Tag Archive: El Guincho


Liam’s Albums of the Year 2010

I think its been a very strong year for music overall and a step up from 2009, though there’s been some high-profile disappointments e.g. Four Tet, MIA, Maximum Balloon etc the real musical landscape seems in a very health state and I think our review of the year bears this out. We’ve both tried to consider what and who has defined the year as well as our own tastes.

1. Oneohtrix Point Never – ‘Returnal’ (Editions Mego)

In any other year this wouldn’t have been anywhere near my Albums of the Year list but discovering Ambient music and  ‘Returnal’ itselfs excellence plus Oneohtrix’s dominance of year make this one un missable album.

2. Gorillaz – ‘Plastic Beach’ (EMI)

In terms of song based albums this was incredibly strong from the word go. Add to this the concept behind the album, its environmental message and the incendiary return of Bobby Womack. ‘Plastic Beach’ hangs together while cover an incredible range of musical genres including classical, Oriental, hip-hop, grime, electro, pop and rock to name but a few.

3. El Guincho – ‘Pop Negro’ (Young Turks)

El Guincho stepped his music up several gears on this his second album. Taking in Spanish pop, hip-hop, South American music and 80’s heartthrob Luther Vandross. This gave the album its unique sound combining crisp, heavy but danceable rhythms with a glossy production resulting in an album that always puts a smile on your face.

4. Konono No.1 – ‘Assume Crash Position’ (Crammed Discs)

This is another summer blockbuster, this time from Congo. Five years on from their début Konono No.1 returned and seemed to have completely flipped their formula on its head. Instead of the persistent distorted thumb pianos occupying the top of the mix they changed places with waves of reverb drenched sound that had previously hidden beneath them. This changed the sound dramatically creating a more relaxed atmosphere.

5. Mark McGuire – ‘Living with Yourself’ (Editions Mego)

2010 was a busy year for Mark McGuire as well as releasing Emeralds critically acclaimed ‘Does It Look Like I’m Here?’ he produced this his first properly distributed solo release. There’s a lot more space in this than Emeralds latest and ambience and melody share equal billing on this great guitar record.

6. Flying Lotus – ‘Cosmogramma’ (Warp)

With ‘Cosmogramma’ FlyLo has transcended any of the generic tags applied to his music. Yes there are snatches of hip-hop, jazz, chiptune, funk and soundtrack music sometimes all at once but the sound can never be pinned down. It may not quite live up to the hype that preceded it but its ambition takes it close.

7. Big Boi – ‘Sir Luscious Left Foot…’ (Def Jam)

I wasn’t a big fan of ‘Speakerboxx’ Big Boi’s side of the OutKast’s 2003 double album. But ‘Sir Luscious Left Foot…’ is completely different album stuffed full of phat, funky beats that could only come from a member of Atlanata’s finest.

8. Sun Araw – ‘On Patrol’ (Not Not Fun)

18 months ago I hadn’t even heard of Sun Araw, but since hearing his music for the first time this spring I’ve been pretty much addicted. This latest album brings new depth to his dub-infected beats and shimmering wah-wah freak outs. The atmosphere and noises go to the next level and I await his next full length journey with bated breath.

9. Lindstrom and Christabelle– ‘Real Life is No Cool’ (Smalltown Supersound)

Lindstrom took a break from his usual cosmic disco dabbling to create a credible pop record with irrepressible Christabelle. Despite its catchiness and production gloss Lindstrom still provides surprises and twists not traditionally found in pop. The highlight of this outstanding collection is the Dr. Dre aping ‘Lovesick’.

10. Matthew Dear – ‘Black City’ (Ghostly International)

Matthew Dear returned this year with a concept album that hung together brilliantly and restored the faith of those critics who’d deemed his earlier effort ‘Asa Breed’ erratic. The conceptual arch of the record made a real difference and makes for a darker but no less thrilling experience.

11. Hot Chip – ‘One Life Stand’ (EMI/DFA)

In some ways Hot Chip are their own worst enemies and this would have charted higher if it had more of the unpredictability of ‘Made In The Dark’. Having said that this record strikes a balance between warm and sweet and sentimental and sickly. Not an easy achievement by any means.

12. Errors – ‘Come Down with Me’ (Rock Action)

When this album I heard about this album I didn’t get that excited but as the release drew nearer I revisited their début and realised it was much better and warmer than I remembered. I had feared Errors would become a forgotten second tier post-rock band but instead they stepped up a gear with an album packed with highlights. Go see them live and buy the album you won’t regret it!!

