A blog on gigs, music, art and London.

Saturday 31 December 2011

Top 100 Albums Of 2011


2011 has been another amazing year for music, and albums in particular.

Below is a list of 100 that I enjoyed listening to over the course of the year.

As always I should thank various people/websites/publications for helping me discover these amazing albums. So – my thanks go out to The Wire, The Liminal, musicOMH, Stuart Maconie’s Freakzone, Headphone Commute, futuresequence, Fluid Radio, Boomkat, eMusicLate Junction, Tom Ravenscroft & Gideon Coe.

100) Laura Cantrell - Kitty Wells Dresses
It has been a while since Laura Cantrell released new material and although this was essentially a tribute to country singer Kitty Wells it was still a very welcome return. I saw her play much of it at a lovely show at Union Chapel earlier in the year.  

99) Miracle Fortress - Was I The Wave?
I had enjoyed Five Roses, the first Miracle Fortress album and expected the second to follow in similar suit but Was I The Wave? saw Graham Van Pelt move in different musical directions. I gave it a slightly lukewarm review for musicOMH, but further listening showed this may have been a little harsh in retrospect. 

98) Terrors - Lagan Qord
Lo-fi, warped guitar-folk musings from Elijah Forrest, each track covered in a nice thick coat of surface hiss that helped the album foster a real intimacy. Maybe an album for those that found the Josh T. Pearson album a little underwhelming (like I did).
  
97) Other Lives - Tamer Animals
Alt-orch-rock that possessed elevated harmonies and a widescreen sound. In terms of mood it occasionally reminded me of Midlake circa The Trials Of Van Occupanther.

96) Pechenga - Helt Borte 
Quietly nuanced, delicately synthesised musical landscapes from Norwegian duo Rune Lindbaek and Cato Farstad.

95) Jonathan Wilson - Gentle Spirit
A lovely collection of mellow, unobtrustive songs from Laurel Canyon based folk musician Wilson (one of several great albums released on Bella Union in 2011).

94) Sidi TourĂ© - Sahel Folk  
Earthy, gently hypnotic Malian guitar-blues from Sidi Touré, at times recalling the work of fellow countryman Ali Farka Toure.

93) Mountains – Air Museum
Air Museum was a worthy follow up to 2009's excellent Choral. The acoustic elements of their earlier work were largely absent on this album, the sound being far more electronic in nature resulting in arguably a more dynamic listen.

92) Kontakte - We Move Through Negative Spaces
An impressively cinematic album from upcoming post-rock outfit Kontakte. I reviewed it for musicOMH.

91) Tamikrest - Toumastin 
They quite often (and to an extent understandably) get overlooked in favour of fellow Malian countrymen Tinariwen but second album Toumastin saw Tamikrest consolidate their position as a desert blues outfit of some distinction.

90) Moritz Von Oswald Trio - Horizontal Structures 
A series of five free-moving, unconstrained, dub-informed pieces rich in sonic detailing. The album title was particularly apt, conveying the linear and spatial dimension to the music.

89) Contemporary Noise Sextet - Ghostwriter's Joke 
Their name may have suggested music of a slightly different nature but Ghostwriter’s Joke proved to be an album of momentum-rich, eminently listenable modern jazz.

88) The Civil Wars - Barton Hollow 
The comparison has probably been made before but the closeness to the collaboration between Alison Krauss & Robert Plant from a few years ago hinted at the quality on display here. Emotive, tender and at times simply spine-tingling modern country music.

87) Laura Veirs - Tumble Bee
July Flame was my favourite album of 2010 and Laura followed it with Tumble Bee, a collection of songs primarily for children but one that also held wider appeal. I reviewed  it for musicOMH. 

86) High Wolf - Etoile 3030 
Dubby textures, distorted guitar sounds, oblique electronics all sat together in pleasingly murky fashion on Etoile 3030. I really need to find time to listen to full length album Atlas Nation that came out later in the year. 

85) Gang Gang Dance - Eye Contact 
The fifth album from Gang Gang Dance was an enjoyably headspinning affair, both vivacious and exotic (and overspilling with ideas as usual) but seemed to be much more cohesive and focused than some of their other work.

84) Semiomime - From Memory 
An intriguing album of electronica that incorporated swirling ambient passages, scattered beats, spectral effects and melodic strands. 

83) Luup – Meadow Rituals 
A sparse and icy coming together of modern classical and contemporary European folk.

82) Fourcolor - As Pleat
Beautiful guitar-based ambient creations from Japanese musician Keiichi Sugimoto that sounded so natural and unforced.

81) EAR PWR – EAR PWR
North Carolina EAR PWR duo returned with their second album, full of effervescent, energetic, melodic leftfield pop that reminded me of John Peel favourites Solex (which I discovered kind of appropriately via his son Tom Ravenscroft’s fine 6Music radio programme).


80) A Hawk And A Hacksaw - Cervantine 
Cervantine successfully exhibited A Hawk And A Hacksaw’s  irrepressible musical spirit, vitality and energy.  Jeremy Barnes answered some of my questions for musicOMH.

79) Rene Hell – The Terminal Symphony
A stimulating album of experimental electronic-chamber music released on the excellent Type label.

78) Hallock Hill - The Union
A painstaking album of beautifully dexterous solo guitar that seemed equally concerned with soundtracking the natural environment as human moods and emotions.

77) Mark McGuire - Get Lost
The second solo release from Mark McGuire saw melodic guitars (both acoustic and electric) interplay warmly with keyboards and vocals to create a very listenable album that came close to matching some of his work with Emeralds.

