Tag Archive: Laura Marling


Kirsty’s Recommendations

20th May

Laurel Halo – “Behind the Green Door” EP (Hyperdub)

Laurel Halo’s first release of 2013 is the EP “Behind the Green Door”. Recalling Halo’s earlier releases such as “Hour Logic” and the “Spring” EP under her King Felix alias, this EP’s central theme is stripped back techno married with ambient detail. Building on her new direction for live sets, “Behind the Green Door” uses hardware and live instruments, specifically a detuned piano, to create classic Detroit and modern techno influenced tracks of bass-driven rhythms, sinister melodies and lush harmony.

Listen to the very Detroit techno ‘Throw’, perhaps a nod to the Paperclip People (Carl Craig) track of the same name, below.

 

27th May

Laura Marling – “Once I Was An Eagle” (Virgin)

Laura Marling’s back with her fourth album in five years, “Once I Was An Eagle”. Since her the release of her debut album “Alas, I Cannot Swim” in 2008, Marling has released a further three, “Once I was An Eagle” included, in quick succession. The pinnacle of these being 2011’s brooding “A Creature I Don’t Know”. Each album has built on her blend of sharp, lyrical wordplay and a folky musical template built on harnessed anger. With the announcement of “Once I Was An Eagle” (for some reason all of her album titles feature six syllables), Marling has introduced the organ-heavy ‘Where Can I Go?’, displaying she’s at her best when she builds songs slowly from the subtle duo of her cool voice and acoustic guitar to a full band confrontation by the end.  The second taster is the rolling ‘Master Hunter’, which features the very Marling vocal performance of sounding both calm and pissed off.

Liam’s Recommendations

7th May 2013

Talib Kweli – ‘Prisoner of Conscious’ (Blacksmith)

After releasing ‘Gutter Rainbows’ Kweli is to release this new album that he promises will surprise his hardcore fans (and I imagine his critics who say he’s one dimensional) as he takes a different lyrical tack. Guests slots go to Mos Def, Curren$y, Jean Grae, Maino and Nelly?!?, production comes from Hi-Tek, Madlib, Oh No, Terence Martin, E. Jones, Rahki and Symbolic 1.

13th May 2012

Colleen – “The Weighing of the Heart” (Second Language)

The long awaited (5 years in the making) third album from Colleen finally arrives in May. FACT magazine have compared the album to fellow cellist Arthur Russell and two of the world best drone artists Grouper and Lichens. The album is influenced by obscure ethnic traditional music and religious texts and was recorded in a disused olive shop in Spain.

20th May 2013

Daft Punk – “Random Access Memories” (Columbia/Daft Life)

Recent reports confirm that the legendary French dance duo have been collaborating with Niles Rodgers of Chic, veteran songwriter Paul Williams and Panda Bear of Animal Collective on tracks due for inclusion on the album. Looking forward to hearing the results of those collaborations.

G&D – “The Lighthouse” (SomeOthaShip)

G&D sees rootsy singer and beatmaker Georgia Anne Muldrow team up with life-partner Dudley Perkins, aka Oxnard rapper and singer Declaime. Muldrow’s last album was last year’s Seeds, a dusky collection of psychotropic soul produced entirely by Madlib. Perkins, meanwhile, dropped the rap-heavy Self Study LP in 2011, produced by Muldrow. The pair clearly don’t give much of a hoot about the work-life partition; they operate the SomeOthaShip Connect label together, and have pooled resources on a full-length (2007′s The Message Uni Versa) and a string of short-form releases since. New album The Lighthouse, credited to G&D, will arrive in the height of May on SomeOthaShip. A heady brew of hip-hop, jazz and soul is promised – we wouldn’t expect any less.