13. Jamie Lidell – ‘Compass’ (Warp)

This album was definitely a grower at first half the material failed to make an impact on me; however repeat listening has paid dividends. Lidell has returned to his schizoid genre and mood hopping and this album benefits massively, from dust ball hip-hop of ‘The Ring’, the super deep bass of ‘She Needs Me’ and the desolate beauty of the title track.

14. The Black Dog – ‘Real Music for Airports’ (Soma)

Another great ambient album in that’s had a few (Oneohtrix, Emeralds etc), this time taking on the inventor and king of ambient music Eno himself and succeeding. Created using field recordings made in airports combined with synths, bass and beats The Black Dog blew Eno’s utopian ideal out of the water.

15. Baths – ‘Cerulean’ (Anticon)

I’ll admit that I’ve not been taken with Chillwave as it swept all before it in last year or so. Though Bath début album touches on similar sounds and ideas I believe (as do some journalists) that he isn’t a part of the genre. Baths cover everything from ambient instrumentals through to tracks featuring his angelic vocals and everything in between, his beat slip and slide with the elastic and liquid music that plays around them.

16. These New Puritans – ‘Hidden’ (Domino/Angular)

These New Puritans showed up a lot of their fellow ‘innovative’ indie bands this year by delivering this combination of medieval sounding brass and woodwinds, children’s choir and dancehall beats. It could have been a disaster but instead band leader Jack Barnett’s proved he is a great composer of ground breaking music.

17. Evan Caminiti – ‘West Winds’ (Three Lobed)

Since the end of last year and hearing Sunn O)))’s I’ve discovered more and more drone/doom metal music including Earth, Zaimph and Caminiti’s other project Barn Owl. This album is best of this year’s release and features seven of incredibly provocative pieces including one of my favourite tracks of this year ‘Glowing Sky’.

18. Janelle Monae – ‘The Archandroid’ (Bad Boy/Atlantic)

Like Flying Lotus Monae attempted to produce an ambitious sci-fi concept album and overall she succeeds, however during the second half of the album elements don’t gel as well and the last track could do with  being half as long. There are still many great moments but for now Monae shows the potential to become a truly great artist.

19. Kanye West – ‘My Beautiful Twisted Fantasy’ (Mercury)

This album would have easily been in my  Top Ten if it had only been released a couple of months earlier the lack of time to listen to and digest this means it just straps in because of its ambition and this point what seems to be a high proportion of great tracks.

20. Sleigh Bells – ‘Treats’ (Columbia)

When I first heard Sleigh Bells demos I’ll admit that I wasn’t 100% sure what all the fuss was about, I loved ‘Infinity Guitars’ but other than that they didn’t inspire. However, they’ve proved me wrong with this début album that blends cute pop vocals and melodies with crunching guitars and huge beats. A refreshing slap in the face from a band with a lot of potential to expand!!

Honourable mentions:

LCD Soundsystem – ‘This is Happening’

Caribou – ‘Swim’

Holy Fuck – ‘Latin’

Tobacco – ‘Maniac Meat’

Pocahaunted – ‘Make It Real’

Review of the Year – Observations

Two words seem to have loomed large for me musical this year Ambient and African. Both These types music that were almost completely new to me at the start of the year. Ambient music has actually helped change my perception of what music can be, I’d often dismissed it in the past as it wasn’t attention grabbing enough but I was missing the point. Though I still actively listen to it, I also use it while I work to help me focus (Brian Eno’s ‘Ambient#4: On Land’ is particularly good for this). Ambient has changed the way I choose what music to listen to and judge whether its good or not, I can appreciate subtlety much more.

Meanwhile I’ve gone from only having heard Konono No.1 and Amadou & Miriam to hearing King Sunny Ade, Tinariwen, Tony Allen, Fela Kuti, Mulatu Astake and compilations featuring Afrobeat, Funk and traditional music from Ghana, Nigeria, Benin and Togo. I’ve been most impressed by ‘African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo 70s’ (Analog Africa) which is pretty much as the title suggests, only don’t be expecting an African Hawkwind.

