Tag Archive: Paris Suit Yourself


Liam’s Top Ten Albums of the Year… so far

Honourable Mentions

Peaking Lights – “936” – is  a lo-fi take on Dub that manages to cover a lot more ground than many of their more lauded peers. I can understand why the band have been compared to fellow Not Not Fun artist Sun Araw as they share many of his similar aesthetics (humid, reverb and delay heavy sound) and principle instrumentation (extended guitar lines, organ, repetitive but meandering vocals). Tom Tom Club also seems like a good reference point particularly for the vocals and ‘All the Sun That Shines’ and ‘Bird of Paradise (Dub Version)’. Definitely an album that’s worthy of soundtracking this summer like ‘On Patrol’ by Sun Araw soundtracked last summer.

Mogwai – “Hardcore Will Never Die, But You Will” – a mixed bag from Mogwai (a band that has been criticised in the past for producing overly samey music across an album) featuring both the familiar epic post-rock tracks that made them an internationally known force and new directions for the band including using a vocoder and development of Neu! and New Order style rhythms and grooves on ‘Mexican Grand Prix’ and ‘George Square Thatcher Death Party’. I’ve read a lot of negative things about the use of the vocoder and more vocal tracks on this album and can’t say I agree with these opinions. The vocoder is employed subtly and sparingly and Stuart Braithwaite’s vocals have always been a good addition to Mogwai’s music and suit the song he sings on here. Overall I think this is Mogwai’s best album since ‘Happy Music for Happy People’ (2003).

Talib Kweli – “Gutter Rainbows” –  a return to form for Kweli after the overly commercial and guest heavy ‘Eardrum’  (2007). Kweli seems to more at ease and freer, the album’s tone and variety a sign that he may have been under pressure from Warners while making ‘Eardrum’. It’s also telling that all the guests and producers who appear on this album aren’t established major label artists/producers and I think that’s a big contributing factor. The quality on the album only really drops once for ‘How Do You Love Me’ which is a little too limp and sloppy amongst tracks that have a lot more bit and depth. The major highlights are ‘Cold Rain’ (production by Currency producer Ski Beats) and Jean Grae’s appearance on ‘Uh Oh’, however its Kweli whose personality comes across strongest, on what could be his best album yet.

Beastie Boys – “Hot Sauce Committee Part Two”

The Beasties Boys return to form after two patchy albums, full of short punchy songs that for the most part share a minimalist, lo-fi approach. It’s the Beasties gone back to basics and with found a new lease of life that explores new territory (for them) while remaining 100% Beastie Boys. Established with love this, new converts may well join the cause – all in all a triumph from restless creators always looking to evolve.

Dels – “GOB”

Dels has produced an authoritative début album that balances catchy, memorable tunes with experimentation, unexpected twists and turns and a signature sound that he can manipulate to give the album a curve. He starts with the heavy hitting, bouncy electro inspired tracks but the second half to that album covers more serious topics including the recent political problems in the U.K. and rape. 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. A Hip-Hop artist with substance to match his unique style.

Top Ten

10. White Denim – “D” – Though it may not be the album of the year I rashly predicted at the start of the month, though it has to be said ‘Anvil Everything’ and ‘Drug’ were pretty exciting tracks to be released in the run up to release. However this album is by no means a wash-out, it begins with a slightly misleading slice of Southern Rock but some reveals a diverse range from an ever developing and maturing band. From the wah-wah funk of ‘Burnished’ to the emotional ‘Street Joy’ via Latin rhythms of ‘River to Consider’ and many points in between this album is well worth investigation and like other White Denim album will probably prove to be another grown, rewarding repeated listening.

9. Low – “C’Mon” – A great album of two halves that sees Low experimenting with poppier sounds on the first half of the album and on ‘Something Turning Over’ while the reminder of the album revisits older sounds and influences but does so while providing some great songs. Some Low fans won’t (and don’t) like the poppier material but I think it can be seen as another string to their bow and not a conscious attempt to sell out. This is not a band producing Top Ten hits, but one dripping its toe into unknown waters and successful completing an experiment. The fact this album was recorded in a Duluth (Low’s home town) church gives the slow more open tracks and fantastic atmosphere and ambience and complaints some great songs. Once again Low show the patience and subtlety can go along way in a music world that seems constantly looking for something innovative and over simulating.