76) Hong Kong In The 60s - My Fantoms
I came to this album later than I should have but having finally heard it immediately fell for its hazy, languid, sepia-tinted, synth-led alternative pop.

75) Marcin Wasilewski Trio - Faithful 
Piano-led beautiful, melodically propulsive jazz from the Marcin Wasilewski Trio which saw them maintain the high standards achieved in their earlier releases.

74) Ezekiel Honig – Folding In On Itself
Organically constructed, ambient micro-soundworlds from New York musician Ezekiel Honig. Rich in found sounds and soft electronic textures, this was an album that invited deep, close listening.

73) Jonny - Jonny
I saw Euros Childs and Norman Blake play two shows as Jonny this year (at Water Rats and The Borderline), that were equally heartwarming and rough-around-the-edges but their album was a much more accomplished experience. Candyfloss should have really been something of an indie-pop-hit.

72) Ensemble - Excerpts
The music on Excerpts veered between sophisticated Gallic orch-pop and Yann Tiersen-style soundtracks and had a real depth and svelte beauty to it.

71) Ryan Teague - Causeway
Ryan Teague’s 2008’s Coins & Crosses was a particular favourite of mine with its seamless mix of modern classical and textural acoustic guitar. On this album he concentrated exclusively on guitar based compositons (to equally beguiling effect).

70) Illuha - Shizuku
Shizuku borrows some of the structures from post-rock, but gently transforms them into something more beautiful via strings and acoustic guitar. A meditative and subtly evocative album on the excellent 12k label from Tokyo based musicians Corey Fuller and Tomoyashi Date.

69) John Vanderslice – White Wilderness
I’ve been a big fan of John Vanderslice for many years now and White Wilderness showed his versatility and reinforced his abilities as a songwriter. I saw him play a show at the Lexington earlier in the year (where he slightly strangely preferred to focus on his back catalogue).

68) Inch-Time - The Floating World
In my review for musicOMH I described it as “a satisfying album of unassuming, cerebral electronica” and looking back I think that’s a fair summary of Stefan Panczak’s third album under the Inch-Time guise, which never became any less listenable as the year passed.

67) The Caretaker - An empty bliss beyond this world
An album that seemed to be from a different time, most notably in its appropriation of Gershwin-esque piano pieces that have been coated in a murky layer of dusty, crackling sounds giving the impression they have been eroded over time.

66) Marius Neset - Golden Xplosion
A stand-out jazz album from Norwegian saxophonist Marius Neset. I was fortunate to see him play a thrillingly powerful and insistent show at Kings Place and this album goes some way to capturing the energy of his live performance.

65) Prefuse 73 - The Only Chapters
An abstruse, dense and textural album featuring various female guest vocalists over the course of 18 tracks (each beginning with 'The Only' hence the title). In particular The Only Hand To Hold (with vocals from Shara Worden) stood out, combining the best of both Massive Attack & Cocteau Twins.

64) Fatoumata Diawara - Fatou
The debut from Malian singer-guitarist Fatoumata Diawara was an impressively assured album. My review for musicOMH can be found here. She was also the star of the Another Honest Jon’s Chop Up event that took place at the Barbican in October (of which you can read more here if you're interested). 

63) Feist - Metals
Up to now the music of Lesley Feist had never really made much of an impact on me but I enjoyed this album – at once mellifluent, uplifting and rather pretty. 

62) Battles - Gloss Drop
Gloss Drop was a high octane, muscular merging of fast paced beats and powerful guitar riffs.

61) M83 - Hurry Up, We're Dreaming
Like most double albums Hurry Up, We’re Dreaming had its fair share of peaks and troughs but those peaks resulted in some seriously liberating, life-affirming tracks.

60) Blanck Mass - Blanck Mass
An immersive album of pulsating, swelling dark electronic ambient released on Rock Action.

59) Esmerine - La Lechuza
The side project of GY!BE members Bruce Cawdon and Rebecca Foon, Esmerine returned with their second album. Their sound may incorporate certain elements from GY!BE (principally the elegiac strings) but there was much more going on musically – the minimalism of Steve Reich/Philip Glass as well as soulful, mournful vocals. I reviewed their show at Electrowerkz for musicOMH.

58) Marconi Union - Beautifully Falling Apart
I have enjoyed  the music of Marconi Union for several years now and this was another superb album of ambient electronica. Read my review for musicOMH here.

57) Christina Vantzou - No 1
The biggest compliment I can give this album is that it reminded me of Copia by Eluvium, for me still the best fusion of modern classical and ambient of recent years. Meditative, still, serene music.

56) Fleet Foxes - Helplessness Blues
On the whole I felt that Helplessness Blues was a more complete, consistent album than its predecessor. The vocal harmonies were still as sumptuous but it was underpinned by stronger arrangements and a higher standard of songwriting.

55) Nicolas Jaar - Space Is Only Noise
A brilliantly unclassifiable album. I could talk about how it touched on electronica, bass music, modern classical and jazz but that wouldn't really do it's genius true justice. 

54) SBTRKT - SBTRKT
I didn’t initially expect to but I really enjoyed this album with its mix of dubstep, soul and electro. I tried to see them at Field Day but gave up after getting stuck outside the overcrowded tent they had been scheduled to play. 

53) When Saints Go Machine - Konkylie
An album of alternative electronic pop that didn’t really sound like anything else released this year. These days many artists seem more in thrall to late period Talk Talk so it was kind of refreshing to see a band apparently influenced more by their early synth-heavy albums.