Finally I’ve noticed there’s been a massive increase in quality remix albums, it had seemed that they’d been completed derided and I couldn’t remember the last good/great one I heard. This year has been a bumper year, Health ‘Disco2’ is the pick of bunch 24 great and varied electronic remixes that putting the originals in brand new contexts. We were also treated to remix albums of Caribou (‘Swim Remixes’), Gonjasufi (‘The Califph’s Tea Party’), Errors (Celebrity Come Down With Me’), Bear In Heaven (Best Rest Forth Mouth’), the latest instalment in RVNG Records Frkwys series of remixes and collaborations that saw Juan Atkins, Hans-Joachim Irmer (Faust) and Gibby Hayes (Butthole Surfers) remixed (admittedly awful) psychedelic rock band Psychic Ills to stunning effect.

Vier’s Albums of the Year

20. The Knife, MT. Sims and Planningtorock – Tomorrow, In A Year (Brille): This was never going to be easy. The Knife don’t do easy. The first disk fights the listener at every step. It is confrontational, violent and refuses respite. It beats you into the place of  Charles Darwin, consumed by nervous excitement and anxiety as you walk on alien territory. The second disk offers some humanising introspection and displays The Knife’s (and their collaborators) powerful song writing ability to turn even routine biological observations into heartbreaking poetry. Tomorrow, In A Year isn’t enjoyable, it isn’t supposed to be. Much like Darwin’s vocation, you don’t have to like it or understand it but you must respect it and its objective.

19. Walls – Walls (Kompakt): Haunting and emotive, Walls’ blend of distant thumps and skewed vocals make a compelling, slow-grower.

18. Jatoma – Jatoma (Kompakt): A late entry to the list has given Jatoma a low position nonetheless the cloaked threesome’s debut deserves to be listened to. The sparkly, modulating synths and exacting drums hark back to Cluster and Kraftwerk and on the straighter dance tracks ‘Durian’ and ‘Bou’ the influence of The Field is channelled into gauzy loops and arpeggios.  This and Walls fit Kompakt perfectly and point the way to the next era of the Cologne label.

17. Washed Out – Life Of Leisure (Mexican Summer): This debut is the sound of summer nostalgia. Revealed by the cover’s lilac dream, warm washes of synths and the sighs and lilts of Ernest Greene’s drenched voice.

16. Caribou – Swim (City Slang): Opening with seasick standout ‘Odessa’, Swim is steady and deceptively dark. The accomplished production places an interesting stereo field on the tracks, giving the instruments and rhythms a side-to-side, rocking feel, which works impressively well both at home and in clubs – something few dance albums have fully mastered.

15. Holy Fuck – Latin (Young Turks): The four-piece adeptly construct tracks that are direct yet reveal deeper layers and sounds on repeat, demonstrating that as well as effected soundscapes they can make confident songs.

14. LCD Soundsystem – This Is Happening (DFA): Of all the albums on the list This Is Happening was the most troublesome. When it hits it proves James Murphy is an incredible composer, lyricist and singer (tender crooning replaces the snot) and it proves LCD are an incendiary unit. So their third album should be top 3 but, but… when it doesn’t hit its pastiche-y, uninspired and, worst of all, irritating, because it could be fucking great if only those influences, which were previously sown together with love and affection, were not so glaringly obvious now. The total of their sum parts made LCD exciting yet for This… it is as if Murphy collected those sum parts then went missing but, but… even if for One Touch, Dance Yrself Clean and I Can Change alone it still deserves a place in the top 20.

13. Marc Houle – Drift (M-nus): The Techno Priest delivers an intense lecture in experimental techno as Drift travels from the suffocating winter darkness to the onset of spring. As the ice recedes Houle’s mood has lightened: the tracks develop playfully, analogue synths are tweaked and melodies shine. An eloquent representation of December’s freeze.

12. Black Dog – Music For Real Airports: Composed of field recordings and recalling Autechre and Plastikman, Music For Real Airports recreates an alienating environment where disconnected bleeps, beats and deep bass drums meet brittle hi-hats and ambient atmospherics that oppose Eno’s 1978 utopia.

11. El Guincho – Pop Negro (Young Turks): In direct contrast to Drift, Pop Negro is an aural Um Bongo – refreshing, bright yellow and highly addictive. El Guincho sings in his native, both joyous and yearning, Spanish, while intricate compositions of bouncing melodies, 808 claps and Latin pop are so full of life you bounce back to summer, Um Bongo in hand.

10. Harmonious Thelonious – Talking (Italic): German techno, Minimalism and African percussion are not the most obvious partners but Talking combines these influences with ease. The producer’s debut is a trance-inducing collection of hypnotic rhythmic patterns and danceable voodoo atmospheres. Its pulse is driven by African rhythms and European electronics that create a challenging, playful and deeply idiosyncratic record.

