January 25, 2012
2011 was another vintage year for new music – though it must be said a less-than-stellar year for this blog. Time to make a change.
Still, I just about managed to find time to curate my annual CD-sized selection of favourite tracks (not a definitive countdown, please note) from the past 12 months. I’m grateful for my own small mercies.
Click on the Mixcloud embed above to listen. Or, if you’re a VIP, wait patiently for a physical copy to wing its way to you.
Swod is the acronymic name of German duo of Stephan Wöhrmann and Oliver Doerell. Together they crafted one of the most intelligent yet accessible instrumental albums (their third) of the year. “Sans Peau” illustrates its lightly-worn intricacies perfectly.
Nom de plume for Parisian singer-songwriter Pauline De Lassus, Mina Tindle captured critics’ and listeners’ (including this one’s) hearts with her warm, playful chamber pop.
Another slice of grown-up, contemporary pop from the consistent, generous but sadly not prolific Joan Wasser. This cut, with shades of “Cry Me A River” (a good thing, by the way), adds a touch of soul to her indie sensibility.
“She Wants” out-New Waves the New Wave – it sounds so authentic it could have inspired Japan, The Cure and the others over thirty years ago. But it was released in 2011, and sounds fresh too. How do Metronomy do that? Maybe it’s something in the Devon water.
More New Wave reminiscence, this time from elegantly morose Portlanders Blouse. My early enthusiasm for their self-titled debut album has perhaps waned just a touch, but “Into Black” still pulls me into a gratifyingly melancholy dream state.
Ema Jolly – Berlin-based, Czech-descended, England-born Emika – created possibly most accomplished electronic pop record of 2011. Her debut showcases her already coherent vision: meticulously-programmed techno and dubstep sounds wrapped in immaculate song structures. A real treat.
I haven’t heard Ms. Williamson’s Brian Eno-inspired album Pulse, but this blend of her breathy, passionate vocals with Raffertie‘s techno theatrics hits the spot.
Shamefully, the only other album from German sound designer Ben Lukas Boysen I’m familiar (intimate, more truthfully) with is 2008’s Night Falls – a cinematic, ambient, exquisitely dark symphony-of-sorts. Avenger, on the other hand, is a satisfying collection of mostly pummelling dubstep. Trifonic’s take on “With Angels” (click for an insight into the production process) is in fact one of its lighter moments.
This track from Dutch producer/DJ Martyn (Deykers) makes the cut simply as a result of its tip-of-the-hat to my 107th favourite track of the last four decades: Front 242’s “Headhunter“. That it’s also a pleasing little techno interlude is just gravy.
I can’t think of a single way in which this house/techno hybrid could be improved. “So So So” asks little of you but rewards you in spades – a selfless track that only knows how to give. The video is a hand-drawn treasure, and the other two tracks on the EP maintain the quality. Erwan Castex deserved all the plaudits he got in 2011.
Gui Boratto’s 2007 debut Chromophobia remains one of the best dance albums ever released in this blog’s humble opinion. While his third full-length – called, aptly enough, III – doesn’t quite match up, it does have more than a few moments when Boratto’s intuition shines. “Soledad” is one of them.
Sascha Ring (a.k.a. Apparat) toured with a live band for the first time (photo here, video here) to support The Devil’s Walk, his fourth album blending analogue and digital, club and home, headphones and heart. While he may not appreciate the comparison, Apparat brings to mind Radiohead at their very peak.
“Midnight City” was pretty inescapable in the second half of 2011, particularly if you came across E4’s Made In Chelsea or the BBC’s endless Olympic coverage trailers while channel-flipping. I didn’t rate the album as highly as everyone else, but once you hear “Midnight City” its hook remains in your head thereafter. The very definition of catchy.
The most conventional song on Tragedy, a meditation on the Greek play Hippolytus, “Goddess Eyes” nevertheless belies Holter’s beguiling otherworldliness. The album is captivating, bewitching even – we are Phaedra to Holter’s Hippolytus.
Possibly the breakthrough act of 2011, “Video Games” single-handedly propelled Lizzy Grant – Lana Del Rey to her audience – from online backwaters to the global chat show circuit almost overnight. A torch song for meaning and happiness, it brings majesty to the mundane. “Hollywood sadcore”, as the woman herself puts it, is the perfect label.
Swedish neo-shoegaze band I Break Horses’ debut Hearts created a shimmering, beautiful soundworld, though perhaps it lacked just a little light and shade across its 40 minutes. That said, “No Way Outro” does evoke a kind of end-of-innocence feeling that takes a long time to fade after the song does.
Norwegian duo Deaf Center crafted a beautifully haunted album of cello, piano and field recordings in Owl Splinters. I’ve covered the solo work of one member, Erik Skodvin, before. “Time Spent”, however, foregrounds the touch and poise his co-conspirator, pianist Otto Totland.
1:11:51 / ends
May 27, 2011
Concert date: Friday, May 20, 2011
I’ve fallen badly out of the blogging habit over the last few months – and, more regrettably, the listening habit too if I’m honest. I could blame starting a new job, but in any case it’s time to get back on the wagon.
One thing I managed to do was go along to a Miles Of Smiles event at St. Pancras Parish Church last Friday that brought together a trio of ‘beautiful noise’ practitioners, established and new: Christian Fennesz, Philip Jeck and Old Apparatus. I’ve since lost the notes I scribbled during the performance, so this review will be a little more impressionistic than usual.