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To a huge cheer and warm Yorkshire welcome, Laura Marling arrived on stage at a packed Leeds Academy that felt like it was doing its best impression of a sardine tin. Marling instantly set the tone for the evening; a mix of a relaxed atmosphere with an occasional injection of tension. She quickly ran through a few tracks (‘I Was Just A Card’, ‘The Muse’ and ‘Salinas’) from her latest album “A Creature I Don’t Know” and I fully expected this to dominate the set. However, Marling surprised and was more than confident enough to dig through her back catalogue with fans singing along to many of the older songs, such as ‘Ghosts’ and ‘Alas, I Cannot Swim’. The most noticeable thing aside from the music was Marling’s stage presence, she held the audience in the palm of her hand without any of the arrogance that goes with that type of performer. Her witty repartee between songs and band member’s facts during the interval provided plenty of entertainment. The end of every song was met with cheering and whooping for which she was almost embarrassed by and thanked the audience for repeatedly. It was great to hear Marling stretch her voice and add bite to her delivery, not something that is always present on record, which added a great emotional resonance to the songs. During the acoustic mid section of the show she premiered a new song amidst amusing banter with a heckler and demonstrated how very naked and exposed her music can be, which isn’t present on “A Creature I Don’t Know”. My only mild criticism is that Marling and her band often replicated the studio sound a little too closely and a rough sound or some experimentation with dynamics/arrangements is something I think helps a live performance stand out but as I said it’s a minor criticism. Overall a superb gig from an artist that continues to grow musically and demonstrates a new found confidence that matches her current stature while retaining humility.

1. The Field – Looping State Of Mind (Kompakt)

Topping this year’s chart is The Field’s “Looping State Of Mind”. The album, Axel Willner’s third, was the most, exciting, accomplished and wonderful releases of this year. Techno in its simplest form is music that can built using just a few loops and The Field expands on this method effectively; multiplying shimmering loops of vocals, synths and drums into one luscious, infinite circular track. Neatly building on the landscapes of his previous releases (“From Here We Go Sublime”, a collection of icy yet deeply affecting techno tracks, and “Yesterday and Today”, which covers a warmer krautrock-indebted area) to merge the best of both into a beautiful seven track blend of electronic music with warm synth arpeggios, droning, pulsing pads and that  Kompakt schaffel. The eponymous loops feel like they could last forever; building and dropping. Here’s to The Field’s next release.

2. Nicolas Jaar – Space Is Only Noise (Circus Company)

Much has been said of Jaar’s prodigious talent and his debut album has rightly gained critical praise. Blending Ricardo Villalobos-esque intricacy with jazz-influenced piano, super-slow techno rhythms, obscure French film dialogue, saxophone and Nicolas Jaar’s own surprisingly deep voice, the album is over-confident but endearingly so. At points coolly sexy (‘Keep Me There’ and the title track), delicate and wistful (‘Too Many Kids…’ ‘I Got A’) and ambient palate-cleansing washes “Space Is Only Noise” is a diverse, self-assured and engaging album and it is a testament to Jaar’s skill that he has delivered such a promising début

3. Morphosis – What Have We Learned (Morphine/Delsin)

Composed entirely with analogue equipment and recorded live over just three days, Morphosis’ first full-length is a collection of the gritty, percussive clatter that is a hallmark of dirty Berlin techno and haunting Arabic/Middle Eastern melodies (Morphosis is Lebanese), made all the more compelling as you can hear him hesitate and pull in and out of time while playing synthesisers on the live takes. Built on round bass drums, moody wanderings and foggy static with assertive grooves and synths that engulf the listener, “What Have We Learned” is the pure techno release of 2011.

4. Gang Gang Dance – Eye Contact (4AD)

Building from the suggestions of bright pop on a track such as ‘House Jam’ from their previous album ‘Saint Dymphna’, Gang Gang Dance have condensed their eclecticism and strengthened the melodies to create a highly impressive and ambitious record in the form of ‘Eye Contact’. Singer Lizzie Bougatsos works her voice as instrument, weaving among the layers of polyrhythmic dance beats, electro-influenced synth riffs and glassy arpeggios. Key track ‘Mindkilla’ combines unhinged dance grooves with Bougatsos’ menacingly singing the American lullaby ‘Mockingbird’, which encapsulates Gang Gang Dance’s approach for ‘Eye Contact’: ecstatic and woozy with an undercurrent of threat.

