Tag Archive: Spank Rock


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)

September was a busy and mostly satisfying month. In addition to the Sonic Fiction’s recommendations from last month there were impressive albums released by Laura Marling, Death In Vegas and A Winged Victory for the Sullen, plus a solid effort from The Duke Spirit, which is well worth checking out if you’re missing the Yeah Yeah Yeahs. Now to those recommendations:

This month’s biggest disappointment comes courtesy of DJ Shadow and his new album “The Less You Know, The Better”. Though I have to agree with those who criticised his last effort “The Outsider”, I actually found “The Private Press” to be a grower and so stayed open-minded about the new Shadow album. However, this unfocused and underwhelming effort needs more than an open mind to get you to like it. Eclectic is the appropriate word for this album and I have no problem with albums that flit between styles and moods, but this album rarely convinces or produces great moments/tracks. ‘Stay the Course’, ‘Warning Call’, ‘Enemy Lines’ and ‘(Not So) Sad and Lonely’ all try for some kind of rock as done by DJ Shadow but they come out bloated and hollow, it’s also not something I’d ever imagine Shadow making as it really doesn’t suit him. ‘Back to Front (Circular Logic)’ and ‘Circular Logic (Front to Back)’ are successful attempts at the atmospheric music that was once this artists signature, they bare a passing resemblance to some tracks from ‘The Private Press’, however they aren’t Shadow’s finest hour  either. Meanwhile ‘Border Crossing’, ‘I’ve Been Trying’, ‘Sad and Lonely’ and ‘Scale It Back’ all revisit the break beat based material Shadow released on Solesides in the mid to late 90’s and though these are better than a majority of material on the album, its feels like he’s on autopilot or way too early for any sort of revival of this style of hip-hop. Overall “The Less You Know, The Better” does prove one thing and that’s if we all knew less about DJ Shadow it’d probably be a slightly more impressive album.

I’ll be honest I’ve found it difficult to get my head around the new Roots Manuva album “4everevolution” and say anything meaningful about it that hasn’t already been stated. It’s definitely his most commercial release to date littered with catchy and clubby tracks, however few of these ever fully convince, his sung vocals are no match for his superior MC skills. It’s great when he gets stuck into some sociopolitical rhyming on ‘Skid Valley’ and ‘Who Goes There?’ the first time he approached such material in years. Although there’s nothing wrong with the music on “4everevolution” it just doesn’t grab me in the way earlier Roots Manuva albums have and doesn’t really suggest itself as a grower either. Still I believe Roots Manuva has it in him for at least one more great album, maybe next time.

The new self titled album from Megafaun certainly covers a lot of ground even introducing some new sounds, styles and instruments on this album. ‘Get Right’ combines the trademark Megafaun sound to Neu! style synth and motorik momentum. ‘Hope You Know’is an emotive and minimal piano ballad, another first for the band. ‘Resurrection’ is an Upbeat electrified folk rock filled out by Rhodes piano and pedal/lap steel guitar. Strings pop up across the album on the warm ‘Second Friend’, the abstract interlude ‘Serene Return’ and album closer ‘Everything’. The band push things out from their usual song based style on the aforementioned ‘Serene Return’, ‘State Meant’ and ‘Post Script’ which work a treat where they could have gone seriously wrong. This is an album that could be a grower, however so was their previous album ‘Gather, Form and Fly’ and repeated listens really paid off with that. It’s too early to tell if this album will equal the previous’ ones highlights but I think it’s worth giving the time to show whether it can or not.

“In The Grace of Your Love”, the long-awaited new album from The Rapture proved to be a mini triumph. Although time will tell us just how good this album is my first couple of spins left me impressed with the bands work. The only real missteps are ‘Rollar Coaster’ (pop era Talking Heads) and ‘Come Back to Me’ (an out-and-out dance tune that sounds like a dance production featuring Luke Jenner than a tune by The Rapture and suffers for it). The rest of album holds up a pretty high standard, the best examples being the rolling disco with post-punk guitars of ‘Children’, the funky title track and its near twin ‘Never Die Again’. Elsewhere the opener ‘Sail Away’ and ‘Miss You’ both combine dance music beats and backing and punchy rock dynamics that feels huge but not over bearing, ‘How Deep is Your Love?’ provides an epic house number and centre piece and closer ‘It Takes Time to be a Man’ is a surprising change with the band taking a soulful piece of with an almost hip-hop beat and feel. The glue that holds all of the album’s strands together is Luke Jenner’s stronger and more soulful vocal delivery, the band plays with a lot of black music influences and reference points but this is the first time Jenner has tried to sound ‘black’ and succeeds in this area most of the time. ‘In the Grace of Your Love’ develops further the sound the band adopted on their last album ‘Pieces of the People We Love’. Add to this the more explicit dance and disco influences that they now better incorporated into their sound and it seem this album will only get better with repeat listens.