52) Monsters Build Mean Robots - We Should Have Destroyed Our Generals Not Their Enemies
An excellent short album that although primarily inhabited the world of post-rock also showed itself to have a strong melodic core (at times combining the best elements of Sigur Ros and Explosions In The Sky). 

51) Barn Owl - Lost In The Glare
Lost In The Glare was a great follow up to the excellent Ancestral Star. Read more in my review for musicOMH

50) Chris Watson - El Tren Fantasma
A fascinating album that British sound recordist/artist Watson recorded during a month spent travelling on the FNM train route from Los Mochis to Veracruz in Mexico. The train route is no longer operational (hence the title that translates as The Ghost Train) but Watson travelled along the route whilst working as a sound engineer for the BBC television series Great Railway Journeys. The album is constructed from field recordings taken during this trip, concentrating primarily on the sounds of the railway and the surrounding natural environment, making for an extremely evocative listening experience.

49) Jacaszek - Glimmer
His debut album Treny was quite an important album for me in many ways, highlighting the kind of unknown pleasures that exist out there, just waiting to be discovered. This was another excellent synthesis of dark ambient, modern classical and crackling, opaque soundscapes.

48) Olafur Arnalds - Living Room Songs
It may have only been 7 tracks long but the quality (and the fact it was all written and recorded in seven days) made Living Room Songs stand out. Read more about it in my review for musicOMH.

47) Roll The Dice - In Dust
An excellent album of a transportative, ambient space-drone.

46) Oddisee - Barron Carter
I really don't listen to as much hip hop as I should. This album from Oddisee was entirely instrumental if you exclude the opening track and conjured up memories of Endtroducing by DJ Shadow with its clever use of beats & samples. There were a couple of moments where you could detect an almost sunshine-pop feel also, giving the impression of what it may sound like if The High Llamas decided to branch out into instrumental hip hop.

45) Beirut - The Rip Tide
The fourth album from Zak Condon saw brass and strings enmesh together in glorious, effusive style and along with his bittersweet vocals, contributed to a set of characteristically moving songs. 

44) Aeroc - R+B=?
On R+B=? Geoff White created a deft tapestry of sound, seamlessly interweaving euphonious acoustic strands with digitised beats and glitchy effects. 

43) Vetiver - The Errant Charm
Cotton-wool encased, breezy alt-folk-pop from Andy Cabic and band that offered glimpses of Teenage Fanclub, The High Llamas and The Sea And Cake.

42) Belong - Common Era
If bands like I Break Horses and Still Corners (more of them later) offered something of an updated take on shoegaze music, Belong seemed to return directly to the source for inspiration, delivering an excellent album full of swirling, guitar-drenched melodies.

41) The Antlers - Burst Apart
An album that grew on me over the year. Soaring, sensitive alternative rock that had a tangible vulnerability and poignancy to it.

40) Bonnie Prince Billy - Wolfroy Goes To Town
Arguably his best album since 2006’s The Letting Go although it had more in more in common with 1999s I See A Darkness. Musically hushed and desolate, with lyrics that (as always) invited scrutiny and deep engagement.

39) Crewdson - Gravity 
A truly innovative and original album of jazz-informed, leftfield electronica from south London producer/musician Hugh Jones. He managed to reproduce it at an excellent show at Cafe Oto that I reviewed for musicOMH. In said review, I may have used the phrase “a coagulant sea of bleeps, clicks and digital ephemera” to describe one track but this equally applied to much of the album. 

38) About Group - Start And Complete
Start And Complete contained one of my favourite tracks of 2011 in A Sinking Song which never got less affecting as the year progressed no matter how much I listened to it.  The album was a more varied affair - read more in my review for musicOMH.

37) Iron & Wine - Kiss Each Other Clean
The show at the Roundhouse may have been a slight disappointment but the album contained several great songs, confirming Sam Beam’s ability to write emotionally engaging, harmonic songs to be undimmed.

36) Slow Club - Paradise
I guess I have came to them later than many but I enjoyed this album of roughly-hewn, soulfully-tinged indie-pop.

35) O'Death - Outside
A raw, melancholy and emotionally powerful listen. I reviewed it for musicOMH. 

34) Wye Oak - Civilian
One of those ‘surprise’ albums that seems to come out of nowhere and become something of a firm favourite. In that way it reminded me of Teen Dream by Beach House from 2010, although in terms of sound it was quite different. The title track was rather wonderful, allying some beautifully tender, vulnerable female vocals to some serrated electric guitars. I first saw them supporting Jonny at Water Rats in February.

33) Radiohead - The King Of Limbs
I loved In Rainbows and thought The King Of Limbs contained some similarly brilliant moments, especially Little By Little. The process of getting to know a new Radiohead album never gets any less thrilling.

32) Lanterns On The Lake - Gracious Tide, Take Me Home
A pristine album that managed to reconcile some of the magical, snow covered sounds of Sigur Ros with the gentle, bubbling electronica of early Mum.

31) Bjork - Biophilia
Occasionally Biophilia sounded avant-garde and cerebral but I always found it engaging. It might not have quite reached the heights of Homogenic or Vespertine but, for me, was an improvement on Volta. Hearing Crystalline for the first time was one of those jaw-dropping moments. Brilliantly ambitious and distinctive music, but you wouldn’t expect anything else from Bjork would you?

30) Nils Frahm - Felt
Another excellent release on Erased Tapes from German pianist Nils Frahm. Read my full review for musicOMH here and my interview with him here.

29) Tim Hecker - Ravedeath, 1972
It may not quite have reached the heights of his seminal albums Harmony In Ultraviolet or Radio Amor but Ravedeath, 1972 demonstrated that he could still forge impressively powerful soundscapes that ranged from the abrasive to the serene.