9. Zola Jesus – Stridulum II (Souterrain Transmissions): After sitting on the boundaries of my usual taste I checked out this release after she gained support from Fever Ray, with whom she shares a kinship of producing cathartic and oppressive yet seductive reassurances you want to selfishly take for yourself.

8. Magda – From The Fallen Page (M-nus): After the first listen I was disappointed that this wasn’t as varied or as distinctly ‘Magda’ as her much praised mixes are. With repeated listens her debut reveals her personality is more delicately placed alongside tongue-in-cheek glimpses of Italian horror movie sounds, dark atmospherics and awe-inspiring basslines.

7. Oneohtrix Point Never – Returnal (Editions Mego): For me Returnal brings to mind GAS. Drum-less synthesiser constructs have the air of classical music’s rise and falls and dignified ambience but where GAS is isolation, Lopatin’s creations evoke a dreamy silvery trees and ghostly voices blanketed by a thick fog.

6. Matthew Dear – Black City (Ghostly International): Dear’s third album under his birth name sees him fully immersed in the role of the seamy narrator that Asa Breed hinted at. The thick Talking Heads-indebted productions and bodiless utterances swallow his voice as he recounts strangely alluring tales of desire and sleaze.

5. Konono No.1 – Assume Crash Position (Crammed Discs): Similar to other list entries the songs on Assume Crash Position instantly hit, giving out a warm, uplifting feel while endowing an ample amount of depth, breadth and emotional resonance. The Congolese group prove that artists don’t need the best equipment money can buy to create impressive music.

4. Marcel Dettmann – Dettmann (Ostgut Ton): Lovers of deep, warm techno should listen to this Berghain resident’s debut. Dettmann is an effortlessly lean example of present-day techno structured with an elegance that only German artists are achieving.

3. Ellen Allien – Dust (Bpitch Control): It isn’t the perfectly skewed electronic pop of Berlinette but thankfully it’s not the unrelentingly dull Sool. Allien is back doing what she does best. Belying her attention to detail, Dust is a collection of playful and immediate hymns to love, sex and dancing.

2. Pantha du Prince – Black Noise (Rough Trade): With a cover that isn’t what it first appears, the songs within unfurl and open up to reveal a meticulous mix of haunting chimes and clusters of percussion that build into something dark and forceful, giving Hendrik Weber’s Black Noise a sound that always seems to be on the edge of erupting into something devastating.

1. Thomas Fehlmann – Gute Luft (Kompakt): This took the pole position on the ‘Best Album’s Of The Year….So Far’ June piece and it remains there six months on. Though composed as a soundtrack to real-time documentary ‘24 Hour Berlin’, Gute Luft plays like a loving tribute to Fehlmann’s partner Gudrun Gut. Drums shuffle and rebound, claps and basslines thrust hips, synths bathe, sing, slink, embrace and reminisce, creating a perfect example of sensuous and dreamy elegance.

Mixes of note:

  • DJ Kicks: Apparat (!K7) (which features a new track from Telefon Tel Aviv, the first Joshua Eustis has made since Charlie Cooper passed away in 2009)

  • Ben Klock – Berghain Vol. 2 (Ostgut Ton)

  • Marcel Dettmann – Berghain Vol. 4 (Ostgut Ton)

  • V/A – Fünf (Ostgut Ton)

Honourable mentions:

  • Reboot – Shunyata (Cadenza)

  • Efdemin – Chicago (Dial)

  • Greie Gut Fraktion – Baustelle (Monika Enterprise)

Spotify playlist:

Sonic Fiction’s Albums of the Year 2010

 

 

 

 

 

 

 

 

Review of the Year – Observations

Due to the wealth of Berghain and Ostgut Ton releases I’ve been inspired to listen further to the spiritual forefathers: Basic Channel, GAS and Pole etc., all of whom I missed the first time round, owing to being at primary school. As discussed in my minimal techno piece these artists composed some of the most vital and interesting music of the nineties and are still essential: their material has birthed the recent dub-techno stirrings from Berlin and elsewhere. Marcel Dettmann and Ben Klock, the Action Man poster boys of the resurgence in metallic, intense and climatic Berlin-centred techno, have released one effortless album, an EP and a handful of mixes. Listening to these is an education and an exciting preview of what is to come.

After reading the Kosmische Musik book (see below) I listened to Harmonia with Zuckerzeit and Tracks and Traces standing out. I went back to most of Cluster’s catalogue and found Sowiesoso and their 1977 collaboration with Eno to be the best introduction to the genre, though all are worth checking out.