“Coracle”, the new album from Kompakt’s Walls, opens with ‘Into Our Midst’, which sees the bass, drums and percussion pushed forward into a techno groove as a looped vocal sound plays against the swirling, arpeggio synths. ‘Sunporch’ continues on from ‘Into Our Midst’. A commanding bass line pulses through hi-hats and percussion and small snatches of melodies ebb and flow in the thick cloud of synths and guitar. Most of the tracks continue in this manner. “Coracle” is a seamless continuation of Walls’ debut and isn’t a great development of their sound. It is, however, a bolder, more confident release that emphasises percussive groove and harsher guitar buzz underneath the syrupy gauze of synths. ‘Raw Umber / Twilight’ begins with the background chatter that arose in earlier track ‘Vacant’ then unfurls into twinkling melodies and glassy synth arpeggios bedded into warm, hazy techno. This is the most beautiful track on the album and the one that condenses the album’s strongest elements into a potent song that perfectly encapsulates Walls’ sound.

“Get Lost” the new album from Mark McGuire came in for a bit of stick in The Wire magazine’s recent review. The reviewer claimed McGuire wasn’t contributed anything new to the ‘kosmische musik’ revival he and his band Emeralds are part of. I don’t believe that Mark McGuire and his band mates have never claimed to contributing anything new to this style of music, I think they’d readily admit being guilty of recreating the music of Tangerine Dream, Ash Ra Tempel and Cluster in their own way. As such this album is very similar to a large amount of McGuire’s back catalogue and with the first extensive use of guitar-synthesizers; instead of his trusty guitar-synth it moves his material closer to that of the ‘kosmische musik’ of Emeralds. A section of the album also sees a first for McGuire as he uses vocals on ‘When You’re Somewhere’. ‘Alama’ and ‘Alma (Reprise)/Chances Are’, the most explicit use of these is ‘Alma’ and it’s a success the warmth of McGuire vocals compliment that of his music. All the typical traits of McGuire’s guitar playing are present especially his fuzz lead lines and repetitive yet hypnotic delay heavy rhythm patterns, the album also features a lot of acoustic guitar which also featured prominently on last year’s “Living With Yourself”. It’s the synth drones and arpeggios though that dominates, and is the biggest departure for McGuire. “Get Lost” slots easily into McGuire hefty back catalogue and will delight long time fans, it may not add anything to ‘kosmische musik’ but that doesn’t mean it’s not an album that’s well worth having.

After 5 years Spank Rock returned this month with his second solo album “Everything is Boring and Everyone is a Fucking Liar”. Overall the album is a stormer combining tracks that consolidates what he’d achieved on previous album “YoYoYoYoYo” and 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 pulls off 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 greatest success on the album. During the second half of the album the majority of 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 début 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!

Another release on Kompakt is Gui Boratto’s “III”. His previous releases “Chromophobia” and “Take My Breath Away” are built on staccato rhythms that trip over themselves and push and pull against arpeggiated synths and gently overdriven, poppy melodies. “III” is all about slower grooves and dark, searing techno. Twin tracks ‘Geluchat’ and ‘Stems From Hell’ sound like Gui Boratto deep in Berghain. 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. This opening set also explains the black cover. Where the covers of Boratto’s previous albums are vibrant reds and blues, ‘III’ is hard and confrontational. It demands to be played loud. Next track ‘Striker’ features, for the first time, vocals from Gui Boratto and recalls Madga’s awe-inspiring basslines and her inclusion of sinister post-punk tracks in her mixes. Disappointingly the final track ‘This Is Not The End’, which features his wife Luciana Villanova, feels like a misstep and is too lightweight against the abrasive, pummelling techno. Finishing with ‘The Third’, a floating track of held chords and delayed melodies would have been a great finale; the sun rising after a night of dancing.

