Albums of 2009 - Part II

Without further ado, here is 18-11 of the all important 'Albums of 2009' list:


18. Yeah Yeah Yeahs – It’s Blitz (Polydor)

I’ve always been somewhat ambivalent towards Yeah Yeah Yeahs’ music; the screeching guitars, non-stop energy and Karen O’s yelping have never resonated with me, save for a few songs. “It’s Blitz” marked quite a shift in their sound, and gave a perfect example of how change in today’s fickle industry can be successful. The untamed nature of the YYY’s was harnessed and cultivated into creating exciting and still unpredictable music.

17. Wild Beasts – Two Dancers (Domino)

Hindsight is a funny thing; it enables to view an album in a different light, or even make you wonder why you liked it in the first place. “Two Dancers” fits into the former category in this case. Upon its release in August, I seemed to be the only person stunned at the band’s change of style – critics lavished it with praise, yet I was left clutching my copy of “Limbo, Panto” wondering where their exuberance and flamboyance had gone. More than anything, it felt like it was an album too early. It is only recently that it’s clicked, and “Two Dancers” is clearly the album they needed to make, as little progression could have soon placed their career in the novelty bin. Most pleasing of all, Hayden Thorpe’s powering falsetto has shown no signs of abating, nor has it emerged as a hindrance in achieving success outside the indie stratosphere. More of this and Wild Beasts will soon have more than a cult following.

16. 2562 – Unbalance (Tectonic)

Of the many strains of Dubstep that have emerged recently, and as fast as its rising popularity, the techno-infused movement has proved to be the most exciting and pioneering. Along with Peverelist, Appleblim and Ramadaman, 2562 is leading the way. His debut “Aerial” was 51 minutes of frustrated, encapsulated beats that had just as much in common with minimal techno and dub. “Unbalance” follows this tried and tested formula, but this time Dave Huismans expands his world and makes an ultimately more accessible record. Skittering drums, staccato synths and rumbling sub bass are the order of the day here, and the minimal aspect of “Aerial” is generally lost, with the gaps generously filled. Solid, consistent stuff.

15. Architeq – Gold + Green (Tirk)

Hanging on the fringes of hip hop, soul, broken beat and so called “wonky”, “Gold + Green” is a great example of the amazing music available in abundance by the likes of Hudon Mohawke, Ras G, Samiyam, Dorian Concept etc. Buzzing 80s synths, sharp drums and sci-fi beats make this record so unique, yet it still retains that head-nodding hip hop formula that keeps a congenial aspect to this record.

14. Raekwon – Only Built 4 Cuban Linx Pt. II (ICE H2O)

Not much has changed in Raekwon’s world; he’s still slinging the same old drug raps with his pal Ghostface Killah, along with the whole Wu Tang crew. The difference now, however, is that for the first time in 14 years he’s hungry again, and has considerably upped his game for the sequel to his classic LP “Only Built 4 Cuban Linx”. With stellar guest spots from Method Man, GZA et al, and a who’s who of producers providing the beats, the powerful one-two of Raekwon and Ghostface is revived, with similarly enthralling consequences. Despite the lack of RZA and some filler, this is a must have for any nostalgic hip-hop fan.

13. Deerhunter – Rainwater Cassette Exchange (4AD)

Prolific yet never lacking in quality, Bradford Cox’s alt-rock troupe never fail to being the goods, and “Rainwater Cassette Exchange” continues the underlying pop theme that last year’s “Microcastle” adopted. The noise and experimentalism of yesteryear is gone, but Cox’s introspective lyrics remain, as does his ability to create a never-ending plethora of accomplished songs.

12. Matias Aguayo – Ay Ay Ay (Kompakt)

If there is one genre that likes sticking firmly to the rules, it’s minimal techno. But as always, there is a maverick among the minions, and in this case Matias Aguayo fits the bill. A year since the scene mocking single “Minimal”, Aguayo has crafted a truly unique and forward-thinking record. “Ay Ay Ay” loosely follows the blueprint of techno, but twists it on its head by using his multi-tracked voice as the main instrument, with very little electronic help in the process. Drawing on latin and South American influences, the album follows a simple but entirely absorbing formula that is little more than beats, hummed basslines and chants. If there was ever an argument that dance music is alive and kicking, this is it.