On another note, 2010 has been absolutely dominated by doorstop. For a genre that was spawned from the underground we have witnessed a depressing inevitability in it going mainstream: advert soundtracks and daytime Radio 1 plays, guest spots and interviews (She-devil Fearne Cotton and dullstent! Skills!). It is everywhere, omnipresent, ubiquitous, all-pervading, as such I cannot hear, read or type that word anymore without wanting to burn it . Worst still is that duckstep is so ball-achingly tedious, a fact no one has critically addressed as everyone is falling over themselves praising the most monotonous and lifeless sound that has plagued this year’s musical landscape. Perhaps in 2011 it will go back from whence it came.

Books

Earlier this year I read Krautrock: Cosmic Rock and its Legacy, which is a comprehensively-written collection of the German Kosmische Musik artists. The author and journalists contribute an overview of Germany and the mindset of the generation born during and after WWII to put the work of the artists in a fascinating context. Also on the list was Anna Funder’s Stasiland, a collection of moving stories of those who lived under Communist rule in East Germany interspersed with Funder’s retrospective view (the book was published in 1997) on the regime, the people who upheld it and those who it destroyed and how Leipzig (where the Stasi headquarters were based) and Berlin have dealt with the effects of the Berlin Wall falling and the full extent of the regime being uncovered. Both are entirely worth reading.

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September continued a pattern that began in August, that is to say that the most highly anticipated releases let me down and I was pleasantly surprised by albums that I’d been merely curious about.

The biggest disappointment was ‘Penny Sparkle’ by Blonde Redhead, I’d only got into the band in the last year or so and was expecting them to take their formula on again. However ‘Penny Sparkle’ felt flat and too wishy-washy non of songs gave the impression anything was at risk and sometimes it even sounded like the band was on auto pilot. I also had high expectations of ‘Grinderman 2’ by the Bad Seeds side project of the same name and Dave Sitek’s first ‘solo’ venture Maximum Balloon. Though neither album is terrible ‘Grinderman 2’ lacked the seat of the pants feeling of their self titled début, but still had some great moments. ‘Maximum Balloon’ should have been a dance floor triumph, instead it felt like the lack of gravitas went against and some songs failed to make an impression at all.

Another disappointment was ‘The Soft Wave’ by Arp having enjoyed albums by the likes of Lindstrom and Prins Thomas and Mungolian Jetset (also Norwegian artists on Smalltown Supersound), I thought this would be a real winner. What found was derivative and over repetitive arpeggios and overly familiar pad sounds. Finally there was The Hundred in the Hands self titled début album on Warp which ticks all the right (post-punk and synth-pop) boxes but lacks any really bite or conviction, I might be missing the point but this is all froth and I was expecting some more genuine and deep from a Warp.

However, September was balanced out by some great new releases, the first of which was Gold Panda’s début album ‘Lucky Shiner’ an impressive collection of hip-hop infused electronica that reminds me of Four Tet’s finest moments particularly tracks like ‘No More Mosquitoes’ and Oriental samples and atmosphere and the more psychedelic tracks on ‘Everything Ecstatic’. The biggest surprise was El Guincho’s ‘Pop Negro’, I remember being disappointed with his début album ‘Alegranza’ when it came out in 2008 (though revisiting reveals some gems particularly ‘Fata Morgana’), however the template set out by that album has been expanded and improved upon creating an infectious, upbeat summer album, that’s a real contender for Album of the Year. Like El Guincho, Solar Bears début album ‘She Was Coloured In’ wasn’t something I’d expected great things from but its a subtle yet strong work that covers many different styles within electronica from lo-fi electro pop, Boards of Canada style pastoral pieces, John Carpenter inspired soundtrack music and much more are folded into an album that works despite its diversity and is an album in the old sense with many tracks segue into each other. Roll on album number two!!

The last pleasant surprise was ‘Mechanical Gardens’ by Altar Eagle (Type Records) this husband and wife duo were previously known for making noise music as Corsican Paintbrush. Altar Eagle, however is a very different proposition (though I’d say there’s residual noise influences) and they operated in a dream like pop world, though even that fails to accurately sum up what they do. There’s a lot of music like this being talked about at the moment but Altar Eagle (and Laurel Halo) are distinct entity and well worth listening to.