8. Chancha Via Circuito – “Rio Arriba” – A great hip-hop album that potential points a new way forward and demonstrates that there are really skilled producers working out the mainstream and America who can compete with their U.S. contemporaries. A breath of fresh Columbian air, this producer neatly side steps the comparisons to Jay Dilla to crave out his own unique style.

7. Tamikrest – “Toumastin” – Another great Taurag (desert blues) album that throws down the gauntlet to Tinariwen (whose next album is out 29th August). 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 masterful conquers both the more groovy based and moody and downbeat material with confidence and ease. A great album from a band full ideas and possible yet to reach their full potential.

6. TV on the Radio – ‘Nine Types of Light’ – This acts as a laid back sunny counterpart to their previous album ‘Dear, Science’ (2008). However, this isn’t an album that should be considered light or lacking in substance. Instead it’s a successful move into new territory for a band that continues to develop, improve and with this show that may just be one of the best bands of the last ten years. The album’s brighter moments indicates a softer R&B influence though in the latter stages of the album the band show their darker side on tracks like ‘Forgotten’ that strongly reminds me of the dense atmosphere of second album ‘Return to Cookie Mountain’  (2006) but always demonstrates what they have learnt since about space and light and shade. An album that proves sweet and sour can co-exist and that light is variable alternative not corporate cop-out.

5. Paris Suit Yourself – “My Main Shitstain”‘ – An eclectic début album is held together by a similarly punk spirit and commanding vocalist Luvinsky. The band produce a unique blend of street music that takes from soul, punk, post-punk and hip-hop while subtle embracing modern technology. The band is unafraid to wear to heart politically and graphically on its sleeve and are obviously confident in their own ability and style!! The world is there’s and I fully expect them to take it and make it their own.

4. Toro Y Moi – “Underneath the Pine” – 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 rhythms and grooves matched with emotive soundtrack backing, expert use of effects processing and the glorious rush of good pop music, a leap forward from his impressive début ‘Causers of This’. In the past its been difficult to pin down Toro Y Moi’s sound and find useful reference points but recently mid 90’s Stereolab seems apt for this playful experiment in pop music.

3. Wagon Christ – “Toomorrow” – It would be easy to dismiss this album as a repetition of everything that Vibert has done as Wagon Christ and there is some truth to that. However, he has produced an eclectic album full of great tracks (there’s not a duffer to be found) that will please hardcore Vibert fans and those new to this long-term dance music fixture. A must for fans of Ninja Tune, Warp and Planet Mu most esoteric output!!

2. tUnE-yArDs – “w h o k i l l” – tUnE-yArDs delivers on what was hinted at on her début album ‘Bird-Brains’, strong vocal performances and use of vocal layers are an ever-present as are the hip-hop rhythms that dominated her début. She also brings a host of surprises, the processing of vocals through a modular synth, pop melodies that pack a punch and day-glo 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. All-in-all a great album from a unique artist.

1. Gang Gang Dance – “Eye Contact” –  A breathtakingly ambitious album that brings together North African guitars, club beats, Indian pop vocals, grime and electro synth bass, twisted synth arpeggios are all bought together and work where it should 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 record that their last album should have been and impress instant, whereas in the past songs were either growers or too awkward to be properly embraced. Interestingly 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. An interest coincidence is that “Merriweather Post Pavilion” was Sonic Fiction’s Album of the Year 2009 and this is currently in poll position for this year. Will it still be No.1 in December?

Spotify playlist:

Liam’s Albums of the Year 2011 … so far

Vier’s Top Five Albums of the Year 2011… so far

5. Lucy – “Wordplay For Working Bees” (Stroboscopic Artefacts) Lucy bypasses the traditional 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 busyness of the crowds assembled 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.

4. Planningtorock – “W” (DFA) Planningtorock’s (Janine Rostron) second album is rooted in the expression of her sexuality, which is conveyed by the swagger and sweaty atmosphere that recall the cabaret clubs in her adopted home of Berlin. The lascivious drawl of her pitched-down voice (as demonstrated with: “I know my feelings” on opener ‘Doorway’ and “I’m a believer of circular/suckular love” on ‘Manifesto’) coupled with staccato strings and thick, sensual orchestration makes “W” a powerful and rewarding release.

