locations, and of both parents, must have helped shape Bock’s view of music, because the amalgam of sound she produces has hints of many cultures and ideas, resulting in a sounds all her own.

Hit play on the video above, for the song “Gentle,” and you’ll hear a little bit of Aimee Mann’s guitar folkiness, a touch of Fiona Apple’s instrumentation, and a pinch of Dolores O’Riordan’s yodel. But there’s no mistaking Bock for any of those three, as she is quite unique. Below a Massive Dark Land, Bock’s second album since departing the London-based post-punk band Goat Girl, is lovingly assembled from acoustic guitar, horns, woodwinds, and drums. Generally quiet, with punctuations of loud, it sounds orchestral and intimate, as if Bock is leaning over your shoulder to whisper something in your ear while a small cacophony of brass happens in the loft space above you.

Listen and watch the video for “Kaley,” and you’ll hear something a bit more traditional indie-pop. “Feed My Release” is more acoustic guitar driven, quieter and subdued. “Lines,” released over a year ago as the first single from this album, eschews most of the horns for violin, electric guitar, and a Rhodes piano. There’s so much to love about these songs: the instrumentation, Bock’s vocals, and the band’s backing vocals. It all comes together magically, everything produced to a pristine, clear finish.

But don’t be thinking Bock is merely a studio-assembled band. Watch her KEXP Live Performance from this past September, where she is backed by a full six-person band in the KEXP live room, faithfully reproducing four of the album’s songs.

I haven’t yet heard Bock’s debut album Giant Palm (both albums are out on SubPop Records), but from what I’ve read, the two albums are very similar – that is to say, they’re both great. I can’t wait to dive into that earlier record, and I also can’t wait for you to experience either one. I hope you enjoy them as much as I do.

#17 on the 2024 Bacon Top 31 — Nilüfer Yanya

#23 on the 2024 Bacon Top 31 — Naima Bock