No apologies really.....but a breezy look towards the future

Well, it's already February 2012 and I, unfortunately, failed in my goal to write about every record i bought in 2011.

Why?

Well, my friends, it would seem that life got in the way and i ran out of time to accomplish my stated goal.

Yesterday i conceded defeat and filed away about 50 of the albums that were still awaiting write-ups and vowed to return to this blog with earnest and start again - but this time to make no promises about writing about everything. 


I have also decided to link to samples of music where necessary - but only to officially sanctioned pages - needless to say, i will not be uploading stuff onto here. My goal is to support the musicians and the labels so i will not participate in anything that stops you giving 'em your money. Support them - they deserve it and it may make you feel all warm and fuzzy inside. In short, stop stealing.

Now, let's get on back to the music.

Pink Skull: Psychic Welfare (RVNG)

A strange record this - it veers from the LCD Soundsystem in space of 'Hot Bubblegum' to the more experimental instrumental excesses like (deep breath) 'Either the Luminescent wallpaper goes, or i do' and back again numerous times. Stylistically all over the shop but retains a sense of electronic splendour that is always enjoyable. 

EDM: Night People (Western Vinyl)

There is a Dreamers of the Ghetto connection here, although i'm not sure exactly what it is, so this album immediately got my attention. On first playing it i was immediately struck with the quality of the songwriting  and the restraint shown by the rhythm section. These songs could've worked well as faster paced rockers but the sense of restraint gives the songs ample room to weave their way into your head - and for this EDM should be commended. Occasionally they remind me of early Wilco but then this is only when they're not producing absolutely beautiful stretches of music like the truly lovely 'Open Bar' which, to be frank, Jeff Tweedy would've killed to have written. So, in short, when they're not really trying too hard they remind me of Wilco. High praise indeed.

Apparat Organ Quartet: Polyfonia (Crunchy Frog)

Johann Johannsson normally produces gorgeous neo-classical work of an incredibly high standard, so this 'electro-futurist' album promised to be a very interesting listen indeed. Taking direct influence from Trans Am's masterpiece 'Futureworld' album, this rocks along like a speed-stuffed Kraftwerk mixed with Mogwai's old dedication to the fast/slow/fast ethic. Occasional vocodered vocals add to the Trans Am connection and the live drumming help ground the ferociously squealing aged synths.

Absolutely fucking brilliant.

Machinefabriek & friends: Bridges (Sub Rosa)

I have no idea what to write about this, as it is an audio-visual piece - as much about the design (created before the music) and the ethos of the concept (Machinefabriek creates 4 field recordings on four bridges, sends each recording to a different pair of improvisers - who then send their individual pieces back). The music is mixed together and, here is the result.

Simple really.

What does it sound like?

Hmmm, like a bridge really - well, four different bridges actually for all you pedantic bridge watchers out there.

It does look amazing though - the pictures discs are made up of film images to produce a zoetrope like film if you stare at 'em whilst they are going round.

Hildur Gudnadottir: Without Sinking (Touch) / Hildur Gudnadottir & Hauschka: Pan tone (Sonic Pieces)

                                                                                                                                                                           

Hildur Gudnadottir plays the cello to produce a soundtrack for the rising of the Sun or dying of the  Earth. I'm aware of exactly how wanky that sounds but the rising and falling of the notes throughout these albums signify (to me) beginnings and endings. And it is not always easy to work out which are the beginnings and which are the endings - such is the dichotomy of the imagination when coerced into sensory moods by music of creative power like this. Listening to this in alternate states and situations and in the extremes of day/night create new thought patterns - although you always find yourself becoming entirely encapsulated by it. I frequently feel like i'm drowning in the music and it is a sweet way to go, i can tell you. There have been many psychological studies regarding drowning/near drowning and all have found that, once somebody lets go of the impulse to fight (or to survive), they are overtaken by a deep calm and sense of inner peace. 

Not unlike the music contained on these two albums, although the (almost entirely) solo 'Without Sinking' is by far the masterpiece here, the Hauschka collaboration (which, weirdly enough, is an improvisation inspired by the pantones of the ocean - more water metaphors), whilst incredibly beautiful, is slightly derailed by the percussive elements provided by Hauschka. This is in no way a negative point - just negative when compared with the solo album, which may well be my album of the year - if only i could pronounce her surname when asked for recommendation in the pub.

Wooden Wand: My week beats your year (Great Pop Supplement)

After all this electronic music that has infected me this year, i've gotten behind on listening to simple singer-songwriters and appreciating the stunning beauty that can come from a few choice words and a simple tune. Shit, I used to be a writer for fucks sake - you'd think i'd remember what a man can do with a few letters of the alphabet and some rudimentary punctuation, even without all that fancy-schmancy post production nonsense. 

The 10 tracks here are a collection of home recordings/demos from 2000-2010 and need no extra polishing, roughneck country-blues rarely sounded so bitter-sweet and so heartfelt. This music touches me in a special way and I'm really happy to reconnect with music that sounds so deceptively simple and yet is so obviously carved out of genius.