3. Morphosis – “What Have We Learned” (Delsin/Morphine) Composed entirely with analogue equipment and recorded over three days, Morphosis’ first full-length is a collection of gritty, percussive clatter that recalls the dirtier side of Krautrock. Built on round bass drums and foggy static with assertive grooves and synths that engulf the listener, “What Have We Learned” is the techno release of the year.

2. Gang Gang Dance – “Eye Contact” (4AD) Building from the suggestions of bright pop displayed on a track such as ‘House Jam’ from their previous album “Saint Dymphna”, Gang Gang Dance have condensed their eclecticism and strengthened the pop melodies to create a highly impressive and ambitious fifth album. Singer Lizzie Bougatsos works her voice as instrument, in a way that justly recalls Karin Dreijer Andersson and Bjork, weaving it among the layers of polyrhythmic dance beats, electro-indebted synth riffs and glassy arpeggios. Key track ‘Mindkilla’ combines unhinged world-dance grooves with Bougatsos’ menacingly singing the lullaby ‘Mockingbird’, which encapsulates Gang Gang Dance’s approach for “Eye Contact”: ecstatic and woozy with an undercurrent of threat.

1. Nicolas Jaar – “Space Is Only Noise” (Circus Company) Much has been said of 22 year-old Jaar’s prodigious talent and his first album is rightly garnering critical acclaim. 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 in place of what could otherwise have been a pretentious clutter.

Honourable mentions:

Wolfgang Voigt – “Kafkatrax” (Profan) In typically eccentric fashion, Voigt has super-imposed his face on to Austrio-Hungarian writer Franz Kafka’s head for the artwork of Kafkatrax. The strange merge goes further with the music contained inside. Every sound except the bass drum is taken from a German audiobook 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 four alien yet groove-filled techno tracks.

http://www.kompakt.fm/releases/kafkatrax_1/embedded

http://www.kompakt.fm/releases/kafkatrax_2/embedded

Spotify playlist:

Vier’s Albums of the Year 2011… so far

February was another month divided in terms of the quality of music releases. I’ll start with the most disappointing releases and build to the best.

First is the self titled début album from Win Win, a trio comprising of XXXchange (Spank Rock), Chris Delvin (of Baltimore DJ duo Devlin and Darko) and visual artist Ghostdad. I’m afraid there’s very little to recommend about this album, outside of its excellent singles ‘RPM’ feat. Lizzi Bougatsos from Gang Gang Dance and ‘Interleave’ featuring Alexis Taylor of Hot Chip and the dreamy yet creepy diversion of ‘Distorted Reality 3’. Everything else is insipid and uninspired house and electro by numbers. A real shame coming from XXXchange, a man whose productions on Spank Rock’s ‘YoYoYoYoYo’ marked him out as someone who could conjure up successful unexpected combinations. On a more positive note I stumbled across the self titled début album by Discodeine at the end of the month and wholeheartedly recommend it anyone looking a new dance music album.

Next up is Beans’ fifth album ‘End It All’ and though there is the odd track , the mournful almost foghorn-like synthetic backing laid over with more rapid fire rhythms of ‘Electric Bitch’, Tobacco delivers his usual analogue buzzsaw synths sound and electro beats on ‘Glass Coffins’ a good match for Beans & the thumping electro beats and grinding synth noises of ‘‘Blue Movie’, that is really great on this album the overall quality is quite low with Beans’ vocals feeling bolted on and often feeling a million miles away from the instrumental, which dominates  instead of complimenting them. I’ve never felt fully convinced of Beans’ ability to perform consistently over a whole album and this is evidence that this time round he can’t but can still produce moments of great chemistry.

A slight improvement again is Asian Dub Foundation’s ‘The History of Now’. This is an album pulling in two directions. On the one hand the band seems to be consolidating its established sound but other tracks promise or display alternatives to or twists on their formula. This could frustrate both newcomers and some long-term fans (I found it a bit frustrating).It is a formula the band have pursued, honed and adapted over the years and it may be starting to wear thin. The last time the band tried to step away from the formula wholesale they produced their only bad album the over-produced and lifeless ‘TANK’. Though ‘The History of Now’ doesn’t stoop to that low, it gets close on ‘Where’s All the Money Gone?’ and ‘This Land is Not For Sale’, it isn’t the band’s finest hour either. A good ADF album, but nothing to match ‘Rafi’s Revenge’, ‘Community Music’ or the underrated ‘Enemy of the Enemy’.