11. Phoenix – Wolfgang Amadeus Phoenix (V2)

This was the album when Phoenix were finally lavished with the praise and attention they so richly deserve, albeit by only a slightly wider audience. The spoon-fed public still remain largely oblivious to them, which confuses me to no end considering the accessibility, warmth and brilliant song writing of “Wolfgang Amadeus Phoenix”. Never dull or saccharine, just 10 entertaining pop songs.

Massive Attack - Heligoland

British trip-hop pioneers Massive Attack have announced details for their first studio album in almost seven years, entitled ‘Heligoland’.

After almost solely completing 2003s’s ‘100^th Window’ by himself, Robert “3D” Del Naja is reunited with Grant “Daddy G” Marshall. As per usual, the album features a host of vocal contributors, including Damon Albarn, Martina-Topley Bird, Elbow’s Guy Garvey and TV On The Radio’s Tunde Adebimpe, as well as long time collaborator Horace Andy.

The album is set for release on February 9 on Virgin Records. The tracklisting is as follows:

1. Pray for Rain

2. Babel

3. Splitting The Atom

4. Girl I Love You

5. Psyche

6. Flat of the Blade

7. Paradise Circus

8. Rush Minute

9. Saturday Come Slow
10. Atlas Air

Furthermore, a remix album by none other than Burial is said to be in works.

New Panda Bear album

In a recent interview with Pedestrian.tv, Animal Collective’s Panda Bear has been discussing his upcoming solo project, albeit rather vaguely.

Coming two years since the release of the critically acclaimed ‘Person Pitch’. Noah Lennox has indicated that his new album will veer away from the sample-heavy songs that he and Animal Collective are so well known for: “It’s going pretty good. It’s been a long process. I’ve thought about it for a long time while we were doing the Merriweather stuff, so I had a long gestation process in my mind but only really started cracking on it in September. It’s kind of scary doing something totally different, like I've been working in a sampler zone for five or six years now. It definitely feels like a new zone, it’s scary but also exciting as well.

“The rhythms are really basic and kind of raw and simple and are electronic. The tone is a lot darker and it sounds sort of dramatic or romantic to me”.

Meanwhile, Animal Collective are set for a new EP entitled “Fall Be Kind”. It will be released on Vinyl and CD on December 15.

Albums of 2009 - Part I

It's that time of year again, when no self-respecting writer has anything else to do but write reams and reams of lists. With it being the end of a decade, list-mania has gone into overdrive this year and I will be posting my Top 50 of the decade in due course. But for now here's Part I of my favourite albums of 2009, which has been a great, if saturated year for music, as is evident in the amount of potentially good albums I have yet to listen to - Simon Scott, RSD, Jonsi & Alex, FaltyDL, Koushik, Clark, Broadcast and Flaming Lips are among those. Anyway, in ascending order I start with 25-19:

25. Bibio - Ambivalence Avenue (Warp)

I've listened to this album for the past couple of weeks now and I've still yet to work out what genre this album falls under. The best way to describe it would be to imagine Flying Lotus creating an album with a guitar; it's an unorthodox mix of 70s pysch-folk, blunted hip-hop beats and a healthy dose of funk. The underlying lo-fi style of the album enhances the classic feel, but overall this is a brilliant record by an artist not afraid to venture outside his comfort zone.

24. The Field - Yesterday & Today (Kompakt)

Released on the influential Kompakt record label, home to many of todays minimal techno luminaries, The Field's Axel Wilner separates himself uniquely from his peers. Swimming with ambiance, dreamy vocals and trance-esque synths, 'Yesterday & Today' feels much like an album, unlike the general tendency in dance music to simply collect singles within any given time period. Music equally for the nightclub and the armchair, this is a vibrant sampler of how techno can push the envelope.