Kid Koala’s “Space Cadet” was definitely the best album experience this month. The “Space Cadet” CD accompanies the graphic novel of the same name perfectly. Kid Koala balances the need for musicality with an atmospheric and emotive sound that never fills contrived. Reading along with the soundtrack heightens everything on the page and the album stands up brilliantly on its own. A fine demonstration of this artist’s constantly developing skill as a composer and creator of turntable music that is capable of expressing emotion beyond humour.

This month’s best album is definitely Apparat’s “The Devil’s Walk”. I’ll admit that his last solo album ‘Walls’ did take quite a while to grow on me and reveal it charms. Not so this time Apparat now displays his ability to write both immediate and engaging material that is rich both in hooks and melody as it is in deep harmony and atmosphere. Fans of ‘Walls’ will not automatically recognise this as the Apparat they know and love. In fact that album has a lot more in common with his collaborative project Moderat (the best of this is ‘Song of Los’) and the ‘Orchestra of Bubbles’ album with Ellen Allien  particularly the string sounds employed throughout this album. ‘The Devil’s Walk’ occupies similar territory to the Moderat album with a dark, Gothic atmosphere and medieval sounds a constant throughout. The cover echoes these influences and this album coming out on electronic music pioneers Mute Records and at time indirectly recalls Depeche Mode at the finest. Apparat’s vocal’s even sound like Marc Almond (of Soft Cell fame) 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 emotional evocative.

Spotify Playlist:

September playlist

Coming up in October on Sonic Fiction:

Classics Critiqued – “The Modern Dance” by Pere Ubu

Recommendations – October

3rd October

Zola Jesus – “Conatus”

‘Vessel’, the first single recalls a gloopier ‘Enjoy’ by Bjork or perhaps a b-side from Homogenic while second single ‘Seekir’ promises a leap in production and instrumentation for her second album. Developing from ‘Stridulum II’, Zola Jesus allows the fervant electronic drums and wet synths to drown her voice before rising into one of her soon-to-be-trademark choruses.

10th October

Bjork – “Biophilia” (Nonesuch/One Little Indian)

Bjork doesn’t do anything in half measures. She is guaranteed to put her heart in every one of her albums and “Biophilia” continues this stream of strong artistic statements. First single ‘Crystalline’  is filled with delicate, glassy timbres, fizzing electronic drums and a female choir that celebrate Bjork’s proud return before jungle drums explode out of the ether. Critics may complain this is just a repetition of previous albums but “Biophilia” feels like a great comeback after four years away and really she could do almost anything and it would still top most albums around.

The Field – “Looping State Of Mind” (Kompakt)

Sweden’s Axel Willner (The Field) returns with his third album on Kompakt. “Looping State Of Mind” neatly builds 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 warm synth arpeggios, droning, pulsing pads and that  Kompakt schaffel. The eponymous loops feel like they could last forever; building and dropping and shuffling.

Wolfgang Voigt – “Kafkatrax” (Profan/Kompakt)

The Kompakt co-founder collects the Kafkatrax vinyl releases on a 10 track CD. Hearing the tense, disembodied voices, taken from audiobooks of Franz Kafka’s works, stretched and clipped and set against a never-ending bass drum is a fascinating listen in one unbroken stretch. The release is perfectly fitting for the idiosyncratic Voigt and Kafka’s paranoid, dystopian words.

August promised plenty with a good haul of releases to listen to, however a lot of acts delivered disappointing or average albums with the exception of Balam Acab hard to define debut and the latest offering from Steve Malkmus and The Jicks.