Fennesz’s set, which closed the evening by a civilised 10pm, saw him push his use of reverb as an active instrument to near total saturation – the originating sounds became almost entirely forgotten beneath layer upon layer of self-sustaining, infinite echo. Yet he maintained a harmonious quality throughout even the most intense, piercing sections of the set.
It was a shame, therefore, that the points of departure for this sonic drenching were Knopfler-esque melodic guitar phrases, albeit with the distortion cranked up a notch or six. They seemed unimaginative, twee even, in comparison to what they became as a result of Fennesz’s deft processing, undermining some of the music’s power as a result.
Fennesz (pictured below, right) announced a new solo EP earlier this week, his first major release since 2008’s Black Sea – Seven Stars (Touch), due for release in July. Based on this performance, I’m tempering my expectations.
The evening opened with a video-augmented laptop set from experimental dub-steppers Old Apparatus, who built a pulsing electronic accompaniment to their audiovisual projections of anatomically-themed scans, scopes and symbols (see main picture, top).
Old Apparatus’ music suits headphone listening better than ‘live’. It is in the detail – much of which was lost (to me) in the perfect atmospheric but imperfect acoustic environment of the church – rather than the vision that they excel.
Nonetheless Old Apparatus – whose identity, typically for the genre, is something of a mystery – provided an absorbing and aptly dark introduction to the evening.
In between Old Apparatus and new Fennesz came the unassuming figure that is Philip Jeck (pictured above, left), “multimedia composer, magician, choreographer and taxidermist” (Wikipedia).
Jeck’s simply wonderful An Ark For The Listener (Touch, 2010), his mediation on Gerald Manley Hopkins’ “The Wreck of the Deutchsland”, is but the latest addition to an outstanding oeuvre of sonic collage-sculptures. His performance here was perhaps slightly freer in its shifting timbres and dynamics but no less coherent than Ark.
One phrase I recall from my now-lost notes from the evening I wrote in relation to Jeck’s set: “meta-drone”. This now seems like pretentious frippery, of course, but at the time felt like useful shorthand for how Jeck (deliberately or otherwise) uses the drone form both within and across his works.
No matter how much variation in sound, tone, rhythm (as distinct from percussion) or atmosphere he injects – which is plenty, by the way – the spell is never broken. Stretched or mutated yes, but never broken.
February 17, 2011
There was a time in the mid-to-late 1990s when the term post-rock was virtually synonymous with Chicagoan noodlers Tortoise, such was the influence of the band’s second album, Millions Now Living Will Never Die (1996).
TNT, the follow-up, was probably the last major release before the post-rock axis’ centre of gravity shifted north towards Montreal, as Godspeed You! Black Emperor released their debut.
Dialling down both the density and intensity, TNT largely swapped out the Krautrock and dub heritage of its predecessor in favour of jazz and ambient influences. Let’s be clear, though: it is neither a jazz nor an ambient album.
Along with “I Set My Face To The Hillside” (a charmingly loungey latin folk number), “Ten-Day Interval” is the most accessible piece on the album. Its hypnotic, iterative, arpeggiated rhythms recall Steve Reich‘s Music For 18 Musicians, of course. But its suggestive quality also reminds me of the film scores of Japanese maestro Joe Hisaishi (Sonatine, Spirited Away and many, many more).
It’s this filmic feel that gives the piece its quiet impact. The portentous chimes and sustained bass draw you into a state of suspended anticipation, as if waiting for something inevitable but profound (whether for good or ill isn’t clear). That the stream of squeaks of burbles at the end outlast the musically straightforward resolution suggests it’s not a narrative with neat closure. Indeed, later on in TNT‘s tracklist, a companion piece, “Four-Day Interval”, reopens its themes in organic slow motion – night to “Ten-Day Interval”‘s day.
As such the two pieces provide the flâneur-hermit (it takes one to know one) with a conspiratorial spur to the imagination that hints at drama beneath the surface of the mundane – the perfect soundtrack to his solitary, headphoned experience of the city.
This review is part of close to 94‘s [midlife 150] series, which counts down favourite music 1970-2009.
Welcome to eMusic Club (info here), February-March 2011
This edition is dedicated to Berlin-based label Sonic Pieces’ latest two releases. SP specialises in small-edition handmade objets of modern classical and experimental music, so downloading MP3s and JPEGs of its output feels a bit wrong. Ah well. Total budget: £5.04
February 6, 2011
The closer on Cat Power’s 2006 opus, The Greatest, “Love And Communication” perhaps (in retrospect) documents singer-songwriter Chan Marshall on the edge of a precipice – shortly after its release she was briefly admitted into a psychiatric ward for mental exhaustion and alcohol abuse.
The album as a whole was her most popular to date, helped by setting Marshall’s purely wrought vocal over immaculate piano and string arrangements along with soulful accompaniment from Memphis session legends Teenie and Flick Hodges, who wrote and played with Al Green at his 1970s peak.
On “Love And Communication” the musicians largely eschew harmonious niceties and the song is all the better for it. Trapped in a perpetual gritty guitar A-E-F-D chord loop and (going by the increasingly strained string pulses) becoming more desperate with each circuit Marshall repeatedly reaches for “something better”. She never quite finds it, but nevertheless clings on to a comforting faith in love and communication.
The bluesy, heartfelt and (comparatively) raw performance creates an impression of carrying burdens too heavy, too formidable, to sustain for long. As the song staggers forward it starts to bend under its emotional weight, each step that bit harder than the last.
When it finally gives out you’re relieved, of course. But you can’t help feeling that if you’ve given up your struggle, what’s left?
This review is part of close to 94‘s [midlife 150] series, which counts down favourite music 1970-2009.