Now to move on the albums that did shine last month. First up: Mogwai’s ‘Hardcore Will Never Die, But You Will’. This a great mixed bag from Mogwai (a band that has been criticised in the past for producing overly samey music across an album) featuring both the familiar epic post-rock tracks that made them an internationally known force and new directions for the band including using a vocoder and development of Neu! and New Order style rhythms and grooves on ‘Mexican Grand Prix’ and ‘George Square Thatcher Death Party’. I’ve read a lot of negative things about the use of the vocoder and more vocal tracks on this album and can’t say I agree with these opinions. The vocoder is employed subtly and sparingly and Stuart Braithwaite’s vocals have always been a good addition to Mogwai’s music and suit the song he sings on here. Overall I think this is Mogwai’s best album since ‘Happy Music for Happy People’ (2003) and comes highly recommended.

Half American half French quartet Paris Suit Yourself produced a stunning début album in ‘My Main Shitstain’. I honestly can’t think of anything to add to last month’s recommendation of this album, you read can that here. Its one of those that you need to buy!!

Finally there was Toro Y Moi’s new album ‘Underneath the Pine’ which 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 rhythms and grooves matched with emotive soundtrack backing and the glorious rush of good pop music, a leap forward from his impressive début ‘Causers of This’. The best album I’ve heard so far this year.

Spotify Playlist:

February 2011 playlist

Coming up on Sonic Fiction in March:

  • The third and last part of Vier’s Three Decades of Techno.

  • A new quarterly column Skipped, Flipped and Missed which will explore the career of an artist who is either underrated or overrated and the reasons why that is. This month’s discusses electronic music pioneers Cabaret Voltaire.

  • Primal Scream’s – ‘Screamadelica’ is in this month Classics Critiqued.

March Recommendations:

Cornershop – ‘and the Double O Groove of…’ (Ample Play) 14th March

Cornershop return with an album that has been six years in the making and is a collaboration with previously unknown female vocalist Bubbley Kaur and fuses Punjabi folk with lo-fi hip-hop. As well as their usual blend of traditional Indian sounds and Western styles, this album adds a further twist as Punjabi folk is usually written by men about women but these songs are written from the female standpoint.

Primal Scream – ‘Screamadelica: 20th Anniversary Edition’ (Sony) 14th March

Primal Scream re-release their Mercury Prize winning classic album to celebrate its 20th anniversary. The album comes in both Limited Collectors and Deluxe Editions.

Wagon Christ – ‘Toomorrow’ (Ninja Tune) 14th March

Luke Vibert returns to his Wagon Christ moniker for his latest album of ‘stoned exotica, ridiculous vocal samples, toothsome puns, swinging rhythm and the psychedelic groove’. There’s not a dull moment on this 15 track strong album, preview and buy it a week early here.

Dadawah – ‘Peace and Love’ (Dug Out) 21st March

This was reissued last summer but I failed to get around to mentioning this exceptional dub-reggae album. At the time I could only find tracks on Youtube to listen to it may be different for this re-pressing.

John Foxx and The Maths (Metamatic) 21st March

The return of electro legend John Foxx in collaboration with Benge (aka The Maths). I’ll be honest I’ve only heard the lead single ‘Shatterproof’ but it was an incredible impressive showcase for these two master of the analogue synth world.

Micachu & The Shapes with the London Sinfonietta – ‘Chopped & Screwed’ (Rough Trade) 21st March

This album is a recording of a one-off live performance between these two unique artists. Micachu and The Shapes début album ‘Jewellery’ impressed critics back in 2009 and their scrap heap percussion and awkward yet infectious melodies found a perfect home on last year Congotronics compilation. This record could be a very different kettle of fish, recorded live last year with an orchestra most famous for reinterpretations of classic Aphex Twin and Squarepusher tracks.

