Tag Archive: Health


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.

June was a month of extremes for my listening and buying habits.

It began with the purchase of two ambient music albums, the first was this year’s ‘Music for Real Airports’ by The Black Dog and the second was my favourite Brian Eno ambient record ‘Ambient 4: On Land’ from 1982. The connection between the two being that The Black Dog album is their own re-imagining of Eno’s critically acclaimed album ‘Ambient 1: Music for Airports’, which popularised the concept of ambient music. I won’t go into any more detail about the Eno and The Black Dog albums as I will explore ambient music more fully in August.

In the second half of June the swing-o-meter swerved into a noisier place. Again it was something old and something new that caught my attention. The former being Liars’ ‘Drum’s Not Dead’ from 2006, which the more I hear the more I understand why it gained such critical praise and is viewed as an important album for American alternative rock. Liars certainly know when to hit hard and when to allow the audience a breather, something I think I had always missed before. A tribal and troubling atmosphere informs the record and binds together an eclectic collection of songs. The latter was ‘Treats’, the debut album by Sleigh Bells that demands to be played loud. What surprised me most about ‘Treats’ was the variety of styles covered within what seems a limiting set-up and aesthetic the duo have chosen. Hats off to them for producing such an impressive work, and possibly the debut of the year, that lives up to the hype and is a breath of fresh air .

The final week brought another dramatic swing with the previewing of Big Boi’s (OutKast) new solo album, ‘Sir Lucious Left Foot: The Son of Chico Dusty’ which is out today. His buoyant sound makes what is arguably the best commercial hip-hop album that been released for a year or two and I believe that it should have followed ‘Speakerboxx/The Love Below’ or could even have been the ‘Speakerboxx’ disc. I had also felt that Big Boi was the less talented OutKast member but he’s proving to be Andre 3000’s equal. The spotlight is on Andre 3000 as we wait for his solo album and the next OutKast album and on this evidence I can’t wait!!

Spotify playlist:

June Playlist

June Playlist

Recommended Releases – July:

Big Boi – ‘Sir Lucious Left Foot: The Son of Chico Dusty’ (Mercury) 5th July

Health – ‘Disco 2’ (City Slang) 5th July

Autechre – ‘Move of Ten’ (Warp) 12th July

M.I.A. – ‘MAYA’ (XL) 12th July

Janelle Monáe – ‘The Archandroid’ (Baby Boy/Atlantic) 12th July

School of Seven Bells – ‘Disconnected from Desire’ (Full Time Hobby) 12th July

Tobacco – ‘Maniac Meat’ (Anti-) 12th July *

Walter Gibbons – ‘Jungle Music’ (Strut) 19th July

Propaganda – ‘A Secret Wish (25th Anniversary Deluxe Edition)’ (Salvo) 19th July

Charanjit Singh – ‘Synthesizing: Ten Ragas to a Disco Beat’ (Bombay Connection) 19th July

* Put back two weeks from 26th June

Psychedelia: The Return

Disclaimer: This post is in no way attempting to suggest or create a new  musical genre or sub genre. It is intended to observe some of the, at times tenuous, links in a burgeoning network of new psychedelic artists.

After a decade in development 2009 saw an organically grown set of artists exploring new and different ways of creating psychedelic music reaching critical mass. While the mainstream music press bangs on about ‘nu gaze’ they have missed a much wider and larger development that has and still is producing amazing, mind expanding music.

So who and what am I talking about when I refer to new psychedelic music? There are three main strands of this phenomenon. The first is the noise scene of UK and North America  where wildly oscillating colourful music has become the predominant feature for the likes of Animal Collective (who’ve come a long way from their humble beginnings), Black Dice, Fuck Buttons, Holy Fuck and 8-bit legend Dan Deacon. Animal Collective are currently earning the most column inches but they were virtual unknowns prior to the 2007 release of ‘Strawberry Jam’, which coincidently is when the band hit upon a winning formula for their music. Both ‘Strawberry Jam’ and the commercially successful 2009 follow up ‘Merriweather Post Pavilion’ showcased Animal Collective’s great musical achievements and exposed people to their contemporaries.