5. Laura Marling – A Creature I Don’t Know (Virgin)

The voices in the songs of “A Creature I don’t Know” often recall the female characters in John Steinbeck’s novels; their turn-of-the-century environment has hardened them and made them sexually ruthless and capricious. The spirit of Cathy who rips like a tornado through ‘East Of Eden’ possesses ‘The Beast’ and ‘Salinas’, Steinbeck’s place of birth. Yet the songs feel divorced from any particular time or place and lacking in obvious signifiers because Marling does without 21st century details and focuses on the timeless themes of love and desire. Brawling with these primal urges while ignoring current musical trends is a brave artistic choice and her use of symbolic language without putting forth her own personality give the songs the air of Marling as a centuries-old, wandering watchful spirit who has seen and lived everything. Her strengths lie in her commanding performance and her pure voice which carries equal weight whether in the middle of ‘The Beast’’s churning instrument storm or accompanied by just a guitar or piano.

6. Wolfgang Voigt – Kafkatrax (Kompakt/Profan)

In typically eccentric fashion, Voigt has super-imposed his face on to the head of Austrio-Hungarian writer Franz Kafka for the artwork of Kafkatrax. The strange merge goes further with the music contained inside. Every sound except the bass drum is taken from German audiobooks of Kafka’s work, the samples of which Voigt has then sliced, layered and stretched to create several voices speaking in fragmented words and vowels. The abstract stratification of the samples re-produce the paranoia present in Kafka’s writing while Voigt’s experienced hand in intangible dance music knits the sounds into alien and unsettling yet groove-filled techno tracks. If techno is an endless, moving machine then it is albums such as this that keep it in motion.

7. Bjork – Biophilia (Nonesuch)

Autumn was dominated by the exciting news of Bjork’s return after a four-year break and reports that her new album “Biophilia’ would be accompanied by synaesthesia-inspired iPhone/iPad apps. Bjork’s seventh album wonderfully demonstrates her innate use of beautiful harmonies and melodies which shine over delicate, glassy timbres and malevolent basslines and breathless, digitalised rhythms. Her voice and words anchor emotions to the album’s scientific influence and the thread of innocence and wide-eyed fascination that runs through her celebration of the universe prevents any feeling of pretence or aridity. Even after four years away Bjork continues to electrify and surpass.

8. Skudge – “Phantom” (Skudge Records)

The Swedish duo’s debut sells itself on aerodynamic, stripped techno indebted to Robert Hood and Basic Channel’s dense dub techno grooves. Fractured bass lines are countered with dramatic synth stabs, snapping claps and the determined looping rhythms of ‘90s German techno. Standout track ‘Eleven’, which features a solitary, eerie hook over tough bass drums and a lone reverberating clap, is a lesson in contoured, skeletal composition. Geared primarily for the club, the productions are a balance of tension and release that jack and groove for several minutes. Skudge are a dance duo who people should have on their radar for 2012.

9. Gui Boratto – III (Kompakt)

“III”’s intention is built on slow grooves and dark, searing techno. Twin tracks ‘Geluchat’ and ‘Stems From Hell’ sound like Boratto deep in the bowels of Berghain. ‘III’ is hard and confrontational, abrasive and pummelling. Although it isn’t as captivating as his best album “Chromophobia”, “III” continues to display his skill as a producer: the bass drum pounds, bass lines growl and groove and grainy synths coil and graze. His use of peaks and drops are masterful; they tease and reward the listener; pure peak time clubbing. It demands to be played loud.

10. Washed Out – Within and Without (Sub Pop)

As the cover art displays “Within and Without”, Washed Out’s first full-length, is a sensual, physical release. Benefiting from the production work of Ben Allen, who worked on Animal Collective’s “Merriweather Post Pavilion”, “Within and Without” features delicate compositional flourishes such as the reverb-drenched, evocative harmonies on ‘Amor Fati’ and the cracked snare on ‘Echoes’ reward repeated listens, especially on headphones. The gentle arpeggios, slinking beats and soft, pillow-y atmospheres add to the album’s tenderness; the songs are intended for love-making rather than fucking. Album closer ‘A Dedication’ is based on a fragile piano line and Ernest Greene’s most direct vocal performance is the post-coital cosy-up.