I’ve been genuinely struggling to come up with anything to say about “West” by Wooden Shjips, August’s biggest disappointment. Almost all the track bar the closer ‘Rising’ are practically identical only changing in tempo and intensity. The same elements are used throughout – fuzzed guitars, organ melodies, motorik drums and the only difference is from previously releases is that Ripley Johnson’s vocals are higher in the mix. The repetition on this album is boring and not hypnotic which is what the band was aiming for. My other big problem with the album is that there’s little to distinguish it from its influences Neu!, Spacemen 3 and the Velvet Underground, in fact you’d be better off buying an album each of those artists. There seems little point in repeating this music unless you can find some way of putting a personal stamp on it. Wooden Shjip’s have had a lot of of critical praise heaped on them and are supposedly the best of this type of music and the previous albums I’ve heard suggest they are good at what they do. However, even when on form I’m not convinced enough to buy one of their albums.

The new CSS album “La Liberacion” is a rather eclectic mix from the electro reggae of single ‘Hit Me Like A Rock’ featuring Bobby Gillespie to punk stylings of the title track and ‘Ruby Eyes’ via the breezy pop of ‘Partners in Crime’. Overall this is a very polished effort from the band that had thrilled us with the lo-fi feel of their debut album, in fact song like ‘Rhythm to the Rebels’ and the title track remind me of that album. Though the music itself successfully achieves a move into pop music territory the vocals of Lovefoxx leave a little to be desired. It’s not that I think she’s a terrible vocalist or that she needs to be a pitch perfect singer far from it, some of my favourite vocalists are often accused of not being able to hold a note. But against a more sophisticated backing she struggles to hold her own sometimes to the point of it being irritating. This album of exuberant pop that will delight many, however it’s often just a little too light weight for my tastes.

“Watch The Throne” is a hit and miss selection from Jay-Z and Kanye West that and doesn’t quite deliver to their usual high standards. Maybe if they’d stuck with the original mini-album format they’d have had a higher hit rate and tighter concept. Having said that it’s not all bad by any means and it’s interesting to hear Jay-Z able to adapt to the often up tempo and electronic beats and sounds that dominate the album. Highlights include the rolling bass line and cinematic strings ‘No Church in the Wild’ feat Frank Ocean, ‘Niggas In Paris’ which features a great section were Kanye slurs his first verse along to the lurching electro beat, the soul filled single ‘Otis’, the emotive piano stampede of ‘Murder to Excellence’ and the surprisingly successful ‘Made in America’ feat. Frank Ocean which manages to stay the right of mawkish. However, there’s a lot of throw away material that fails to make an impact and sounds like it was thrown together in five minutes. ‘Lift Off’ featuring Beyonce doesn’t quite make it as the big moment as it could have been but is an interesting combination of R&B/electro and hard(er) edge hip-hop beats, ‘That’s My Bitch’, ‘Welcome to the Jungle’ and ‘Why I Love You’ feat. Mr. Hudson are the worst the first two feel lightweight and the lead sounds are annoying and the later features liberal use of Auto Tune that would work fine if it wasn’t for the awful 80’s guitar work playing in the background. The remaining tracks are all pretty middling fare and unfortunately with the possible expectations of ‘No Church in the Wild’, ‘Niggas in Paris’ and ‘Murder to Excellence’ I can’t see these tracks being remembered long after this year.

Tinariwen’s “Tassili” was an album that felt like a disappointment from an act that has proved to be very consisent across previous releases. However, there return to their acoustic roots sounds flat and their collaborations on this album are hit-and-miss the contributions of TV on the Radio Kyp Malone and Tunde Adebimpe are the main disappointment, being left adrift on the chorus of ‘Tenere Taqqim Tossam’ where I was hoping they’d combine their unique harmonies with those of Tinariwen, but this never happens. Nels Cline’s slide guitar is an improvement but sometimes dominates the music too much, the only real success is The Dirty Dozen Brass Band’s deep and probing harmonics on ‘Ya Messinagh’. Elsewhere the band consolidate on previous triumphs or deliver inspid acoustic takes on them.

The new Sun Araw album ‘Ancient Romans’ is a bit of a mixed bag on first listen. The first three tracks (‘Lucretius’, ‘Crown Shell’ and ‘Crete’) and closer ‘Impluvium’ are big disappointments for different reasons, the first three mainly because they are too busy and seem to miss the whole point of Sun Araw’s repetitive and meditative music. ‘Impluvium’ lets itself down as it starts off seemingly to use modern production techniques such as chopped up vocals which is a first for Sun Araw however it ends up sound like antiquated rave music slowed down. The album isn’t a complete disaster and when it’s good, it’s very good. ‘At Delphi’ and ‘Fit for Caesar’ are cinematic and drone based triumphs that take what great about Sun Araw and times it by 100. ‘Lute and Lyre’ has its moments too starting off feeling a little weak it slowly draws the listener in and transfixes them, however this is spoilt by Stallones not being able to resist over complicating parts and flooding the mix.