28) Julia Holter - Tragedy
One of those albums which like Nicolas Jaar merits inclusion solely for how utterly apart it stands from everything else. Equally avant-garde, challenging and ambitious, with many truly brilliant moments, this album seemed to exist in its own strange little world.

27) Zomby - Dedication
He may have risen from the dubstep scene but in Dedication Zomby released something much more wide-ranging and powerful. An excellent album of distinctive, impactful electronic-based music complete with vocal fragments, juddering metallic beats, melodic keyboard additions, resulting in blocks of sound that moved in and out of focus. Natalia's Song was one of my favourite tracks of the year.

26) Mogwai - Hardcore Will Never Die, But You Will
HWNDBYW was arguably Mogwai’s best and most consistent album since CODY. I particularly liked the epic final track which via aching, elegant strings saw them edge towards the realm of modern classical.

25) Marissa Nadler - Marissa Nadler
I thought Marissa Nadler’s fourth album was her most accomplished to date. I reviewed it for musicOMH and also saw her play a lovely show at Bush Hall in October.

24) Bon Iver - Bon Iver
I enjoyed Justin Vernon’s second album a lot more than his first, possibly due to the relative lack of hype compared to his debut, or maybe it was just simply down to these songs having a deeper personal resonance. What is beyond doubt is his ability to write affecting songs that possess an unique, exposed emotional quality.

23) Johann Johannsson - The Miners' Hymns
The Miner’s Hymns was inspired by the experiences of miners in the north of England during the 1980s and saw Johannsson concentrate on brass rather than strings, recalling his Virthulegu Forsetar album. It demonstrated his musical versatility, whilst never compromising on his characteristic grandeur and scale.

22) Peter Broderick - Music For Confluence
Another magnificent album from modern classical prodigy Peter Broderick. Read my full review for musicOMH here and my interview with him here.

21) Explosions In The Sky - Take Care, Take Care, Take Care
Ahead of releasing their fourth album EITS talked about delivering an expanded, diversified sound but in reality Take Care, Take Care, Take Care contained more of their slow-building networks of interlocking guitar and percussion. It may have been slighted more nuanced in places but tracks like Trembling Hands hinted at a more powerful approach.

20) The High Llamas - Talahomi Way
A welcome return for The High Llamas, Talahomi Way was possibly their best album since 1999's Snowbug. Read my review for musicOMH here.

19) Deaf Center - Owl Splinters
Deaf Center may have taken their time to release the follow up to Neon City but Owl Splinters ensured the wait was worthwhile – an album of episodic tension, finely judged light and shade and consummate attention to detail.

18) Remember Remember - The Quickening
Arguably my favourite post-rock album of the year, although this was distanced from the genre in some ways by its use of different instrumentation and its progressive outlook.

17) Bibio - Mind Bokeh
Mind Bokeh was another impressive instalment in Bibio’s ever-expanding musical multiverse, taking in psychedelic soul, warped funk workouts, brief Boards Of Canada style electronic flourishes and thrashy guitar jams to sprawling, kaleidoscopic effect.

16) Oneohtrix Point Never - Replica
An excellent album where refracted piano phrases and cut-up samples were added to his trademark progressive, densely ambient sound. OPN has always existed on the more esoteric and abstract side of electronic music, a view that was reinforced by Replica.

15) North Sea Radio Orchestra - I A Moon
When I read that the third album by the North Sea Radio Orchestra was, amongst other things, influenced by the sound of Deerhoof I dismissed it as too improbable a possibility to be true. Yet, amazingly, the influence is clearly there. Their pastoral chamber orchestration is still in place and although maybe not as immediate as their other albums it still showed them to retain a unique position in contemporary music. An admirable and brave attempt at expanding their sound. 

14) A Winged Victory For The Sullen - A Winged Victory For The Sullen
Dustin O’Halloran’s collaboration with Adam Wiltzie from Stars Of The Lid delivered an album of glacial, post-minimalist sadness, full of humanity, empathy and grace. Beautiful.

13) Grouper - AIA : Alien Observer / AIA: Dream Loss
Beautifully bleak, washed-out, abstract ambient sounds over two equally impressive albums by Liz Harris. Feelings of sadness and alienation were rarely captured quite as well on record in 2011.

12) The Middle East - I Want That You Are Always Happy
At times they may have sounded like 3 or 4 different bands but the more I listened to this album from this Australian four-piece the more I enjoyed it. It came across a little like the Monsters Of Folk record from 2009 with the variety of styles, ranging from folkish alt-country to power-guitar-pop. The track Months in particular showed their ability to write emotionally affecting songs.

11) Alela Diane - Alela Diane & Wild Divine
A set of really strong songs that saw Alela her take a step away from the periphery towards the musical mainstream, retaining elements of the free folk present in her earlier albums but also incorporating sounds of alt-country that positioned her closer to acts like Throwing Muses. I saw her play an excellent gig at the Village Underground in November.

10) Penguin Cafe - A Matter Of Life
Arthur Jeffes very much kept the music and spirit of his father’s Penguin Cafe Orchestra alive with the release of the excellent A Matter Of Life. Many tracks appeared to have been directly descended from PCO tracks. I saw them play a great show at Hackney Empire in July

9) Dustin O'Halloran - Lumiere
Lumiere saw Dustin O’Halloran join the likes of Johann Johannsson, Max Richter and Olafur Arnalds as a major player in the modern classical genre. He moved beyond the solo piano compositions of his previous albums, now employing strings and brass to beautiful, moving effect.