Honourable mentions

Perc – Wicker & Steel (Perc Trax)

“Wicker & Steel” recalls The Black Dog’s “Real Music For Airports” release from last year.  Techno, industrial and almost aggressively dystopian with, the vocal grunts on “Start Chopping” aside, very little to humanise the intense percussion and scratching textures of the album’s first third. Slipping out of the abrasive distortion of the opening tracks a sinister mid-section, featuring the deeply unsettling “Pre-Steel”, builds on a more restrained dystopia with dispersed beats, detuned synths and horror-film overtones. The final third kicks back to an overdriven, unrelenting pace, particularly on the track ‘London, We Have You Surrounded’, which some have appropriated as the soundtrack to the capital’s disturbing riots in August. “Wicker & Steel” is an album deeply attentive to its own coherency, consistency and range.

Lucy – Wordplay For Working Bees (Stroboscopic Artefacts)

Lucy bypasses the customary form and structure of techno for his début album. IDM, drones, oblique ambience and dub-techno combine to create a foreboding atmosphere filled with unusual timbres and textures. Partly composed of field recordings from Berlin’s streets and parks, the album’s title plays on the busy crowds concentrated on the city streets. The recordings tangle amongst disembodied vocals and abstract noises which build a sense of dissonant melancholia. When the 4/4 rhythm of  ‘Bein’ breaks out of the ambient climate it feels exotic and somehow forbidden as does album closer ‘Ter’ which filled with pattering percussion building to a stunning, hypnotic climax that contrasts the album’s darkness.

Planningtorock – W (DFA)

Planningtorock’s (Janine Rostron) second release is rooted in the expression of her sexuality which is conveyed by the sweaty atmosphere that recall the cabaret clubs of her adopted home Berlin. Her pitched-down masculine voice drawling sensually “I know my feelings” on opener ‘Doorway’ and “I’m a believer of circular/suckular love” on ‘Manifesto’ coupled with lavish, thick orchestration throughout makes “W” a challenging but rewarding album.

Honourable Mentions

Death In Vegas – “Trans Love Energies”

This album came out nowhere back in September and knocked me for six, a great comeback album if ever there was one. Admittedly it’s not always the subtlest of albums, both in terms of wearing its influences on its sleeves and in terms of its sometimes simplistic nature. However, these complaints are minor with Richard Fearless finding a balance between his art-rock and electronic music influences and blending them into a visceral whole. Though it may not be the most original album released this year it’s a joy to listen to and Fearless show he’s still a master of his music domain. His whispered vocals (which sometimes recall Greg Dulli of Afghan Whigs and Twilight Singers) and those of collaborator Kate Stelmanis (Austra) are the icing on the cake. It is well worth getting the 2 CD edition too, which features remixes and instrumental versions of album tracks plus five non-album tracks all of which equal the quality of the album itself.

Spank Rock – “Everything Is Boring and Everyone is a Fucking Liar”

After 5 years Spank Rock returned this year with a second album ‘Everything is Boring and Everyone is a Fucking Liar’. This combines tracks that consolidate what Spank Rock achieved on previous album ‘YoYoYoYoYo’ and while moving into new areas like four-to-floor dance music, grungy distortion and Can sampling single ‘Energy’. Spank Rock also tries out singing on ‘The Dance’, ‘Baby’ (on which he achieves an excellent Prince impersonation) and ‘Energy’ and does so with aplomb. The triple dance floor whammy of ‘The Dance’, ‘#1 Hit’ and ‘Turn It Off’ are the biggest departures but also the greatest successes. During the second half of the album the majority tracks recall ‘YoYoYoYoYo’s’ electro sound but here it’s been expanded and built upon to incorporate tribal vibes, industrial touches, grungy distortion and on ‘Baby’ a phat funk groove. Like on his debut, Spank Rock pushes the envelope of electro hip-hop successfully bringing together disparate elements and combining them as if they should be together. An excellent album full of energy, humour and electro.

DELS – “GOB”

Dels produced an authoritative debut album that balances catchy, memorable tunes with experimentation, unexpected twists and turns and a signature sound on a complete and engaging record. The first half is full of heavy hitting, bouncy electro inspired tracks but the second half to the album covers more serious topics including the recent political problems in the UK, rape and domestic violence. Dels is able to change the pace and the atmosphere to suit these changes in subject and this is proof of an artist with more than one string to his bow and great future ahead of him. Dels is a hip-hop artist with substance to match his unique style.