Balam Acab’s ‘Wander/Wonder’ is one of the best albums I’ve heard this month, though it is disappointingly short at only 36 minutes and he does have a habit of repeating the same stylistic elements again and again. However, Acab’s grasp of music theory combined with his unique aesthetic are enough to ensure the quality of this release. At its best the album perfectly balances the digital and the organic, the tense and the relaxing, the watery and the bone dry, the artificially processed and real world sounds. Along with his label mates such as ooOoo and Clams Casino, Balam Acab is carving out his own sound world and it one that’s a great place to be.

I’ll admit that I haven’t paying much attention to what Steve Malkmus has been up to since he released his self titled debut solo album in 2001. At the time I was a huge Pavement fan and desperate for something to come out from Malkmus, the leader of a band I’d become obsessed with in my teens. However the following albums just seemed to bring more and more songs that sounded like pale imitations of Pavement songs and I drifted away from the alternative rock. After reading that there was a new Malkmus album due and it was being produced by Beck my interest was piqued. It turns out Malkmus is firing on all cylinders (I’ll have to revisit the previous four albums now as I feel I may missed out) and has delivered an eclectic album full to the brim with tunes. From the opening ‘Tigers’ (which reminds me of ‘Range Life’ by Pavement) to the closing ‘Gorgeous Georgie’ (the album most relaxed song) Malkmus delivers. The highlights include the folk inspired ‘No One Is (As Are I Be)’, the rambunctious single ‘Senator’, the funky and spare take on Alt. Rock of ‘Brain Gallop’ and ‘Stick Figures in Love’ which has a middle 8 that reminds me of ‘Third Uncle’ by Brian Eno and the bouncy ‘Forever 28’. The album’s second half features a selection of quieter, slower and more contemplative songs (‘Long Hard Book’, ‘Jumblegloss’, ‘All Over Gently’, ‘Fall Away’ and ‘Gorgeous Georgie’) which show that Malkmus is not a one trick pony . Another way forward is the increased usage and presence of The Jicks great rhythm section who on tracks like ‘All Over Gently’, ‘Forever 28’ and ‘Brain Gallop’ they suggest new rhythmic avenues for the band to explore in future. Even when “Mirror Traffic” sounds like Pavement I realise this no bad thing as Malkmus on top form equalling the legacy of his former band and not a creating pale imitations of his former glories. All power to the former Pavement man’s elbow!

Spotify playlist:

August 2011 playlist

Coming up in September on Sonic Fiction:

Classics Critiqued – “Thrills, Pills and Bellyaches” by the Happy Mondays – sorry that there was no Classics Critiqued in August I was unable to find any information when researching the piece on “Mr. Brubaker’s Strawberry Alarm Clock” BY Neotropic. This release come highly recommend to any fans of Ninja Tune artists!

Recommendations – September

Key * = albums that I’ve already heard, so I’m sharing my intial thoughts on them

^ = albums recommended by our electronic music columnist Vier

~ = this album release has been moved to the 3rd October

The Rapture – ‘In the Grace of Your Love’ (DFA, 5th September) *

The long awaited new album from The Rapture proves to be a mini triumph. Although time will tell us just how good this album is my first couple of spins left me impressed with the bands work. The only real missteps are ‘Rollar Coaster’ (pop era Talking Heads) and ‘Come Back to Me’ (an out-and-out dance tune that sounds like a dance production featuring Luke Jenner than a tune by The Rapture and suffers for it). The rest of album holds up a pretty high standard, the best examples being the rolling disco with post-punk guitars of ‘Children’, the funky title track and its near twin ‘Never Die Again’. Elsewhere the opener ‘Sail Away’ and ‘Miss You’ both combine dance music beats and backing and punchy rock dynamics that feels huge but not overbearing, ‘How Deep is Your Love?’ provides an epic house number and centre piece and closer ‘It Takes Time to be a Man’ is a surprising change with the band taking a soulful piece of with an almost hip-hop beat and feel. The glue that holds all of the album’s strands together is Luke Jenner’s stronger and more soulful vocal delivery, the band plays with a lot of black music influences and reference points but this is the first time Jenner has tried to sound ‘black’ and succeeds in this area most of the time. ‘In the Grace of Your Love’ develops further the sound the band adopted on their last album ‘Pieces of the People We Love’. Add to this the more explicit dance and disco influences that they now better incorporate into their sound and it seems this album will only get better with repeat listens.

