RFUS
Anustart
Haven't done this for a couple of years I think, but I love making big lists and waffling on, pretending that people don't just skim the text and look at the pictures like I do with Chico's awful previews. So here goes, like.
Another good year for music in my opinion though perhaps one without the widespread impact of Daft Punk's Random Access Memories in 2013, or Frank Ocean's Orange in 2012. I found it a bit easier to pick a top 10 this time around, which could be because I've had less time to scour the web for music after a hectic year. Either way, here are the 10 albums that have struck a chord (*sigh*) with me this annum. Feel free to offer your own suggestions, agree, disagree or just post gifs if you're the kind of internet weirdo that now exclusively communicates in short bursts of images wrapped in a low frame rate. Unless of course you're @Bryan , as your taste in music is the equivalent of micknick's taste in footwear.
Number #10 -- The Horrors: Luminous
3 years had passed since 2011's "Skying" and the subsequently dramatic style and image shift this band underwent. Initially a band so unashamedly goth that they actually parodied themselves in the Mighty Boosh as a Vince Noir favourite, they transformed into a post-punk, dream pop amalgamation with a juxtaposed combination of brooding vocals and far brighter instrumentation. And thank God for that, as "Skying" was one of the albums of the year. So following up that boils down to answering one question -- "Was it a fluke?". And no, it was not. That is all you need to know. This picks up where the prior album left off, and digs out more of their new-found sound. Does it move them forwards? Perhaps not, but right now that is fine as this is a richly rewarding listen that should tide fans over for the next few years. Should their next effort retread the same ground, then perhaps there will be a problem, but until then sit down, put on some normal fitting jeans, wipe off your jet black eyeliner and enjoy.
Number #9 -- Perfume Genius: Too Bright
Surprisingly for a record of such openly gay influence, drenched in the experiences of a lifetime of homosexuality, this isn't in #1 on the internet's most man-on-man encouraging football forum. But nonetheless, it's a corker of an album. Mike Hadreas has put every ounce of love, hate, elation and deflation his life has brought him thus far into 33 minutes of outstanding Pop. The flagship single "Queen" is one of the finest, catchiest and meaningful hits of the year. And thankfully the rest of the album keeps to this very high level. Top stuff.
Number #8 -- Future Islands: Singles
Perhaps the most incredible thing about this band is how a short, balding, chalky-white frontman manages to channel the bass tones of Barry White and the exuberant energy of a pre-car insurance Iggy Pop. Get over that however -- and his appalling dancing -- and you'll find some of the the catchiest and most original synth-driven pop songs out there.
Number #7 -- Aphex Twin: Syro
13 years is a very long time in this industry. Bands can come, go, come back, release a best of and then bugger off again in less time than that. So Richard James (now you see why he sticks to "Aphex Twin") had a monumental challenge ahead. How can you remain relevant in a genre that hasn't stood still for a moment of your absent 156 months? Well, by releasing something that feels important. A masterful understanding of harmonies and crafting human emotions from inhuman sound. If you have even the slightest appreciation of (or curiosity about) the genre, then this is utterly essential.
Number #6 -- Interpol: El Pintor
It's been 10 years since hipster-supremes Interpol last released something good (in my opinion, anyway). They burst onto the scene in 2002 with the exquisite "Turn on the Bright Lights" and backed it up with 2004's "Antics", but their next two albums, despite greater spacing, felt as though they were the product of a band with either no effort or no ideas left to give. So when this came along early in September, I booted up Spotify with no more of a hint of hope, and yet an hour later I'd snapped it up and had it looping on iTunes for a solid week. And I keep coming back for more. It's not as refined, as complete or as masterful as some of the other entries on this list, but what it is is exactly what Interpol were in the early 2000s -- refreshing.
Number #5 -- Wild Beasts: Present Tense
2011's "Smother" was one of my highlights of the year, but it didn't quite have a lasting impact on me. It was a very good album but the mark of a great album is persistence and permanence. Well it's been 9 months since the release of "Present Tense" and it is and has remained, my most listened to album of the year. It's slick, it's stylish and it's bursting with an impressive amount of creativity -- especially from a band that hails from Kendal; AKA the "Kirkby of Cumbria". The scariest thing is that as complete and supreme as "Present Tense" is, you still get the feeling that the band haven't even approached the peak of their powers.
Number #4 -- The War on Drugs: Lost in the Dream
If I could choose one album from this year to highlight the importance of sonic depth, this would be it. Music, in a wider context, is often representative of the society of its era, and thus we have the 'conveyor belt creativity' model of instant gratification; sadly that does not produce any meaning beyond that of the corrupting potency of fame and fortune. So when something like this comes along, where every ounce of creative input and meaning is backed up by powerfully original and engrossing sounds, you can't help but be blown away.
Number #3 -- The Twilight Sad: Nobody Wants to Be Here and Nobody Wants to Leave
I was lucky to hear some of the album's content before its release, when I saw them live earlier in the year. What the raw energy of the live performance brought to the music aside, I've been better served spending a good month listening to the record in comparative isolation. As ever with good records, it can take a bit of time to delve into it. But after burying myself in this absorbing album, I can safely say that The Twilight Sad are continuing down the right path. In spite of a lack of widespread acclaim or attention, they are honing a unique brand of what I could only describe as depressive, shoegazing folk. But labels be damned, they are a band that deserve your time and attention, because they truly appreciate it and every bit of effort, passion and emotion comes through in their work.