Shit Robot (finally) produced his début album and he didn’t disappoint skillfully managing to incorporate a range of different vocalists from DFA label boss James Murphy to ex-Make-Up singer Ian Svenonius who delivers the stand out vocals on ‘Simple Things’ (Work It Out). The album occasionally touches on old school dance music sounds that can sound dated but this is the only gripe as it delivers on almost all of its nine tracks with some subtle and some incredible powerful dance tracks. Well worth checking out, if you like LCD Soundsystem and the 12″ that come out on DFA.

Spotify playlist (plus some October releases):

September 2010 playlist

Recommended for October:

Gonjasufi – ‘The Caliph’s Tea Party’ (remix album) (Warp) 4th October

Mark McGuire – ‘Living with Yourself’ (Edition Mego) 4th October

Salem – ‘King Night’ (I Am Sound) 4th October

Solar Bears – ‘She Was Coloured In’ (Plant Mu) 4th October

Gold Panda – ‘Lucky Shiner’ (physical) (Notown) 11th October

Harmonious Thelonious – ‘Talking’ (Italic) 11th October

Dark Star – ‘North’ (Hyperdub) 18th October

Avey Tare – ‘Down There’ (Paw Tracks) 25th October

2010 through my (biased) eyes: August

I wrote about most of the music I have listened to in my 2010 through my (biased) eyes: Catch-Up#1 post. However, I made a few purchases I didn’t mention and there was a selection of new releases too.

I listened to the hip-hop classics ‘Voodoo’ by D’Angelo and Public Enemy’s ‘Fear of the Black Planet’ . Very much at different ends of the spectrum but both deserve their status. The honey dipped smooth sound of ‘Voodoo’ has just enough ruggedness and depth to its J Dilla produced beats to make it hip-hop, not something I would usually enjoy or recommend but I can see the reason for its applause back in 2000. I’m a long-term Public Enemy fan even though I only owned ‘It ‘Takes a Nation of Millions to Hold us Back’ but since seeing them live in 2008 I have meant to expand my P.E. catalogue. ‘Fear of a Black Planet’ is a great addition and I’ll be covering it in Classics Critiqued at the end of the month.

Last month I recommended We Fell to Earth’s eponymous debut as an alternative to the latest School of Seven Bells album. Having now finally purchased ‘We Fell to Earth’ and heard it on my stereo (and not laptop speakers) I can whole heartedly reiterate that recommendation. The album isn’t as heavy as I remembered, which is no bad thing as the songs could grate if they were. The juxtaposition of the voices of Wendy Rae Fowler and Richard File both in terms of sound and technique makes them stand out as does File’s production: gothic and emotional yet not smothering. It’s hard to come up with a solid reference points as they are quite unique. They are a band that you have to hear and make your own mind up about but I think music lovers will not be disappointed.

I was generally disappointed by the releases in August. I found a lack of imagination in releases by PVT and !!!, some repetition of ideas on El-P’s latest mixtape/album and  lukewarm efforts by Mogwai and Lloyd Miller and the Heliocentrics. It would be unfair to say that Mogwai and Lloyd Miller’s releases didn’t have their moments, but I’m unsure Mogwai’s live album adds anything to the studio versions of their songs. Miller’s jazz is a bit tame though I enjoyed the use of Arabic melodies and will revisit this album.

One album did manage to impress. ‘Black City’ by Matthew Dear manages to take his organic techno pop sound which first appeared on his album ‘Asa Breed’ (2007). This time he takes it a step further and though the album manages to cover various moods and styles it is held together by a theme based around the fictional ‘Black City’ of the title. Fans of Dear won’t be disappointed and if you haven’t checked out his work then do.

Spotify playlist:

August 2010 playlist

Recommendations for September:

Arp (search A.R.P. in Spotify) – ‘The Soft Wave’ 6th September (Smalltown Supersound)

Gold Panda – ‘Lucky Shiner’ 6th September (digitally) ( physical 11th October) (Ghostly International)

Blonde Redhead – ‘Penny Sparkle‘ 13th September (4AD)

El Guincho – ‘Pop Negro’ 13th September (Young Turks)

Grinderman – ‘Grinderman 2’ 13th September (Mute)

Maximum Balloon – ‘Maximum Balloon’ (Polydor) 13th September – put back from 30th August

Shit Robot – ‘From the Cardle to the Rave’ (EMI/DFA) 20th September

Solar Bears – ‘She Was Coloured’ 20th September

The Hundred in the Hands – ‘The Hundred in the Hands’ 20th September (Warp)

Salem – ‘King Night’ 27th September (Columbia)

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