A Winged Victory for the Sullen – “A Winged Victory for the Sullen”

A Winged Victory for the Sullen is a collaboration between Adam Wiltzie of Texan ambient duo Stars of the Lid and contemporary pianist Dustin O’ Halloran and their self titled debut album is where their two styles meet in the middle. The music shifts in and out of focus as the two musicians interact, knowing when to play together and when to let the other have space, when to build a wave of sound and when to leave room between them. One of the remarkable things about the album is how cohesive it sounds, as if the duo had been working together for years and understood each other’s every musical move and how to compliment it. The reason for choosing this album is best summed up by Sam Cleeve of Drowned in Sound “While Wiltzie and O’Halloran both have their obvious contemporaries to draw parallels between (Hammock; Eno/Frahm; Arnalds), this emotive disc balances a hushed intimacy and vast expanse that places it in a unique sonic terrain.”

Toro Y Moi – “Underneath the Pine”

Back in February I described Toro Y Moi’s “Underneath the Pine” in the following way, “from its chiming and droning intro track right through to the last rhythmic charge of ‘Elise’, it does no wrong. A fantastic concoction of ’80s style funk riffs and grooves matched with emotive soundtrack backing and the glorious rush of good pop music, it’s a leap forward from his impressive début ‘Causers of This’” Since then I’ve had more time to contemplate the album and its subtleties, discovering the stylistic similarities to Stereolab (who featured in his mix for The Quietus) and deepening my admiration for the lush atmospherics present in the tracks and the way that the singles ‘New Beat’ and ‘Still Sound’’s infectious upbeat energy contrast with the album’s more thoughtful moments such as ‘Good Hold’ and opener ‘Intro/Chi Chi’. On the surface “Underneath the Pine” is full of simple pleasures but reveals more and more with each new play.

Top Ten Album’s of the Year

10. Battles – “Gloss Drop” (Warp Records)

 As with any Battles release there’s a lot to take in and one listen simply won’t cut it in terms of any real in-depth analysis. The trio made a good first impression proving they can do great things without former member Tyondai Braxton, whom was always seen as a key band member. This is definitely a Battles album yet they’ve shed some of the uptight, over thought jazz-prog that had previously manifested itself in a frustrating way. This is a looser, freer band. Drummer John Stanier is able to make his techno influences much more explicit, this and the Carribbean/Latin/Calypso touches that are littered throughout the album add a new rhythmic interest and lightness of touch that are both great new additions to the Battles sound. This isn’t a band trying to play techno or calypso through; rather they are trying to fold these influences into their already established sound. Another interesting facet of the sound is that on many of the tracks feature ambience and background sounds that evoke grey concrete that is juxtaposed with the lighter and happier calypso influenced melodies and riffs. ‘Gloss Drop’ is a bold statement from band that could have collapsed but has instead shown a new strength.

9. Chancha Via Circuito – “Rio Arriba” (ZZK Records)

This album by an Argentine hip-hop producer Pedro Canale fuses J Dilla-esque beats to traditional Columbian cumbia percussion samples, melodies and vocal samples to create a heady and humid hybrid that recalls walking through the South American jungle after dark. Like all the best hip-hop producers Canale has a deep understanding of the music that he is sampling but doesn’t respect it to the point that it limits his innovation. His music and grooves feel organic but also as if they’ve been subtly subverted in his sampler. “Rio Arriba” isn’t all about the beats. He uses atmosphere to evoke a time and place and is one of the only new hip-hop producers I’ve heard who achieves this to such a high level, you don’t just hear the time and place either but feel the emotions of the singers and the instrumental tracks so brilliantly convey. It’s difficult to properly describe Chancha Via Circuito’s music but with “Rio Arriba” he has created the debut album of the year.

8. The Horrors – “Skying” (XL Records)

I’ll admit to never having been taken by The Horrors and other than the excellent track ‘Sea Within a Sea’ I didn’t see what all fuss was about with their last album “Primary Colours”. However, their new self-produced album “Skying” finds them striking a balance between clear melodic lines and thick, swirling psychedelia. Previously the band sounded muddy with the melody submerged low in the mix. There’s also a new feeling of purpose to tracks like ‘Still Life’, ‘Moving Further Away’ and ‘Endless Blue’. The band combine the motorik rhythms of Neu!, the English psychedelia of late 80s Julian Cope and the power ballad dynamics of Simple Minds (not something I thought I’d ever be recommending) into a punchy pop-rock package. They’ve left behind the restrictions of recreating gothic post-punk sounds and the doom laden, muddy psychedelia of previous albums and have emerged as a band that delivers where once they merely promised.

