TTIHPLTY part 3: Alien pop on Domino

So, I really do need to polish this off now, as 2009 is well under way now, and I would like to start writing about other things now really. In the third part of this, I'd like to write about various releases on Domino Records from 2008. Some would say that it wasn't a vintage year for them- their biggest selling album was Last Shadow Puppets- but it has never been the more commercial side of the label that has interested me. 2008 saw them releasing some very 'interesting' records- in a good way.

First among those, and quite possibly into my all time favourites with a bullet, is Limbo, Panto by the unique Wild Beasts. This album is a bloody treasure. A joyous, thoughtful, fabulous record, packed with intelligence and invention. It is both funny-haha and funny-peculiar. The perfectly judged production and arrangement infuse the music with a sense of great restraint, leaving the two gifted vocalists enough room to soar, without having to fight for space. Nothing I can write will truly express how much i love this outlandish, high-camp, otherworldly triumph. This brand of outré, theatrical baroque pop may not be for everyone, but maybe it should be. If only Woebegone Wanderers was inducted into the canon of prematch warm-up songs by DJs at football grounds nationwide, the beautiful game might return to the golden days when spirited gentleman would line up in a 2-3-5 formation and generally respect the laws of the game, and eachother. Below is the video for Brave Bulging Buoyant Clairvoyants, one of the standout tracks, that will hopefully be all the inspiration required to go and buy the bloody record. Do it. Do it.

The other album I would like to draw particular attention to is White Williams' Smoke. This is a less consistent album, but I include it nonetheless because, from the very first listen, i thought it summed up 2008's music as well as anything else. Or at least the state of my taste in 2008. This may be a pretty stupid description, but I'm going for it. I think it sounds like an indiekid cross between Space and Tiga. It's glitchy, off-kilter electronica brought out from the crowd by brilliantly conceived licks of unsettling guitar madness, and it makes me think of Willy Wonka's Chocolate Factory for some reason. Its a silly record, but I have a (potentially vastly misguided) suspicion that he might be a genius.

An other Domino faves were M. Ward and Zooey Deschanel's lovely wee band She & Him. I'm not one to crush on celebrities very much, but i did have a pang of sadness when I heard of her union with Ben Gibbard. I never did like Deathcab. I also dug Max Tundra's long awaited second album, Parallax Error Beheads You and James Yorkston's  When The Haar Rolls In.

TTIHPLTY part 2; Boys with guitars

I have now decided my mode for these. Two at a time, under a very loose theme. The next two are banded together by actually being of a very similar ilk. Both make what I often describe as 24-carat indiepop. The names of these two favourites are Pete & the Pirates and Almedal, and they keep the corner of my taste that will be forever Indie jumping around the bedroom.

The appeal of Pete & the Pirates' debut Little Death is simple to define. It is full of really good songs. The scratchy production is actually a virtue, imbuing the album with a raw, ingenue quality lacking from, say, The Holloways' output which sounds, ahem, somewhat hollow. This, of course, is a necessity on a cheaply made record, but it really works here.  Seven of the top ten most played songs on my ipod come from this album, which goes to show how much I have gotten out of it. I think it is an apt album for many a scenario. I was thinking of picking out a couple of songs to direct you towards here, but really, they are all of a remarkably high standard. They aren't over the top or highfalutin in any way, it is just pure, pretension-free goodness. I've been recommending this album to friends since February, and I'm yet to receive a complaint. I do have one nagging criticism however, that i can't bring myself to leave out. The album is just one track too long. Song For Today would have been a lovely ending, and we all would have been happy with 12 great songs, but instead the incongruous Bright Lights is tacked on. It's not a bad song, but terribly sequenced and thus actually impairs an otherwise almost faultless little record. A trifling concern though, I must admit.

Almedal's Från Och Med Nu Och 20 Dagar Framat is a different prospect altogether, despite the fact that I classify it in the same bracket as Little Death. This is a subtle, restrained album of love songs in Swedish. With a singer whose voice can take a bit of getting used to. Don't all rush at once... 

I know that I may not be selling this very well, but this is an album of my favourite sounds, perfectly blended. Chiming guitars, trumpets, great drums, synths, yes thanks! I fell for them initially at Emmabodafestivalen, where watching them felt like an all-time highlight. I rushed to buy the CD on my return to Norrköping. One listen revealed that there are some wonderful songs on this album,  some lifelong mixtape fodder, i'd wager, and I still listen to it constantly. I did have a respite following the heartbreak, but as soon as the Season Of Good Will To All Men kicked in, it came straight back into the reckoning, by virtue of its curiously Christmassy vibe. It has remained on heavy rotation ever since, so the vibe's not preclusively festive.