23. Hypnotic Brass Ensemble - Hypnotic Brass Ensemble (Honest Jon's)

Easily the most fun record I have hear all year, Hypnotic Brass Ensemble is comprised of eight horn musicians and a drummer from the South Side of Chicago, all of whom bar one are the sons of Kelan Phil Cohran, a jazz musician who played with Sun Ra Arkestra. The result is a funky, uptempo album, with a distinctly hip-hop influence, including some star guests such as Tony Allen, Flea and Damon Albarn.

22. DOOM - Born Like This (Lex)

Being his first studio album for four years, an absolute eternity in his world, the return of Daniel Dumile in any form was enough to bill 'Born Like This' as one of the most anticipated albums of this fruitful year. Dropping the prefix 'MF' from his name, expectations were largely met, with DOOM still full of the wacky, off-kilter rhymes that makes Dumile such an entertaining rapper. Songs end abruptly, choruses are non-existent, but this is DOOM, and he revels in his role as the perennial recluse of hip hop and clearly doesn't fit into the swaggering egotism so rife in his genre.

21. Arctic Monkeys - Humbug (Domino)

Despite the fact I still fail to see the supposed Josh Homme influence, Arctic Monkey's third album was a bold step forward from their previous two. The jagged guitars, infantile lyrics and youthful ferocity were replaced by a decidedly more mature approach, with no abating in Alex Turner's sharp lyricism. It was bold move on their part, considering the strong 'laddish' fanbase they've built, being one of a handful of bands to be welcomed with open arms by fans not generally acquainted with indie music. It may not have the hit singles that gave them their reputation, but 'Humbug' is the most bright and interesting work the Monkeys have produced to date.

20. Mos Def - The Ecstatic (Downtown)

Perhaps it was his extracurricular activities as an actor that diverted his concentration, but despite his strong reputation Mos Def has been a wildly inconsistent musician since his classic album 'Black Star' with cohort Talib Kweli. Fingers have been pointed at label disagreements, but maybe his heart wasn't in it. Thankfully, 'The Ecstatic' put those worries to rest, a strong, focused album that reasserted his position as one of hip hop's greats.

19. Squarepusher - Numbers Lucent (Warp)

Billed as a counterpart to 2008's "Just A Souvenir", this record is in fact the polar opposite: filled with clattering snares, frantic basslines and a hint of jazz fusion, this is a Squarepusher record that doesn't stop for a breather, and features none of the freeform jazz pieces that often slow his albums down.

New Interpol album

Coming almost three years since 2005’s “Our Love To Admire”, Interpol have announced details of their new album, set to be released early next year.

The band spent spring recording the as yet untitled album, at the Electric Ladyland Studios in their hometown New York.

The band has kept themselves busy with side projects; including singer Paul Banks’ solo project Julian Plenti, drummer Sam Forgarino’s band Magnetic Morning, and bassist Carlos D’s short film.

Forgarino has stated in an interview with Paste magazine that the album will emulate the sound of Interpol’s lauded debut album, “Turn On The Bright Lights”: “The new record falls back towards the first. In trying to move forward, there was an unspoken realization that you can’t let go of your sonic-defining tag. There was an effort in Daniel [Kessler]’s guitar tone; he rediscovered it playing in his loft space for a year without anybody. The quality of that tone, played in a big room, is just beautiful. It creates an atmosphere.”

Liars - Sisterworld

Psych-rock outfit Liars will be returning with their fifth studio LP Sisterworld earlier next year.

The trio, comprised of Angus Andrew (vocals/guitar), Aaron Hemphill (guitar/synth) and Julian Gross (drums), is known for blurring the line between pyschedelia and post-punk, with a tendency to switch styles drastically from album to album.

The release was initially announced via Liars’ Myspace page, which provided a link to the Sisterworld site. The visitor was then greeted with a set of abstract videos that offered little elaboration on album content.

In a statement issued by the band, they explained their vision for the album: “We're interested in the alternate spaces people create in order to maintain identity in a city like L.A. Environments where outcasts and loners celebrate a skewered relationship to society”.

The album was recorded in Los Angeles with composer and producer Tom Biller.

Four Tet - There Is Love In You

The first in my series of five blogs focusing on releases in 2010 kicks off with Four Tet.