8) Still Corners - Creatures Of An Hour
I thought Creatures Of An Hour contained shades of Yo La Tengo, Broadcast, My Bloody Valentine and Young Marble Giants - not a bad quartet - all wrapped up in an air of mystery, quite an achievement in this age for a guitar band. 

7) Dalglish - Benacah Drann Deachd 
A staggeringly good album of low-lying, dark electronic textures and skittering, glitchy micro-effects from American electronic sound manipulator Chris Douglas. In many ways a really tactile, dense record that you could feel as much as hear. 

6) Petrels - Haeligewielle
A magnificent debut from Bleeding Heart Narrative member Oliver Barrett's solo project that took in reverberating drones, subtle post-rock style bass progressions, beautifully drawn out string passages, distorted noise and sounds of the sea. The unexpected appearance of vocals on Concrete was one of the most powerful musical moments of the year for me.

5) I Break Horses - Hearts
A brilliant album that married shoegazey, MBV-esque guitar sounds with heady electronic rushes and blissed out, breathless vocals. Their show at Cargo in December didn’t have as big an impact as I’d hoped for but the album was something I returned to many times over the course of the year.

4) Gillian Welch - The Harrow And The Harvest
It sounded so effortless and natural but the seven years since the release of previous album Soul Journey told a different story. The music itself was exactly what you’d expect from Welch and Rawlings – stripped down, poignant, bluegrass-toned alt country. A stunning album that saw no drop in quality over the ten songs.

3) Low - C'Mon
Another excellent album from the consistently brilliant Low. C’Mon showcased the many sides to their sound. You See Everything and Especially Me captured the band at their most sublime, whilst Witches and Nothing But Heart revealed some of the darker forces present within their music. I saw them play a great show at the Barbican in June. 

2) Bill Wells & Aidan Moffat - Everything's Getting Older
A truly outstanding collaboration between Aidan Moffat & Bill Wells that arguably contained Moffat’s finest work to date lyrically, both moving and funny. Wells’ piano alongside the use of strings provided apt accompaniment, resulting in a musically wide-ranging listen, both in terms of tempo and timbre. Their show at Cargo was one of the best I saw in 2011. Up to three weeks ago this had occupied number one spot but has been pipped at the post by.....

1) King Creosote & Jon Hopkins - Diamond Mine
I have enjoyed the music of both King Creosote and Jon Hopkins sporadically over recent years without ever quite fully falling for either. However, on Diamond Mine this all changed. For the majority of 2011 it was a contest between this and Everything’s Getting Older as to which claimed top spot. In the end Diamond Mine came out on top, largely I guess due to the deeply engrained, melancholic emotion within the music, all held together by the beautifully fragile vocals of Kenny Anderson. These were complimented by humble, spartan guitar on John Taylor’s Month Away and sparse piano and percussion on Bats In The Attic, two of the stand-out tracks. Elsewhere the subtle electronic embellishments of Jon Hopkins provided a respectful backdrop. Just perfect.



Wednesday 24 August 2011

ALBUM REVIEW: WTC 9/11 by Steve Reich & Kronos Quartet

This review originally appeared on musicOMH.

Steve Reich/Kronos Quartet - WTC 9/11
(Nonesuch) UK release date: 5 September 2011
4 / 5

Much of the publicity leading up to the release of Steve Reich’s piece to commemorate the 10th anniversary of the 9/11 terrorist attacks on the World Trade Center has focussed on the cover art, a surprisingly lurid, artificially manipulated shot of the incident unfolding. It doesn’t particularly add a great deal to the release and has possibly even contributed to shifting the focus away from the composition itself, a brief three movement piece for string quartet, played here by the Kronos Quartet.

It begins in uncomfortable style as violins play out a replica of the sound of a disconnected telephone, an incorporation of Reich’s personal experience on the day which was dominated by lengthy phonecalls to his Manhattan-based son. This is soon joined by distorted, muffled recorded dialogue of individuals caught up in the attack, truncated and repeated to unsettling effect. Musically it is a difficult, jarring listen, although unquestionably effective in portraying the chaos and claustrophobia of the day.

The second movement again incorporates looped witness testimony, over anxious, jittery string arrangements. Musically it does reference concepts present within Reich’s other compositions, namely minimalism and the use of repetition, although understandably has much more tension running through it. In many ways it is a small, abstract historical document in itself in its use of verbal statements. In comparison to his other ‘historical piece’ Different Trains (which focused on the Holocaust) it is much more bruising and direct, having no real room for subtlety or nuance.

The third movement sees the appearance of a drifting vocal melody that adds a small measure of comfort. On the whole however, the piece never really exhibits a sense of mourning or loss, particularly unusual given the widespread inclusion of human voices throughout the piece. Instead it seems much more concerned with documenting the shock, panic and fear inspired by the events. Whatever the angle of approach, it is a stark and fascinating addition to his oeuvre.

The additional two pieces on the album are more recognisably Reichian in nature. His 2009 Mallet Quartet, scored for two marimbas and two vibraphones, features the structural complexity and shifting rhythms usually associated with Reich, the lustrous, glossy sonorities occupying similar territory to his seminal Music For 18 Musicians. The final piece on the album, Dance Patterns, has a broader sound, xylophones and vibraphone providing free-flowing pulses of sound whilst pianos add a reflective, pensive quality. The greater space afforded between the piano chords towards end lends the piece a certain grandeur.

Taken together, the respective pieces further confirm Reich’s elevated status in the world of contemporary classical music as a prolific and consistent creative force. This album shows him to still be in thrall to the possibilities of composition and unafraid of tackling the bigger issues it can so powerfully address.