In fact, this is a mourning, doleful record at times, yet uplifting always. 

Just ignore the bollocks I've written and check it out. You might love it. 

The others I'd like to shine a light onto, more for next year in this case, are Cheeky Cheeky and the Nosebleeds, whose first two singles last year were both belters, and Blighters, who were Monroes, whose brilliant demo Boys in Motion actually stands up to the best that orange juice had to offer, in my humble opinion.

TTIHPLTY part 1; Electronic Music from Scandinavia

Of the things that I have particularly enjoyed this year, electronic music from northern Europe is fairly near to the top of the list. My particular personal favourites are diskJokke and Kleerup, both of whom released albums of distinct and unique joy in 2008, although there are others I might give props to in summation later on.

I almost feel frustrated that it should be the Scandinavian stuff that gets me going most in this genre, as much of the indiepop I listen to streams over from there too. I feel a mite predictable in my tastes in this area. It's not my fault that they do it best though. 

So first fave from last year is diskJokke's Staying In. It's a luscious, varied onslaught of deeply layered and intricate synth delight. Opening track Folk i Farta introduces the album's themes perfectly, with a rolling piano riff leading into a driving disco beat and an obscene synth jerk. The main reasons that I like this record are fairly straightforward; it is fun to listen to, and it is very aurally satisfying. I love phat synth sounds, and I love Moroder disco. This record has enough to keep my Moroder cravings in check, and enough depth to yield new pleasures through repeated listening. I could barely sit still the first time I listened to it on the bus home from work. It is a classy, funky belter of an album that it is actually worth staying in for (sorry).

Next up is Kleerup's self titled album, which is on a slightly different tip to the diskJokke, but retains quite a lot in common with it despite this. This is a pure pop album, featuring guest vocals from the likes of Robyn, Marit Bergman, Nenah Cherry and Lykke Li. Kleerup is best known for his work with Robyn on international smash With Every heartbeat, which features here. Possibly the most surprising thing about this album is the fact that that single isn't the tallest poppy in the field. In my opinion, it is one of, if not the, best number ones of the decade and the rest of the album manages to keep the quality as high. There is more than a dollop of Moroder on show here too, but used to a different end. Whereas diskJokke uses the disco beats and rhythms as foundations upon which to build his own more modern melodies, Kleerup takes the essence of songs like The Chase as instruction for the atmosphere of his own pop. It is a glossy, shiny album full of songs that sound like the sort of things that sit in the charts for months on end, the zenith of which is the Titiyo collaboration Longing for Lullabies, which I'm almost tempted to call a classic. The strange thing about this album is that it hasn't provided a year's worth of chart fodder. It hasn't even been released in the UK, and looks set to be a "What's this? It's really good- type album forever more. I am willing to confess that it has probably missed it's window for major success, and it does sound a couple of years old now. That does nothing, however, to diminish the pleasure that high-quality, ethereal pop can induce.

In this sphere, honourable mention goes to Nordpolen, Air France, Detektivbyrån and The Rice Twins 

the things i have particularly liked this year

I haven't written anything for a very long time. For this I have no excuse, other than a very busy spell at work and the fact that it doesn't matter to anyone at all. I did start a couple of abortive posts, only to be waylaid or think better of it.

Another reason for the wait, beyond my lassitude, has been my utterly pointless worrying and wrangling over what my albums and songs of the year and all that guff would be.

Before I get cracking, a few quick events to recount/report. Currently back on track with work, following a couple of months of pretty prevalent ennui. Apparently, the reason I don't get to do more is that my boss worries I'll get poached. It's hard to know how to react to that, but I suppose it is nice to hear. I can't help but like the man- he once ordered a finger bowl so that he could eat his salad with his hands in a posh restaurant.



Also, on a less jolly tip, I got jumped by a couple of hoodlums the other day and had my Dj bag stolen. Goodbye to a lifetime's worth of collecting. One interesting factor in this has been aggregating where individual records rank in the order of replacement priority. First on my list is 'Discography', by the Pet Shop Boys, which I didn't really see coming. It also seems that my Space obsession was more than a fad. As this video illustrates, they are bloody wick, and Daft Punk owe their career to them.