2011 through my (biased) eyes: January

January (and indeed 2011) kicked off reasonably well with ‘Red Barked Tree’ by Wire, a fine combination of subtle dreamy tracks that recalled shoegaze and new wave particularly Bill Nelson’s Red Noise (‘Please Take’, ‘Adapt’, ‘Down to This’) and a more typical Wire sound (‘Smash’, ‘A Flat Tent’ and ‘Two Minutes’ . The highlight of this was ‘Moreover’ with its creepy synth intro slashing guitar riff and effected vocals building in intensity throughout the track ending in a final crescendo. I was initially wrong footed by the dreamy songs, they completely the opposite to image of Wire I have and I was unsure of how they sat in Wire’s career arch. However, a little reading filled in a some gaps in my Wire particular the second phrase of their career in which they secretly pioneered a sound similar to that of the shoegaze bands that would follow them. For me the jury is still out in this way album, though the band do prove not purely trading on past glories. I will be revisiting this album later in the year to try to make my mind up about it.

Another post-punk band Gang of Four returned to the fray this month with ‘Content’ their first album since reforming in 2004. Unfortunately I feel this album is a massive disappointed, hackneyed and lazy reliving and ruining of past glories. For a band that has for so long riled against retro revivals and giving their audience an easy ride, it seems I (and possible many other fans) had Gang of Four all wrong. Minus the original rhythm section and with Andy Gill on production the band has become a pale imitation of its self. Jon King regularly lets the band down on the vocal and lyrically front undermining any political points he may be making, Gill fares better but still lacks the sharpness of his prime and rhythm section is one half lifeless (drummer Mark Heaney) and one part session muso of slap bass duties (bassist Thomas McNeice). These elements all combine to ruin what was which an amazing formula and reduced to a sub par Duran Duran/INXS played by Gang of Four.

Deerhoof were the next band to release a new album in January and I have to say that like Wire they produced a mix bag stylistically speaking. The album veers from Spanish flavoured tracks such as ‘Que Dorm, Nomes Somia’, ‘I Did Crimes for You’ and ‘No One Asked to Dance’, the chugging sprightly guitar powered riff-a-rama of ‘Let’s Dance the Jet’, ‘Secret Mobilization’ and the slightly mellower ‘C’Moon’ and the indie electro of ‘Super Duper Rescue Heads’ and ‘The Merry Barracks’ and a couple more genre de tours too!! This is a band who often can’t sit still for one song and I had to listen to each one several times to really start to get a hold on them, however Deerhoof’s music isn’t difficult possessing much rhythmic and melodic skill and dexterity. I’ve checked out some of band’s back catalogue (and will continue to) and I feel that through this album has some great highlights to maybe feels a little laboured and is maybe a transition to the bands next break through.

The first début album of year to blow my socks off this year is ‘Violet Cries’ by Esben and the Witch, traditional song structure is almost exclusively abandoned in favoured of tense post-rock style structures of building intensity and massive drops. The band has taken massive steps forward since their début E.P. and gothic-folk just won’t cut it as description. True theres goth influences I can hear Siouxsie and The Banshees in a lot of the melodies and textures used across this album, ‘Light Streams’ hints at Battles influence in its spiky guitar arpeggios and exploding drums. ‘Marine Fields Glow’ is a torch that recalls Portishead at their finest and the records ambition is pure Kate Bush. I have a feeling that this could rival These New Puritans – ‘Hidden’ as an ambitious album that successful combines many influences, though I’ll admit that Esben and the Witch’s influences are less varied and diffuse, the two albums share a similar medieval atmosphere.

The Dirtbombs returned with a novel concept album that really could have gone either way. Ten years after they released ‘Ultraglide in Black’ their album of Detroit soul and funk covers they released another celebration of Detroit’s musical history ‘Party Store’ there revising of classic Detroit techno tracks. Starting with a grease, grinding garage version ‘Cosmic Cars’ the album doesn’t really take off until track three ‘Good Life’ which combines heavy drum machine back beat, busy post-punk chicken scratch guitar, funk bass-line and singer Mike Collins falling a little short of the originals vocal heights. ‘Strings of Life’ ups the ante once again but is probably the closest to the original. ‘Alleys of the Mind’ continues a good run of tunes and returns to the grime of ‘Cosmic Cars’ but more successfully. The album’s centrepiece a 21 minutes plus version of ‘Bug in the Bass Bin’ features it composer Carl Craig jamming along on a modular synth and despite its length is the highlight of album, powering it through the remaining three tracks.