7. Tune-Yards –“Who Kill” (4AD Records)

Tune-Yards delivers on what was hinted at on her debut album ‘Bird-Brains’. Strong vocal performances and use of vocal layering are ever present as are the hip-hop rhythms that dominated her debut. She also brings a host of surprises, the processing of vocals through a modular synth, pop melodies that pack a punch and a day-glo sound indebted to both African music and dub yet at the same time all of her own. Though the album dips towards the end ‘Doorstop’ and ‘You, Yes You’ show there are yet more directions in which Tune-Yards’ sound can be developed. In addition to this the album reflects its time through its politically engaged lyrics and of protests both personal and local. In a year dominated by protests and political upheaval, “Who Kill” provided a vibrant soundtrack. All-in-all this is a great album from a unique artist.

6. The Field – “Looping State of Mind”  (Kompakt)

This year Axel Willner delivered another great album as The Field and continued to evolve his glacial techno sound. His music is now warmer and more organic (see ‘Arpeggiated Love’ and ‘Burned Out’), while his grooves have become funkier and more human recalling those found on LCD Soundsystem’s “Sound of Silver”. The best way I can think to describe “Looping State of Mind” is LCD Soundsystem grooves matched with the inverted dance structures and Tangerine Dream influenced kosmische music of The Field’s typical productions. A match made in heaven.

5. Tamikrest – “Toumastin”  (Glitterhouse Records)

This is another great Taurag album that throws down the gauntlet to Tinariwen (who’s “Tassili was a massive disappointment). Though there’s a lot of familiarity to the Tamikrest sound these young men find a way of subtlety incorporating new influences into the template. From the funk bass that underpins ‘Tidit’ and ‘Tarhamanine Assinegh’ to the Western rock guitar of ‘Adjan Adaky’ and magnificent closer ‘Dihad Tedoun Itran’ via the regular and clever employment of female vocals as a counterpoint to a very male sound, this shows there is more to Taurag than fans already know. The band masterfully conquers both the more groove based and moody and downbeat material with confidence and ease. This is great album from a band full ideas who’ve possibly yet to reach their full potential.

4. Beastie Boys – “Hot Sauce Committee Part 2” (Capitol/Grand Royale Records)

With this album the Beastie Boys returned to form creating their best album since “Hello Nasty” (1998). They went back to basics and came up with a collection of short punchy songs full of energy, hooks and humour. Though the album is a thoroughly Beastie Boys creation they do seem to have rebooted their sound, with the help of producer Philippe Zdar, concocting a new synthetic retro-futuristic Beasties sound. The album’s 16 tracks whizz by in a blur and it’s hard to pick out favourites in this heady brew but if pushed I’d go for ‘Make Some Noise’, ‘Non Stop Disco Powerpack’, ‘Too Many Rappers’ feat. Nas, ‘Don’t Play No Game I Can’t Win’ feat Santigold and excellent instrumental ‘Multilateral Nuclear Disarmament’. The only disappointment is that ‘Tadlock’s Glasses’ finishes far too soon.

3 . Mark McGuire – “Get Lost”  (Editions Mego Records)

At first “Get Lost” seemed like business as usual for Emeralds guitarist Mark McGuire, All the typical traits of McGuire’s guitar playing are present especially his fuzzy lead lines and repetitive yet hypnotic delay heavy rhythm patterns and guitar-synth drones aplenty. However, the more I listened to the album, the more it became clear it was almost a direct relative of the collaborative work of Brian Eno and Robert Fripp particularly 1975’s brilliant ‘Evening Star’ album. The colourful washes of sound swirl around the stereo image and immerse you but are perfectly balanced with the melodic lines that weave in and out of them. I didn’t think that McGuire could equal last year’s amazing “Living With Yourself” but with “Get Lost” he’s managed it and combined the best elements from all his previous releases into a cohesive whole.