I am also mourning Dan Deacon's Spiderman of the Rings a great deal, and Sébastien Tellier's Sexuality, but more for the objects than the music.

So, rather than writing one very long post about my favourite things from the last year, I think I'll take them on in dribs and drabs. Right now, I'm unsure what format the revelation of this stuff will take. I might do the albums one by one, or in categories, or a song and an album at a time or something. Trial and error, for now, will have to be my method. I think i will probably do a separate section for Scandinavian stuff, as a lot of what I like has come from that region this year. There again, perhaps i won't be bovved.

FYI, the bits and pieces that come out of this are likely to overlook some of my favourites, as i have no music in Brighton with me to spark my memory, and no ipod to tell me which have been played the most. Also, I will be writing about personal favourites of mine. I don't necessarily think that they are objectively the best, but they are fucking good and if you don't agree then nevermind, that's your prerogative. As much as any other reason, I bother writng this as a chance to flag up things i think are worthy of noticing.

I'll start the rundown (of sorts) next time I'm at the computer. For now, be well!

seen these lately

Right then, I think it's time to write another little post about various things I've dragged myself out to in the past couple of weeks, and the general state of play.

No news really springs to mind, so I may as well write about the bands straight away.

First up there's last week's jolly jaunt to Shepherd's Bush Empire for Stars & Sons, The Dodos and Okkervil River. Stars & Sons, who released their debut single, In The Ocean this week hail from sunny Brighton and make fairly typically Brightonian fare (see Electric Soft Parade, Actress Hands, Tenderfoot). Its upbeat, pleasant and proficiently played. Not too much wrong with it, in fact, but still lacking a fundamental quality required to raise it beyond the reasonably good.

The Dodos were actually a far more engaging and exciting prospect than expected. Whilst singles 'Fools' and 'Red & Purple' stand out a mile on this years Visitor album, the live set is less biased towards these two. Both came early on, but my attention didn't sink at any point. I can't really be bothered to describe the music of a band who've been everywhere and represented a bit of a bloggers delight for months on end, but it is worth saying that their percussion is among the best I've ever had the pleasure of being entranced by. A really bloody good show from them.

Unfortunately, despite their reasonable stage-craft and collection of excellent albums, I cannot say the same of Okkervil River's set. I last saw this band when they made their first trip to these shores in 2003, playing a sweet set to about 50 of us, sat cross-legged in the upstairs room of a pub in Brighton. I think that every person there will look back on the gig with great fondness, as they won us over with their passion, lyrics and genuine charm. Having honed their songwriting since then, and with 5 years on the road under their belts, I was hoping, basically, for the same but better. Obviously things wouldn't be the same, Shepherd's Bush Empire being very significantly different from The Albert, but unfortunately the most significant thing I noticed was the lack of that charm. It is almost as if the band have started to believe their own press, and have thus become a little self-important. Will Sheff does have a brilliant knack with a lyric, and he may look disarmingly similar to Where's Wally,  but this was a pompous, indulgent show from them on the whole. Shame.

The next gig was the second lovely Cool Fun night at The Old Queen's Head, in Islington. I won't go on about it too much, as my friend Dan Market and I are Cool Fun, but it was a very good gig, with an especially bonnie set from the almost unfathomably fast-improving Rose & the Distractions. Worthy of individual note was the effect-laden, one-legged mandolin perfection from multi-instrumentalist Ralegh Long. 

The following night, two Shoreditch shows allowed me to take in 3 bands. First up were SMALL, whom I have banged on about before on here. Finally, they came to London, and i must say that whilst the music was near perfect, there was a rather offputting vibe to their stage show. Two of the three members were wearing leather trousers, and the drummer may have been too, as he was sat down and I couldn't see. That should be enough to make my point about them.

Next up were The Operators, of the Isle of Wight. Three quarters of a great, if rather naff pop band on show there. Breathtaking rhythm section (they record in Mark King's studio, and rumours abound that the bassist is his son), a couple of stand out tracks, and a honking, galumphing fool of a singer. More bum notes than true, unfortunately. Still, they can play.

Finally, I saw We Have Band, who were the best band of the evening. A nice line in disco-y, driving electropop. Pleasingly organic though, with splashes of surprisingly twinkly joy on offer. They put on an engaging, intelligent show which put me in mind of the mighty TV On The Radio at times. Although that is a generous comparison to draw, and you may go and see them and decide to disregard everything else you have read here, they are a neat little band, with something slightly different to offer.