Talib Kweli made his return as an independent artist with new album ‘Gutter Rainbows’, a return to form after the overly commercial and guest heavy ‘Eardrum’  (2007). Kweli seems to more at ease and freer, the album’s tone and variety a sign that he may have been under pressure from Warners while making ‘Eardrum’. It’s also telling that all the guests and producers who appear on this album aren’t established major label artists/producers and I think that’s a big contributing factor. The quality on the album only really drops once for ‘How Do You Love Me’ which is a little too limp and sloppy amongst tracks that have a lot more bit and depth. The major highlights are ‘Cold Rain’ (production by Currency producer Ski Beats) and Jean Grae’s appearance on ‘Uh Oh’, however its Kweli whose personality comes across strongest, on what could be his best album yet.

I’ll be adding three new bands to our preview of the year and a new pages that will act as new music and film release schedules.

Just a couple of things to add before we move on to February:

1) You can find links to music news, album streams, our posts and more on our Twitter.

2) We’ve been scratching our heads trying to work out a way that we can share our playlists we more people (Spotify has its limitations). If anyone knows of an app/piece of software/website where we can create playlists from a legal database of music, please feel free to post in the comments or our Twitter. We have thought about Grooveshark but it’s not technically legal and is being sued by many record companies so may not last. iTunes is obvious one but I’ll be honest I don’t like it. So to recap, it has to be free, legal and with a pre-existing database of music that is updated regularly.

Spotify playlist *:

January 2011 playlist

*More tracks to be added as they become available

February recommendations

Asian Dub Foundation – ‘A History of Now’ (Cooking Vinyl) 7th February

ADF return with their seventh album the follow-up to the brilliant ‘Punkara’ (2008), the title track (available at the band’s website for your e-mail address) suggests it business as usual these innovators and that’s no bad thing, lets hope there’s plenty more on the rest of the album.

Beans – ‘End It All’ (Anti-Con) 14th February

Anti Pop Consortium member Beans returns with an album of 13 tracks by 13 different producers and with a smattering of guests. Producer’s include Four Tet, Bumps (Tortoise’s drummer), Tobacco, Clark and many more. T.V. on the Radio’s Tunde Adebimpe sings on the track ‘Mellow You Out’ which is a promising preview for the album. I’ve personally found Beans solo material hit and miss though I’ve lost touch with his solo activities in the last few years, however I think this could prove an interesting record.

Paris Suit Yourself – My Main Shitstain (Big Dada) 14th February

The début album from French-US collective (the first ‘rock’ band to sign to Big Dada) is one that is incredibly impressive while also suggesting areas that could be expanded on in the future. The first knock out album of the year stakes out similar territory to garage-funk band The Make-Up but with a more modern and street wise hip-hop edge. Though vocalist Luvinsky Atche doesn’t sound like Saul Williams his half sung, half spoken vocals are. The Pop Group and PiL also seem like good reference points for tracks such as ‘Decadence’ and ‘Yesterday Make You Cry’.

Mogwai – ‘Hardcore Will Never Die, But You Will’ 14th February (Rock Action)

Another Mogwai album another great album title. Having a few tracks off the album I can honestly say that I think the boys are back up their with their best albums. As is always the case the development from the previous records is subtle and can take a few listens properly present themselves but they are there. More vocals is something they haven’t tried since ‘Happy Music for Happy People’ and its stands up and adds a more human feel and another layer of texture and harmony to the bands sound. Particularly highlights are the corroded guitar drones of ‘Rano Pano’ and the motorik groove of ‘Mexican Grand Prix’ (a real departure for the band).

Win Win – ‘Win Win’  14th February (Vice)

A three-way collaborative project comprising XXXchange (Spank Rock), Chris Delvin (of Baltimore DJ duo Delvin and Darko) and visual artist Ghostdad. Their self titled album is out on Vice on 15th February and features Alexis Taylor (Hot Chip), Andrew W.K., Naeem and Blaqstarr (Spank Rock) and Lizzie Bougatsos (Gang Gang Dance) to name a few. Having only heard one single its hard to say how this sound, however given the people involved its safe to assume it’ll be dirty but sleek and eclectic yet danceable.

Toro Y Moi – ‘Underneath the Pine’ 21st February (Car Park)

Toro Y Moi follows up last years excellent début album – ‘Causers of This’ with an album full of live instrumentation a straight up 80’s funk and pop influences. ‘Still Sound’ and ‘New Beat’ bristle with elastic energy and bounce. An album to brighten up the winter just ahead of spring rebirth.

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