Here are some albums from 2014 that I enjoyed in 2014. Ranking everything in one list would be arbitrary, so I didn’t. There’s a Spotify megamix containing some of the songs I mention, and some I don’t, here. Continue reading 20 in 14
For anyone with more than a casual acquaintance with Aphex Twin‘s 1990s output, the first hearing of “minipops 67 [120.2] (source field mix)” is a sobering experience. There’s the healthy dose of weirdness—disembodied voices, a constantly shifting structure, wonky tunings and a random diversion into jungle—that denotes this is the work of Richard D. James. But there’s also a classical sense of proportion and beauty—think of those celestial synths, the timely intervention of piano—that feels unexpected, and unexpectedly comforting. Continue reading Our love, our music
Loose-limbed percussion, creeping polyrhythms, cavernous bass. Kieran Hebden (Four Tet) has constructed an unexpectedly cohesive quasi-album from the string of isolated singles he’s released since 2010’s There Is Love In You. The lightly flanged guitars are back, with tasteful vengeance; new to the scene is the occasional foray into kosmische territories. These songs are long, but they don’t overestimate the listener’s attention span. New textures swirl in like migratory birds; on the closing track, there is even ersatz birdsong. Continue reading Hebden’s pink patch
I think this might be the most beautiful remix in the history of sound.
With thanks to Tamara Berber, who told me to listen out for the harmonic pings at around the 3:50 mark.
Isn’t it great, or at least interesting, when people not really interested in guitar-based music make loosely guitar-based music? The Cumbrian foursome Wild Beasts now make delicate, pattering art rock, under which trickle gurgling, questioning electronics seemingly informed by Oneohtrix Point Never, Caribou and Emeralds. And, when they play London’s Shepherd’s Bush Empire this Wednesday, both the opening acts will be experimental, firmly electronic—Norfolk’s Luke Abbott and the droning Braids.
Consider the final three songs on Wild Beasts’ most recent album, Smother. “Reach A Bit Further” lopes along simple, repeatable plucked chords but, halfway through, these are supplemented by lingering synthesised chimes and vibraphones which ultimately engulf the track. “Burning” (see above) is even stranger, with salvaged miscellany fashioned into Oriental reeds and reversed-prepared-piano. As the composition builds, massed wailing voices threaten the prettiness, as do gloaming synth pads and Tom Fleming’s forlorn baritone. Finally, there is “End Come Too Soon”, which begins canonically enough but soon drops out into an ambient, drifting passage. When the song, proper, cuts back in, it harnesses the playful experimentation and spurs it on into the anthemic.
This week sees the release of a new Kate Bush album, 50 Words For Snow. Bush is often seen as a reference point for Wild Beasts: both acts are blessed with easily identifiable lead voices, a passion for the pastoral, and also a similar aesthetic in their arrangements. And, according to Joe Kennedy of the Quietus, other contemporary records evoking a similar mood to the Bush album are from as experimental a stable as the acts I mention in relation to Wild Beasts: Burial’s Burial, and Plastikman’s Consumed. The circle, it would seem, has been completed.
This time last year, I bored you all to death with my fifteen favourite albums of 2009. At the time, I suggested my list was not very useful because I had spent much of the year catching up on older music thanks to Spotify.
A year on, plus ça change. A friend told me he was surprised to see Fleetwood Mac extremely high on the list of most-listened to music on Spotify. I told him I was probably the reason behind this.
Nevertheless, for (non)completists’ sake, I shall persist with this probably pointless exercise. It might give you some weird insight into my warped tastes, at least.
Because I don’t wish to look like a slacker, you can also expect me to publish a list with albums I will get round to listening to in the near future. Continue reading Under-informed profligacy – Favourite Albums of 2010