2. Apparat – “The Devil’s Walk” (Mute Records)

On his new album Apparat displayed a new skill for writing immediate and engaging material, a difficult balance that has been masterfully struck without surrendering any of this enigmatic artist’s mystery. The album doesn’t instantly recall Apparat’s previous solo work and has more in common with the Moderat project he formed with Modeselektor in 2009, specifically the dark gothic atmosphere that pervades throughout. It seems appropriate that Apparat should switch to Mute Records for this release as many of tracks indirectly recall Depeche Mode at their finest and Apparat’s vocal even sounds like Marc Almond (Soft Cell) minus the camp edge. Apparat’s greatest achievement here is combining modern production techniques with strong song writing. His song are now more memorable and emotionally evocative.

1. Gang Gang Dance – “Eye Contact” (4AD Records)

A breathtakingly ambitious album featuring North African guitars, club beats, Indian pop vocals, grime and electro synth bass, and twisted synth arpeggios all working together where they could fail spectacularly. There’s a new found clarity and a massive step-up in the quality of the tunes on ‘Eye Contact’, this is the album Gang Gang Dance have been threatening to make and impresses instantly whereas previous songs were either growers or too awkward to be properly embraced. After a few listens it becomes clear there’s some strong links to “Merriweather Post Pavilion” by Animal Collective (who are both friends and contemporaries of Gang Gang Dance). The use of psychedelic electronics and rhythms rooted in hip-hop are present on both albums. However, Gang Gang Dance add plenty to this and produce their own unique sound, which is an upbeat opposite to the melancholy of Animal Collective. An interest coincidence is that “Merriweather Post Pavilion” was Sonic Fiction’s Album of the Year 2009 and ‘Eye Contact’ takes pole position for this year. From opening 11 minutes epic ‘Glass Jar’ to the closing ‘Thru and Thru’ with its twisting snake charmer like Eastern melody, tribal percussion and clubby beats and synths via the Sade-esque ‘Romance Layers’ beats the heart of exhilarating experimentation meeting the forward rush of club music and the exoticism of traditional music from around the world. As No.1 in my list there is no higher recommendation!

Spotify playlist:

Sonic Fiction Top Ten Album’s of the Year

Observations

Just like last year two words have loomed large for me this year: Ambient and African; and I have continued my exploration of these types of music. I’ve found myself getting deeper into Ambient music both old and new, especially with FACT publishing their 20 Best Ambient albums in the summer with Steve Reich and Pat Metheny’s – “Electric Counterpoint”, Main’s – “Firmament II”, Bobby Beausoleil soundtrack for “Lucifer’s Rising” and “Ambient 3: Day of Radiance” by Brian Eno and Laraaji  amongst my favourites so far. A spate of new releases towards the end of the year that I’ve enjoyed include “Music for Confluence” by Peter Broderick, “Tragedy” by Julia Holter and “Glimmer” by Jacaszek, “El Tren Fantasma” by Chris Watson, “Replica” by Oneohtrix Point Never and “Tragedy and Geometry” by Steve Hauschildt of Emeralds.  On the African side of things I started the year with the purchase of the Congotronics vs. Rockers compilation album, which was swiftly followed by the debut album of the Kasai Allstars and though I wasn’t listening to much African music during the summer I followed the progress of the Congotronics vs Rockers tour via their blog and towards the end of have enjoyed Analog Africa’s “Bambara Mystic Soul: The Raw Sound of Burkina Faso”, a great compilation covering the rich and varied music of this small and obscure country during the ‘70s.

Some releases have taken a little longer to grower on me than others for instance “A Creature I Don’t Know” by Laura Marling narrowly missed out on being part of my Honourable Mentions yet it has slowly but surely grown on me since its September release. I also recently revisited Laurel Halo’s “Hour Logic” EP and went from liking it to loving its infectious energy matched with abundant atmosphere. I’ve also been on and off with a few artists/albums the main culprit being Maria Minerva who I’ve liked and then found dull and then liked and then found dull again. Albums by The Rapture and Megafaun have also failed to fully convince me, though they still could.

Sonic Fiction’s predictions for up and coming new bands/artists for 2011 mostly seemed premature as many of artists with now release their debut albums next year. Still DELs and Balam Acab produced good debut albums and Laurel Halo and Blondes both had a steady stream of releases, maybe we’ll have better luck next year.

Still to come this week Vier’s Album’s of the Year and Observations.

by Liam Flanagan (Sonic Fiction editor)

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