This scene also demonstrates that the genre is a step forward. Unlike Britpop this resurgence isn’t a retrograde movement looking through rose tinted glasses back to the ‘60s heyday of guitar and organ based psychedelic music. The employment of synthesisers, sequencers, drum machines, games consoles, toys, guitar effects pedals and circuit bending (the modification of musical and non musical toys to create new sounds) creates a digitised, corrupted version of psychedelia that is more in tune with the modern world. Occasionally these acts write lyrics with a similarly naive hippy vibe but by and large artists have shunned this in favour of a more modern post-irony lyrical slant. Much of the noise scene even avoids the use of conventional vocals. Though Animal Collective have two singers they treat the vocals as another instrument or effect in their music, veering from the disturbing and distorted to the ethereal and dub-like. Most importantly in a genre where it is difficult to establish yourself as unique and vital, to outsiders at least, all these acts have managed to achieve this, whether through a long development period like Animal Collective, Black Dice and Dan Deacon or a seemingly quick time in the case  of Fuck Buttons and Holy Fuck.

The next strand is the UK electronic and indie scenes that in recent years have received an injection of psychedelic sound. The main artists include Clark, Four Tet, The Big Pink and Maps. Over the last few years these acts have all released albums that resonate with their own unique sounds. Four Tet’s (Kieran Hebden) fourth album ‘Everything Ecstatic’ in 2005 delved into the relatively untouched worlds of late ‘60s psychedelic jazz of Art Ensemble of Chicago and Alice Coltrane and Krautrock (a German form of progressive rock) whilst retaining Four Tet’s originality. Hebden was a huge hip-hop fan and the joy he took in deconstructing and reconstructing these genres into a new sonic tapestry is indicated in the album’s title. Around this time his remix work shifted focus in the same direction and he began a fruitful relationship with Stone Throw Records and producer Madlib. The Krautrock influence would also rear its head again albeit in a colder form on the ‘Ringer’ EP from 2008. The next crucial release in this chain was 2006’s ‘Body Riddle’ by Clark on Warp Records. Though not the most obvious psychedelic album I’ve discussed it nevertheless reveals its twisted, swirling and dark heart with repeated listens. Like ‘Everything Ecstatic’ it uses modern hip-hop and R&B rhythms and production techniques to create a dense, evolving collage of sound to the extent that it feels as if ‘Body Riddle’ is the flip side of ‘Everything Ecstatic’ but where Four Tet looks backwards for his core influences, Clark uses modern sounds and electronic influenced noise to communicate a near pitch black sound of emotional turmoil. In 2007 these artists were joined by Maps (James Chapman) who released his multi-layered synthesizer heavy debut album ‘We Can Create’ to critical acclaim. The album was purely electronic music balanced with pop melodies. His sound is the most commercial that I’ll discuss but even Chapman is grounded in indie roots. Maps’ new album ‘Turning the Mind’ (2009) is true psychedelia. It takes the textures from his debut and adds new colours to what had been a very blue sound. ‘Turning the Mind’ is vividly colourful; resonating with bright reds, yellows and oranges yet there is a dark undercurrent to the sound, which is spoiled occasionally by Chapman’s naive lyrics and the odd Pet Shop Boys melody.

The latest arrival in this scene is the most hyped of the so called nu gaze bands The Big Pink. They combine electronic beats, guitar and synth sounds that owe to the original shoegaze bands like My Bloody Valentine, Slowdive, Jesus and Mary Chain and the Cocteau Twins and their sound has much in common with Maps’ debut but employs guitars instead of synths. The Big Pink recorded their debut ‘A Brief History of Love’ at Jimi Hendrix’s Electric Lady Studios in New York, stating that it helped create the vibe they wanted and ‘added a magic’ to it. Much like electronica and indie the noise scene is trying to forge a way forward instead of merely repeating past ideas and it has mostly succeeded in this aim in a time when this is near impossible.

The final strand is the underground hip-hop scene in the US andUK. The former is based around Stones Throw Records and Madlib and the latter helmed by Four Tet and Warp Records’ recent signing Hudson Mohawke. Though they are all different they have led to the creation of the first truly psychedelic hip-hop records and although the Beastie Boys and De La Soul had come close in 1989 with ‘Paul’s Boutique’ and ‘Three Feet and Rising’ and OutKast’s ‘Stankonia’ in 2002 was a brilliant tribute to classic Parliament/Funkadelic concept albums, Madlib is the first truly original psychedelic hip-hop producer. His name standing for Mind Altering Demented Lessons In Beats.