ALBUM REVIEW: Endless Now by Male Bonding

This review originally appeared on musicOMH.

Male Bonding - Endless Now
(Sub Pop) UK release date: 29 August 2011
3.5 / 5

Endless Now sees east London trio Male Bonding return with their second album for the esteemed Sub Pop label. Their relationship with Sub Pop continues to be a natural and harmonious affair and provides confirmation that their sound has not undergone any radical change from that showcased on their debut album Nothing Hurts. Amongst the buzzing guitars however it is possible to detect small signs of improvement and fine-tuning, whilst it also boasts a greater melodic strength than its predecessor.

On the surface there is not a great deal to distinguish each track, an admission that may initially be a cause for concern. Their grungy American guitar sound is still indebted to bands such as Sebadoh, HĂ¼sker DĂ¼ and The Descendents, although here it has been translated into a more overtly energised form of power pop that pushes them closer to bands such as Weezer. Essentially, what we get is a rapid succession of (mostly) sub-three minute blasts of exuberant, fuzzy guitars. It is all over in a pleasingly concise 37 minutes.

Tame The Sun is a strong candidate for an opening single, all jolts of guitar and powerful drum patterns, and is an accurate précis of what is to follow. Seems To Notice Now is another early hook-laden highlight, a strong melody residing under the barrage of guitars. Bones offers the first sign of something slightly different, tight percussion and driving guitars soon abetted by some dreamy, shoegazey vocals, which are at times reminiscent of early Ride. Indeed, a hazy exterior sheen is cast over much of Endless Now.

Elsewhere, a similar high standard prevails. Before It’s Gone features frontman John Arthur Webb delivering his disaffected vocals with a mild sneer while What’s That Scene sees their DIY ethic allied to some soaring melodies. Likewise, Channelling Your Fears has more choppy riffs set against a flurry of drumming and Mysteries Complete manages to be simultaneously both buoyant and lurching. Combined, they point to an improbable, nascent revival of early 1990s indie rock. The Saddle is unique in that both the pace and volume noticeably drop. While it shows a different facet to their sound, it equally proves this is not where the band’s real strength lies.

The time in between the release of their two albums has seen new bands such as Yuck and Veronica Falls appear, traversing similar musical ground. This may just be an indicator of how fast-paced, fertile and prolific the current music scene is but there is an underlying feeling that for their next album Male Bonding may benefit from looking further afield to expand and develop their sound. For how long they will be able to continue releasing album after album of adrenalin-powered, guitar-driven indie-rock may be up for debate. But for now however, such concerns seem premature and a little insignificant. A far better and more worthwhile proposition is to simply allow yourself to be swept along by the ensuing wave of energy and excitement that their music creates.


ALBUM REVIEW: Cannibal Courtship by Dengue Fever

This review originally appeared on musicOMH.

Dengue Fever - Cannibal Courtship
(Concord) UK release date: 6 June 2011
3 / 5

Cannibal Courtship sees Cambodian/American rockers Dengue Fever return with their first album since 2008’s Venus On Earth, an album that helped establish them as purveyors of exotically charged psychedelic guitar rock. On Cannibal Courtship the core of the band is still made up of brothers Zac and Ethan Holtzman and Cambodian singer Chhom Nimol. It also sees the band retain one of their defining characteristics, namely the delivery of vocals in both English and Cambodian national language, Khmer.

This vocal mix lends a unique, unfamiliar quality to their music and quite often casts them as the kind of band that you might see in a dimly-lit bar scene in a Quentin Tarantino movie. Indeed, much of the music on this album continues the band's soundtrack-friendliness, a quality previously evidenced by some of their older tracks cropping up in several films (most prominently in Jim Jarmusch’s Broken Flowers and Matt Dillon’s City Of Ghosts).

Opening title track Cannibal Courtship sees bright vocal harmonies give way to blasts of guitar whilst Nimol implores an unnamed other to "be my sacrificial lamb". Cement Slippers continues this theme, all choppy, zigzagging guitar riffs and buoyant vocal melodies. It is not until the third track Uku that the Khmer vocals first appear. It signals a distinct shift in style resulting in an aching, more pensive sound. The same applies to Sister In The Radio, a similarly sorrowful, slow-paced elegy. Nimol’s vocals veer between softly delivered, heartfelt pleas and shrill, fluctuating wails and may be an acquired taste for some. It is these tracks delivered in Khmer however that arguably come across as most distinctive and original.

Family Business sees the band revert back to brash, synth-supplemented guitar workouts. The album features some moments of slacker humour along the way and they are not overly concerned about including the occasional insalubrious lyric. This is especially true on Only A Friend, as Zac Holtzman reiterates the crude lyric "I’m overseas, flirting with girls and catching diseases" over a taut, ascending guitar riff. Thank You Goodbye is a soaring, melodic slab of infectious power-pop and sees Nimol coldly serenade a would-be admirer with lines such as "Please let it go, you’re just another stamp in my passport". The fragrant instrumental Kiss Of The Bufo Alvarius serves as a reminder of their ability to produce evocative little pieces suited for the big screen. Final track Durian Dowry has more in the way of weeping, longing vocals over understated guitars and brass. In some ways it is a slightly muted way to close the album, certainly after some of the more colourful moments experienced along the way.

Cannibal Courtship is another installment of oriental-flavoured guitar pop that strives to meld alternative guitar sounds with Far Eastern sensibilities. However it never quite matches the standard of its predecessor and ultimately it is difficult to avoid the conclusion that their sound is just a little too different and unconventional to see them rise above the status of a minor cult band.