The electronica maestro, also known as Kieran Hebden will release There Is Love In You, through Domino on January 25. The tracklisting is as follows:

1. Angel Echoes

2. Love Cry

3. Circling

4. Pablo's Hear

5. Sing

6. This Unfolds

7. Reversing

8. Plastic People

9. She Just Likes To Fight

Love Cry is currently out to purchase on 12”, with a future release on November 23 set to include remixes by Dubstep starlet Joy Orbison and Roska, a leading light in the UK Funky movement.

Four Tet is the alias used by Hebden for his avant-garde, electronic solo output. He is known to create songs with a distinguishable staccato rhythm, influenced by a range of genres such as Jazz, Techno and Hip Hop.

There Is Love In You is set to be Hebden’s first solo project in almost two years, following Ringer in 2008. Earlier this year he released a 12” single with reclusive Dubstep producer Burial.

New DOOM

A typically productive year for everyone's favourite reclusive rapper DOOM (previously MF Doom) hasn't ended yet, much to my delight. On top of releasing solo LP 'Born Like This', compilation 'Unexpected Guests' and, most excitingly of all, announcing plans for a new Madvillain album with Madlib, DOOM will be releasing the 'Gazillion Ear EP'.

The EP will feature single 'Gazillion Ear' and various remixes, including one from Thom Yorke himself. Its set for release on December 7, on 12" and MP3. Here's the original, a highlight from 'Born Like This', which is certainly not the best Daniel Dumile offering but still worth checking out:

The Wire - Why you should watch it....

Last week marked the end of era for me TV-wise, for I finished watching possibly the greatest programme I've ever seen: The Wire.

For the uninitiated, The Wire is a drama set in Baltimore, an American city ridden with crime, drugs and corruption. The focus is primarily on the police department, Western District to be exact, although this is far from an average cop drama. In fact, calling it a cop drama is largely inaccurate, as much screen time is devoted to the other various faculties of Baltimore, including the streets, government, docks, school system, and media. A social portrait of a broken city and its inner-workings.

What sets this TV show apart from CSI, NCIS, Law & Order etc is its intricate detail; the usual one-plot-an-episode format is discarded, and instead each story is seamlessly woven across an entire season, a style more akin to a novel than TV series. With as many characters that The Wire has across its five seasons, you would expect some to be lost in the melee, but i honestly cannot think of another show that has as many dense, interesting characters, particularly Bubbles, a homeless heroin addict who has the most heart-warming story of all, and is probably my favourite TV character ever.

Other notable mentions include rogue cop McNulty, cold blooded killers Chris and Snoop, unscrupulous senator Clay Davis, stick-up artist Omar, drug dealer Bodie and young car jacker Donut.

It is a true testament to the writers that they can manage to make the most amoral citizens seem as normal as the next guy. There is little discerning differences between the cops and the criminals who they chase. Neither is there a hint of sentimentality or cheesy death scenes, everything is produced and delivered so realistically that it is almost like a documentary. Saying that, many of the stories depicted in The Wire are in fact based on real-life people, none of which I will spoil for anyone yet to watch this (I say this yet I doubt anyone reads this....).

Despite this, The Wire isn't a show for casual watching, and demands a fair share of patience and perseverance to get to grips with the slang, amount of characters and the various inter-woven plots. Nothing is explained and no compromises are made for the viewer. But I cannot recommend this highly enough, and am genuinely sad that I'll never see a new episode of The Wire again. Here's one of my favourite scenes:

I thought I'd add a bit of music to this post, seeing this is supposed to be a music blog (before it was hijacked by me bleating about The Wire). Heres some cool tunes I'm liking at the moment:

Brand new Four Tet, which will be included on his new LP coming next January. Even better than his split 12" with Burial from earlier this year.

Smooth, rolling dubstep from Von D, included on the delayed Steppas Delight Vol. 2 compilation.

Not strictly new, but good nonetheless, easily one of the biggest dubstep songs this year.