He is hugely prolific and flits between a vast array of black music genres but his work is always under the banner of hip-hop and almost always has a drugged feel. The high points of Madlib’s catalogue include the albums he released as Quasimoto  – ‘The Unseen’ and ‘The Further Adventures of Lord Quas’ in 2000 and 2005 and his work with MF Doom under the name Madvillian who released their debut ‘Madvilliany’ in 2004. He and Four Tet use hip-hop’s main weapon to create their unique sounds: the sampler. As Quasimoto Madlib created the weird vocal effects by slowing his beats down, recording vocals on top then replaying the vocals over the original beat. He also used his sampler and drum kit to create a disorienting dark world for MF Doom’s character Madvillain to live and breathe in for their album. This created a sound more akin to jazz or stoner rock music than traditional hip-hop. It was around the time of ‘Madvilliany’ that Madlib and Four Tet struck up a collaborative relationship and swapped remixes over the next year or so, many of which ended up on Four Tet’s ‘Remixes’ album. This then extended out into remixes of other Stone Throw artists and vice versa. Madlib has also worked under the guise of Yesterday’s New Quintet, in which he plays all four fictitious musicians and explores psychedelic jazz and incorporates influences from the Beasties Boys’ organic hip-hop and the atmospherics of Jamaican dub. With YNQ Madlib achieves his dual ambition of paying tribute to the styles of the past while being faithful to the progressive nature of jazz and his own innovative music.

Since signing to Warp Records Glaswegian producer Hudson Mohawke (Ross Birchard) has released the ‘Polyfolk Dance’ EP and debut album ‘Butter’. At first his sound was difficult to pin down but a little research revealed what made this strange brew. Mohawke grew up listening to soul and funk records and the rave tapes his cousin played and as a teenager he learnt the art of turntablism (becoming the youngest DMC UK champion at 15), which explains his unique sound that mashes together the luxuriousness of modern hip-hop, the day-glo noise of rave and found sounds and samples. ‘Butter’ is an apt title for a record that is so rich and textured yet has roughness indebted to the bass and found sounds and samples, lending the album an analogue feel evoking classic mid ‘70s Parliament/Funkadelic through a very modern filter. None of these three artists live in the same country but they have contributed to and influenced a new generation of hip-hop producers who can take these new ideas and twist them into varied shapes and sounds.

As stated earlier the music examined is not a retread of old psychedelic music genres but it would, however, be naive to suggest that these artists are rootless and are creating completely new music. There are three main components of influence, some of which interlink. The first is Krautrock or kosmiche music that originated in Germany in the late 1960s continuing throughout the ‘70s and up until the present day. Though many important Krautrock artists such as Kraftwerk, Neu!, Faust and Can have been canonised for their work the new breed of psychedelic artists also take their influences from the ambient organic work of Tangerine Dream, Ash Ra Tempel, Cluster and Harmonia.

Tangerine Dream emerge as the biggest influence and indeed achieved the biggest sound and sales at their height. Their authority is detectable in the music of Animal Collective, Holy Fuck, Dan Deacon, Maps and Four Tet. Their music, which is comparable to the dense texture and melodic styles used by their successors, allowed ‘sound patterns to build up slowly and blend into one another’. The classical and silver-toned guitar of Ash Ra Tempel and Neu! can be heard on records by Four Tet, Clark and Hudson Mohawke (though they probably aren’t a direct influence on Birchard’s work). Rhythms and harmonies employed by Can are mirrored in the work of Holy Fuck and Four Tet and are closely associated with Madlib’s style with Jaki  Liebezeit’s drum breaks been a constant source for sampling for hip-hop and dance music since the late ‘80s. The colder, pre-industrial ambient sounds of Cluster and Harmonia have also found their way into the corners of material by Maps and Four Tet’s ‘Ringer’.