ALBUM REVIEW: We Move Through Negative Spaces by Kontakte

The below review originally appeared on musicOMH.

Kontakte - We Move Through Negative Spaces
(Drifting Falling) UK release date: 11 April 2011
3.5 / 5

After first appearing on the musical landscape in the early 1990s the genre of post-rock has embarked on something of an interesting journey after initially driving itself down something of a narrow, stifling alley. However, recent years have seen the genre expand and develop, often incorporating elements of electronic and ambient music, and increasingly being supplemented by string arrangements. Such is the relative wealth of music being made in this category, that in order to achieve distinction bands are increasingly required to produce strikingly new or original compositions.

London based outfit Kontakte are faced with this kind of challenge on the release of their second album We Move Through Negative Spaces. It reflects the trend towards electronic/ambient/modern classical music whilst ensuring that their focus never strays too far away from a resounding guitar sound. The album has a lot in common with other contemporary instrumental music in that it aims at cinematicism, and it ultimately enjoys a degree of success.

The two most obvious points of reference are Mogwai and Explosions In The Sky. The quiet-to-loud dynamics practised by these bands are not as evident here however, the changes being more gradual.

Opening track Astralagus sees an alluring guitar line relayed over escalating synth passages and fractured electronic beats. Hope... showcases pretty melodies played out against a backdrop of enkindled guitars and With Glowing Hearts offers similar, delicate refrains emerging from a resounding wall of static sound. These are templates which are replicated effectively over the course of the album.

The elegant, muted atmospherics of Early Evening Bleeds Into Night features the first use of strings, followed soon after by A Snowflake In Her Hand which employs them in a more calming, elegiac fashion. It positions the band closer to artists such as JĂ³hann JĂ³hannsson and Eluvium. The Owls Won't See Us In Here sees the return of ricocheting, splintered beats to the sound mix. The Ocean Between You And Me ends the album in contemplative style with a substantial yet restrained crescendo.

As with Explosions In The Sky in particular, the titles of each instrumental track seem to try to place the music in a human, emotional context, and inject some warmth into the instrumentation. In We Move Through Negative Spaces Kontakte have released a perfectly accomplished, assured album, albeit one that never really threatens to move the genre into uncharted territory.



ALBUM REVIEW: Start And Complete by About Group

The below review originally appeared on musicOMH.

About Group - Start And Complete
(Domino) UK release date: 18 April 2011
4 / 5

Collaborative projects have become increasingly commonplace in recent years with more artists willing to embrace experimental working practices, whilst pushing themselves in unfamiliar, unexplored musical directions. Already this year we have witnessed the coming together of electronica artist Jon Hopkins with Scottish singer songwriter Kenny Anderson (King Creosote) to wonderful effect on Diamond Mine. 7fingers, the collaboration between pianist Nils Frahm and cellist Anne MĂ¼ller, provides further evidence of a fertile musical landscape.

About Group are one of the more interesting of these modern musical cross-pollinations, an eclectic gathering of Alexis Taylor from Hot Chip, Charles Hayward from This Heat, John Coxon (who has appeared on records by Spiritualized and Spring Heel Jack) and Pat Thomas (who has previously worked with Derek Bailey amongst others). The album title reveals much about how it was created, the respective musicians convening in London at Abbey Road Studios to record the album in one day, arriving with only a limited prior knowledge of the material and a loose idea of the direction in which they wished to head. The album that followed is a testament to this deliberate attempt to produce circumstances that would encourage spontaneity and stimulate creativity.

Modestly paced, minimalist instrumentation dominates much of the album and there is a tangible sense of each track being afforded sufficient space to breathe. This gives rise to bare, open arrangements with subtle electronic detailing hidden within the shadows. Quite often the music is tinged with a slightly melancholy feel and certainly inhabits a place far away from the positivity of the iridescent, dancefloor-friendly electro of Hot Chip. If anything, it comes in closer to the work John Coxon did with Spiritualized, heavy on emotion, longing and catharsis.

The album is bookended by two short bittersweet pieces, Married To The Sea (A) & (B), succinct little tracks that introduce one of the main lyrical themes of the album, the ups and downs of human relationships. Don’t Worry, Repair Man and Lay Me Down all possess more of an overt rock aesthetic, with lyrics that strive to communicate personal, sincere messages. Warm backdrops of organ and guitar enrich the vocal melodies of each track. A Sinking Song is the emotional heartbeat of the album, a personal reflection on a relationship that has overcome previous difficulty to blossom. It is a brittle, quietly powerful song, which sees Alexis Taylor give one of the performances of his career to date. Wurlitzer organ and hushed, rolling percussion form a sympathetic backdrop to Taylor’s sensitive vocals. The subsequent track Nothing But Words could almost be viewed as some sort of musical sibling, being similarly vulnerable and affecting.

Parts of the album share certain textures with late period Talk Talk, capturing a lot of the sentiments present on those seminal albums. Indeed, Alexis Taylor’s singing frequently comes close to emulating the tremulous, wavering vocals of Mark Hollis, particularly on Rough And Smooth. They also include a cover of composer Terry Riley's version of You’re No Good by soul/jazz bandleader Harvey Averne. It sees the band flex its collective muscles, laying down an extended, improvised kosmische-soul workout over the 10 minutes. Yet despite a strong opening, the track seems to lose focus and drift away, and eventually begins to feel slightly overlong.

However, this is a rare moment of weakness. On the whole Start And Complete is a singular and fearless album that conveys significant emotion, rewards repeat listens, and shows what can be achieved when a band’s approach to music is defined by bravery and vision.