Taken from one my favourite albums of the year, 5 Years Of Hyperdub, this is easily one the standout tracks from this compilation, and only provides further evidence that Joker's album is going to be incredible.

Man of the moment Matias Aguayo has just released 'Ay Ay Ay', apparently a great album, but I am currently too poor to buy it. All I know is that this song will be HUGE, and I live in fear of its ridiculously catchy refrain being butchered by a car advert or something.

Grizzly Bear w/ LSO @ Barbican, 2/11/09

Continuing the belated nature of my review writing, on Saturday I went to see the hot property of alt-indie at the moment, Grizzly Bear.

No introduction needs to made really; their third album 'Veckatimest' is one the finest releases this year, they've hit the top 10 of the Billboard chart, and can now even count Jay-Z as a fan (!). They have slowly but surely crept up the ranks to the upper echelons of the left-field.

But this was to be no ordinary gig, for they were performing with the London Symphony Orchestra at the Barbican, a venue more familiar with classical and avant-garde musicians. However, this wasn't strictly new territory for Grizzly Bear, as they appeared with the Brooklyn Philarmonic Orchestra earlier this year in New York. Reading this left me longing to witness it myself, so naturally I couldn't believe it when they announced similar plans in London.

The grandeur of the Barbican's Main Hall was certainly befitting of Grizzly Bear, who possess an equally grand sound which makes them a perfect match for an orchestra. The results were largely successful, with many of the songs avoiding the 'band with strings glued on' approach that composer Nico Muhly claimed to have evaded in the programme. Live rarities 'Easier' and 'Central And Remote' were positively illuminated by the additional instruments, as were the more epic, soaring numbers such as 'Ready, Able', 'Colorado' and Knife'. Other instances left a me with a feeling that the orchestra did little to serve a meaningful contribution to the song, and were instead an ornamental feature.

Despite their heavy touring, stage banter doesn't come easy. Even with the orchestra backing them, they still came across as slightly awkward and insular, which may unfortunately become a thorn in their side if they're to gain a strong reputation as a great live band. A sense of detachment lingered in the air at times. That said, the best bands can let the music do the talking; and when Grizzly Bear hit their stride, the effects are staggering to say the least.

Fuck Buttons @ Heaven 27/10/09

I didn't really have a set agenda when starting this blog; who knows where this will take me, or what tangents I'll head off. This blog will certainly be music-centric, and for the foreseeable future I'll be writing reviews, musings, rants and such. Enjoy.

I thought I'd start off this blog by posting a review of Fuck Buttons' gig at Heaven, London this past Tuesday. Bit late I know, but better late than never.......

Fuck Buttons are a two-piece hailing from Bristol, comprised of Andrew Hung and Benjamin John Power. They make ear-bending, bone-crunching music that melds noise, electronica and shoegaze into a chaotic, yet precise sound. They really, really need to be heard to be believed, and I took it upon myself to go watch them in all their live glory.

Calling Fuck Buttons a 'live' band is certainly stretching the definition of a live show, when they simply are two men surrounded by synthesizers, keyboards and various other devices. To say it is aesthetically pleasing would be lying, and a lot is left to the imagination, save for an average light show (to be honest, seeing Radiohead's light show renders anything else substandard).

However, I was well aware that this would be the case; anything extra would have been unwieldy and pointless to say the least.

The duo arrived on stage to little fanfare and plunged straight into 'Surf Solar', the opener from their amazing second album 'Tarot Sport'. Each mesmerizing layer throbbed and pulsed vibrantly without a drop in intensity at any point. And throughout the entire set, not once did the performance feel laborious or strained. It was quite the opposite, as the duo managed to gather the vast swathes of sound into a blissful, cohesive whole.

The apex of the set was 'Olympians', a deluge of swirling white noise calmly reined in by a hypnotic melody. The thundering sound system breathed new life into old favourites, particularly the storming encore of "Sweet Love for Planet Earth', which incidentally received the largest ovation of the night.

On the face of it, Fuck Buttons' music possesses a brutality that renders them impenetrable to the casual listener. Dig deeper and the clear their music is more a barrage of drone and noise.

www.myspace.com/fuckbuttons