The next influence is closely associated with the Krautrock and kosmiche music artists discussed. It is best described as ‘70s synth music, a rough generic term bringing together the music of Jean-Michel Jarre, Vangelis, Isao Tomita (Japanese synthesizer artist famous for his reinterpretation of Gustav Holst’s symphony ‘The Planets’), Klaus Schulze (Tangerine Dream and Ash Ra Tempel) and others. These artists and their music were musically ambitious, taking  Krautrock’s expansion of the potential of synthesizers to a symphonic level. Vangelis began his career in Greek prog rock band Aphrodite’s Child and, like Schulze, managed a smooth transition to a more symphonic sound; in Vangelis’ case, to successful soundtrack work which includes ‘Chariots of Fire’ and ‘Blade Runner’ (1982). Tomita and Jarre made similarly bold synth-led, reverb drenched sonic adventures. Tomita produced his own brand of synth music and was a successor to the classical reinterpretations by Walter/Wendy Carlos. Jarre successfully turned this music into a commercially successful sound and created huge visual shows to compliment this. In 1977 Jarre hit the charts with ‘Oxegene IV’ in a breakthrough year for synth music, which finally saw Kraftwerk infiltrate the mainstream and Donna Summer top the charts with the Giorgio Moroder produced ‘I Feel Love’. This became the catalyst for Jarre’s burgeoning live extravaganzas and the proliferation of synth music worldwide in the following seven years.

Schulze represents a darker, more contemplative and less grandiose sound but no less layered. He came from what is now referred to as the Berlin School, an experimental selection of  Berlin-based artists determined to discover the very outer limits of what a synthesizer and music could do.

The multi layered, ambitious and synth heavy material of the acts listed above has had an influence on the similarly layered and luxurious sounds of Maps, particularly ‘Turning the Mind’, which explores interesting sonic and emotional depths, Four Tet, Holy Fuck, Hudson Mohawke, Fuck Buttons and Animal Collective.

The last strand of influence on new psychedelic music is the ‘90s shoegaze scene which featured the heavily processed guitar sounds of the recently reunited My Bloody Valentine (MBV), Slowdive, Ride and their predecessors the Jesus and Mary Chain (JMC) and Cocteau Twins. This scene varied from the feedback driven sound of MBV and JMC to the ethereal ruminative guitar sketches of the Cocteau Twins’ Robin Guthrie. The mainstream media have focussed on the ‘nu gaze’ scene but the influence of these acts has been evident for a while now. LCD Soundsystem covered ‘Slowdive’ by Slowdive in 2005; Black Rebel Motorcycle Club’s verbatim theft of JMC’s sound and image; and the constant comparisons of Jonsi of Sigur Ros’ vocal style with that of Liz Fraser of the Cocteau Twins. Although it was the reformation of My Bloody Valentine that really thrust the spotlight on those that were obviously influenced by shoegaze’s brand of guitar pedal  noise. This ‘nu gaze’ scene is led by The Big Pink, No Age, School of Seven Bells, Atlas Sound however many of these acts are merely derivative. The really interesting manifestations of the influence are mainly on the noise scene. Holy Fuck, Health, Animal Collective, Dan Deacon and Fuck Buttons all take something from shoegazing even when they’re not using guitars. Health are the most indebted to MBV and the other shoegaze bands but they have managed to create a more obtuse take on the original sound that has more common with noise’s roots than most shoegaze acts. The density of the music by Animal Collective and Dan Deacon has the feel of a less attack oriented version of MBV, JMC and Ride. You’re not being abused but there is enough edge that it’s not merely background music. As I mentioned in paragraph three, the use of vocals as another layer or instrument can be traced back to Liz Fraser’s vocal techniques and are present  or rather deeply buried in the music of Holy Fuck, Fuck Buttons, Animal Collective, Four Tet and Hudson Mohawke . The fetishisation of guitar pedals and their analogue sound is also evident in the sound of the modern psychedelic acts that I’ve discussed and is another tie to the original shoegaze bands.

Though all the artists I’ve discussed are in themselves unique and individual, this article demonstrates that the artists that influence them and the techniques used to achieve their sound interlink in various ways to show a broad landscape of sub genres and artists that make up a reinvigoration of psychedelic music. In a time where the majority of bands and artists struggle to free themselves from commercial pressure or the inevitable repeating of what they’ve been influenced by these artists are attempting individually and collectively to direct us forward and to expose us to experiences and music that we may not have heard or felt before.

The influence of Krautrock and synth music is keenly felt but unlike previous artists who have just taken on these influences e.g. Stereolab and Muse these artists have discovered ways of creating something of their own in the spirit of those who had gone before. Their influences all ploughed their own furrow and it is difficult not to fall under their shadow so I salute the work of the extraordinary artists who’ve taken the risk on making something even more adventurous and exploratory.

Here’s a Spotify playlist (HTTP links, then Spotify URL) so you can check out the bands mentioned in this post:

Psychedelia: The Return

Psychedelia: The Return

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