ALBUM REVIEW: Talahomi Way by The High Llamas

This review originally appeared on musicOMH.

The High Llamas - Talahomi Way
(Drag City) UK release date: 11 April 2011
4 / 5

The High Llamas have spent much of the last 18 years releasing consistently engaging albums of mellifluous, harmony-infused music. Recent years have seen frontman and songwriter Sean O'Hagan work at an unhurried pace, carefully crafting songs that seem to inhabit their own particular place, isolated from any modern trends or movements.

Their ninth album Talahomi Way may not contain anything in the way of radical departures, but it sees them consolidate their sound, whilst simultaneously offering a few career highlights along the way. It builds on the disarming beauty of 2007's Can Cladders, and contains all the traits you would normally associate with the band. The arrangements are intricate, the melodies are deceptively simple and an air of gentle serenity pervades the album. Some of the string arrangements are reminiscent of those supplied by Robert Kirby for the albums of Nick Drake.

Each track demonstrates O'Hagan's painstaking attention to detail, each particular musical idea being attentively pursued and thoughtfully executed. It is as if each note has been meticulously selected and deliberately positioned, and each accompanying lyric sensitively imparted. The album is mixed by Stereolab's Tim Gane, a long time collaborator, and he successfully ensures that none of the precision or clarity of sound of recent releases is lost. Unlike their other recent albums there are no female backing vocals on any of the tracks. The sole inclusion of Sean O'Hagan's soft-edged vocals lend the album a more personal feel as a result.

The album opens with Berry Adams which sets the mood for what follows, string arrangements embellishing a melody which reveals itself slowly over the four minutes. The pastoral, understated instrumental Wander, Jack Wander establishes the tone furthermore. Take My Hand is a contender for the strongest track on the album, featuring something approaching a brisk, bossa nova beat. It serves as a reminder of O'Hagan's interest in different musical styles and sees the band revisit the sun-dappled exotica that has occasionally graced previous albums. Throughout O'Hagan requests listeners to "take my hand, and run it through the sand". Lyrically it also references the ocean and the sea and it really deserves to soundtrack at least a small part of the forthcoming summer.

The beguiling title track Talahomi Way appears at the midway point of the album, the lyrics being despatched early, allowing the remainder of the track to unfurl itself in patient, instrumental fashion. To The Abbey sounds just as fresh and crisp, with acoustic guitars, strings and marimbas all courteously interacting, discreetly playing off each other.

The cut-and-paste, mildly glitchy electronics of Angel Connector gives an all too brief hint of a different era High Llamas, specifically recalling 1998's Cold & Bouncy album. Its counterpart Crazy Connector appears towards the end, an example of the short instrumental interludes that The High Llamas do so well. Indeed, several tracks end with the kind of small musical postscripts that the band specialise in. Calling Up, Ringing Down closes the album on an appropriately breezy note. If a criticism could be levelled at the album it may be that some of the other tracks move along in a relatively quiet, unobtrusive manner, not reaching the heights achieved elsewhere.

It may not be difficult to detect the influences and inspirations that lie behind the sound of The High Llamas but that should not detract from the ambition, zeal or forward-thinking outlook of the music. In Talahomi Way The High Llamas have produced another album far greater than the sum of its component parts. It is unlikely to create any major impact on the current musical landscape but it augments and improves it in its own special little way.



ALBUM REVIEW: Fatou by Fatoumata Diawara

This review originally appeared on musicOMH.

Fatoumata Diawara - Fatou
(World Circuit) UK release date: 19 September 2011
4 / 5

Fatoumata Diawara was born in the Ivory Coast to parents of Malian origin and currently is based in Paris. It is this background and blending of different influences and cultures that contributes to the fresh sound on Fatou, her debut album for World Circuit. Musically it is constructed from the simplest of ingredients – acoustic guitar, a sprinkling of percussion and her imposing, but never overpowering, melodious voice. It results in music that proudly respects its heritage and traditions (being informed by the indigenous Wassoulou culture and delivered in her native Bamanankan language) but equally is also forward-looking and progressive in nature.

The album’s heart is undoubtedly still in African music but there are other global strands and influences detectable within her sound. In the live arena she has recently performed with acts such as Afrocubism, Oumou Sangare and Staff Benda Bilili, all of which provide helpful points of reference for her music, although her sound has more in the way of fluidity and soulfulness. However, the album also has moments that are reminiscent of music of Caribbean origin, most notably by the much missed Andy Palacio.

The album is ushered in by the warm, understated Kanou which introduces Diawara’s gently rippling vocals and dexterous guitar playing. Sowa possesses a lovely, sun-kissed sound that is punctuated by catchy vocal inflections which result in the album’s most accessible and immediate track. Bakonoba follows, with its heady mix of bustling guitar and percussion that seems to suggest a musical parallel to the vibrancy and activity you would find on the streets of a major African city.

On Makoun Oumou her voice is used more like an additional instrument, layering sounds on top of the winding guitar lines. Kèlè and Sonkolon both possess a lilting positivity while Alama is a more pared-down effort, a singular guitar melody being supplemented by compacted vocals. The ebullient Bissa has a sashaying beat and rhythm before the pace and volume drops on Wililé, leaving the delicately conveyed vocals as the main focus.

A warm summer breeze infiltrates and snakes around much of Fatou. Some of the slower songs share the soft musical glide of Ali Farka Touré, whilst the more animated tracks touch on the vitality and energy of Orchestre Poly-Rythmo de Cotonou (another act she has supported live). The last two songs may not quite match the standards established earlier in the album but on the whole for a debut it is a remarkably assured album, varied and joyous, and brimming with promise.