That is all on the gigs front for now. I have heard a couple of other golden nuggets lately, but that can wait for another day. A couple of bands to see tonight should lead to another post soon enough.

further

And so, another couple of weeks have passed and plenty has altered.

I am now reluctantly back in the singles club, following a very brief telephone conversation last Tuesday. I thought things were going very well, but that shows how bloody starcrossed I was. Idiot.

A week has practically passed, and no further word from her. Nevermind. I am really very downhearted now though, and it feels a terrible shame.

Prior to this unceremonious dumping, we did have a date together, catching the mighty Keane at Annexet in sthlm. I must say that despite their status in my eyes as the Tim Henman of rock bands, I have been a big fan of The Keane for some time now. Tom Chaplin has quite a voice, and boy can they write a tune. The live show was upbeat enough for the band to endear themselves even further with me, and there wasn't a duff song in a pretty lengthy set.

Really, to all the haters; open your ears.

There are a couple of new things to recommend, that have recently come to my attention. First up, I feel duty bound to mention the new Deerhunter album. It's brilliant. I'm sure you know this already, but it must still be said. A long way ahead of Cryptograms/Flourescent Grey EP. There are 25 tracks on it in total, and not a dud amongst them. Big and shoegazey in parts, and suitably subtle throughout. 

I also quite like the sound of Windmill. I'm a bit surprised it's fallen below my radar for so long, but there is something about it that has won me over quite quickly. A bit of a Daniel Johnston-y quality to the vocal might be an instant turnoff to some, but it works, to my ears.

I will try to blip as many things related to the music I mention on here, and nice things I can't be bothered to, so click the link.

I will now leave it for now, as I have to decide who will have the dubious pleasure of being my +1 at Okkervil River and The Dodos tomorrow night.

TTFN.

M quatre-vingt trois

As I saw a brilliant show last night, I feel compelled to post another few incosequential paragraphs. Especially apt following the band linked in the last one. The show in question was M83  at London's Scala, and it was effing glorious.

Never having seen them before, it was hard to know what to expect, and, whilst excited, my hopes weren't especially high. Thus, I was blown even further away by the show they produced. 

Pre-show my primary concern was that the show would focus on most recent album Saturdays=Youth, which, whilst lovely, wouldn't lend itself to performance as well as its two predecessors. As soon as the synth trill of 'Run Into Flowers', from their first full length album Dead Cities, Lost Souls & Ghosts kicked in to open the set, however, all doubt evaporated. 

A far more looped, hypnotic version than on record, they segued from here into a 20 minutes opening 'movement' of sorts, which included refrains familiar from each album, without dwelling for long enough on any to give a feeling that this was just a run through of their recorded material.

They then kicked directly into 'Kim & Jessie', the most straightforward from the Saturdays and wandered back across their 3 albums, ending the section on 'Gone' an etherial highlight of album 2. It was towards the end of the show, however that they struck the heights. With a live version of 'Teen Angst' that actually outdid one of my favorite pieces of recorded music of the decade, and some deep deep rocking out.

The whole gig was so dynamic, that the final burst of 'Don't Save Us From The Flames' seemed the moment to go out on a high. An encore felt almost unnecessary, but I still felt grateful that they came back on. Especially so when the slow burning song they performed actually delivered a perfect cadence following the bombast of what went directly before.

It was one of those gigs that make me want to revise my taste in music. I listened to Eno's Another Green World on the bus home last night, and i think I'll be cracking out the Ulrich Schnauss this weekend. Another mark of how good it was is that, at the end, I had no idea how long they had been playing for. I always find this a good marker of an engrossing show, especially as I am normally checking the time after 20 minutes and waiting for the hit. M83 played for about an hour and a half, which is a long set, and managed to keep the whole audience, as far as i could tell at least, thoroughly rapt for the duration.

The one nagging feeling that I was left with was that they would be better at a festival at night, but I can't really blame them for that.

 word should go to the support band from the Scala, whom I actually went to check out for work purposes. They are called The Domino State, and they're bloody dreadful. Deeply uncool and self important, these late 20 and 30-somethings obviously think that they rock, deploying the delay-pedal as if they invented it. Their matching black shirts from Next tell you all you need to know. Listen to your eyes before they play a note and flee for the hills.