Gui Boratto – “III” (Kompakt, 12th September) ^

The Brazillian techno artist returns with his third album for Kompakt. ‘The Drill’, an EP taken from the album, shows the emotive, harmonic approach  of his two previous albums imbued with a bold darkness.

Kid Koala – ‘Space Cadet’ (Ninja Tune, 19th September)

The Canadian turntablist and cartoonist returns with a “still picture score” for his new graphic novel. In addition to unique and amazing turntable skills their is room for new instruments including strings, horns and marimba. Can preview ‘Space Cadet’ at Ninja Tune’s website.

Megafaun – “Megafaun” (Crammed Discs, 19th September) *

The new self titled album from Megafaun certainly covers a lot of ground even introducing some new sounds, styles and instruments on this album. ‘Get Right’ combines the trademark Megafaun sound to Neu! style synth and motorik momentum. ‘Hope You Know’is an emotive and minimal piano ballad, another first for the band. ‘Resurrection’ is an upbeat electrified folk rock filled out by Rhodes piano and pedal/lap steel guitar. Strings pop up across the album on the warm ‘Second Friend’, the abstract interlude ‘Serene Return’ and album closer ‘Everything’. The band push things out from their usual song based style on the aforementioned ‘Serene Return’, ‘State Meant’ and ‘Post Script’ which work a treat where they could have gone seriously wrong. This is an album that could be a grower, however so was their previous album ‘Gather, Form and Fly’ and repeated listens really paid off with that. It’s too early to tell if this album will equal the previous’ ones highlights but I think it’s worth giving the time to show whether it can or not.

Apparat – ‘The Devil’s Walk’ (Mute, 26th September)

The German electronic music producer returns with the follow-up to his critically acclaimed album “Walls”. The two pre-release tracks ‘Ash/Black Veil’ and ‘Black Water’ show a new Gothic atmosphere pervading throughout. This seems like the perfect record to release on Mute Records who Apparat decided to release this new album through.

Roots Manuva – ’4everevolution’ (Big Dada, 26th September)

Roots Manuva returns with his fifth (official) studio album, which is reportedly an eclectic 17 track affair that covers everything Mr. Manuva has done thus far and much more. You can download first single “Watch Me Dance’ here.

Mark McGuire – ‘Get Lost’ (Editions Mego, 26th September)

McGuire’s third release on Edition Mego in under 2 years sees him recording all new material completely digitally (a lot of Emeralds and McGuire previous releases were recorded to tape) with a combination of electric and acoustic guitar, vocals (is this a first?) and guitar-synth. As a huge McGuire fan I (Liam editor/founder of Sonic Fiction) can’t wait!

DJ Shadow – ‘The Less You Know The Better’ (Island, 26th September 2011 ~)

DJ Shadow is back and the early signs are good after he released two tracks destined for this latest release. However, after being stung by ‘The Outsider’ some fans might be reticent about this new release. However, I’d say give it a shot as ‘The Private Press’ was a grower for me and it paid eventually.

Spank Rock – ‘Everything is Boring and Everyone is a Fucking Liar’ (Bad Blood, 26th September) – Its been along time coming but the follow-up to ‘YoYoYoYoYo’ is finally here!! Featuring all the usual members of Spank Rock plus Boys Noize has produced some tracks including the Can sampling ‘Energy’, which you can download here.

Walls – “Coracle” (Kompakt, 26th September) ^

The duo’s second album sees them once again capture a shimmering sound with swirling layers of guitars and synths and as first single ‘Sunporch’ displays they have now grounded their synth washes in authorative bass lines. ‘Coracle’ is an album to watch for Kompakt’s continuing evolution.

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