Number #2 -- Run the Jewels: Run the Jewels 2
I like to think I can appreciate a wide-spectrum of music, but I'd be the first to admit that there are some genres that I find that bit harder to love. One of those is Hip-Hop. So when a Hip-Hop record climbs so high in a list like this, you know it packs a punch. Killer Mike and El-P are back a mere year after their debut collaboration -- a testament to both their work ethic and their bountiful supply of fresh ideas. Run the Jewels 1 received acclaim from both the Hip-Hop community and also in a wider field, but despite the excellence of that album, they've managed to one-up it in almost every way. Improving on a quality album is one thing, but making it almost irrelevant is another altogether. The most brutally uncompromising, compellingly listenable Hip-Hop record of the past God knows how long. If you're a fan of the genre, it will blow you away. If you're not a fan of the genre, then it will convert you. When they say your favourite rapper ain't sh*t, they ain't kidding; they are peerless.
Number #1 -- St. Vincent: St. Vincent
Though modern music and the culture that surrounds it is more concerned with the circumference of a woman's behind than the breadth of her talents, if everything was just and fair, it would be Annie Clark who was revered as the most important and respected woman in the industry. Alas that is not how things work, but she is trying and succeeding to make the journey for those who follow her career one hell of an enjoyable ride. She had a lot to do following up my album of 2011 "Strange Mercy" and the eccentrically fascinating collaboration with David Byrne "Love This Giant" in 2012. But she, as ever, seems unfazed by the critical adoration she receives, and makes making truly great music look like child's play. The guitar work is as inventive as ever and it's backed up with a suite of lyrics packing a vicious bite. This was my album of the year from the moment it was released in February and that hasn't changed since. How one woman manages to incorporate every kind of instrument, squeeze original sounds out of the electric guitar's 80 year legacy, and write lyrics with such wit, I will never know. All I can be sure of is that so long as she keeps putting out records, I will keep buying them.
And as a bonus, here's my 5 disappointments of the year:
Number #5 -- TV On the Radio: Seeds. I was elated to see one of my favourite bands getting back in the saddle after the tragic death of their bassist Gerard Smith, a few years ago. However, despite their commendable efforts to blossom in the wake of such a horrific event, this album only serves to highlight what has been lost and what is still missing. It is still a good album, with a few stellar tracks, but they are better than this and I can only hope that, with a bit more time, they can fill the void that remains.
Number #4 -- Jack White: Lazaretto. I love Jack White, don't get me wrong. Usually anything he touches turns to fap, for me. But I'm a harsh critic and I expect more from great artists. Nothing here is new, simply put, which is something I never thought I'd have to say about Jack White. Utterly unessential.
Number #3 -- Foo Fighters: Sonic Highways. Proving their last album was not a dip in form but rather a slope in their career. Their early catalogue will remain 21st Century Rock 'N' Roll excellence, but with great sadness I must admit that the Foo Fighters are no longer relevant or interesting, and that they haven't been for a while.
Number #2 -- Alt-J: This is all yours. Their debut managed to a hit the mark and achieve the rare combination of critical and commercial success, so I had great expectations for this. Sadly their idea of improving is adding frivolous extras to an otherwise unchanged sound. Not a bad album, but a bad case of 2nd album syndrome.
Number #1 -- Foster the People -- Supermodel. Similarly to #1, a band following up an original and enjoyable debut album in the wrong way. Except unlike Alt-J's effort, this is an undeniably bad album. Avoid it like you might a Mo Besic slide tackle.
Cheers for reading/skimming, guys. I look forward to seeing what the rest of you have loved this year, and hopefully finding some new bands to listen to
Another good year for music in my opinion though perhaps one without the widespread impact of Daft Punk's Random Access Memories in 2013, or Frank Ocean's Orange in 2012. I found it a bit easier to pick a top 10 this time around, which could be because I've had less time to scour the web for music after a hectic year. Either way, here are the 10 albums that have struck a chord (*sigh*) with me this annum. Feel free to offer your own suggestions, agree, disagree or just post gifs if you're the kind of internet weirdo that now exclusively communicates in short bursts of images wrapped in a low frame rate. Unless of course you're @Bryan , as your taste in music is the equivalent of micknick's taste in footwear.
Number #10 -- The Horrors: Luminous
3 years had passed since 2011's "Skying" and the subsequently dramatic style and image shift this band underwent. Initially a band so unashamedly goth that they actually parodied themselves in the Mighty Boosh as a Vince Noir favourite, they transformed into a post-punk, dream pop amalgamation with a juxtaposed combination of brooding vocals and far brighter instrumentation. And thank God for that, as "Skying" was one of the albums of the year. So following up that boils down to answering one question -- "Was it a fluke?". And no, it was not. That is all you need to know. This picks up where the prior album left off, and digs out more of their new-found sound. Does it move them forwards? Perhaps not, but right now that is fine as this is a richly rewarding listen that should tide fans over for the next few years. Should their next effort retread the same ground, then perhaps there will be a problem, but until then sit down, put on some normal fitting jeans, wipe off your jet black eyeliner and enjoy.
Number #9 -- Perfume Genius: Too Bright
Surprisingly for a record of such openly gay influence, drenched in the experiences of a lifetime of homosexuality, this isn't in #1 on the internet's most man-on-man encouraging football forum. But nonetheless, it's a corker of an album. Mike Hadreas has put every ounce of love, hate, elation and deflation his life has brought him thus far into 33 minutes of outstanding Pop. The flagship single "Queen" is one of the finest, catchiest and meaningful hits of the year. And thankfully the rest of the album keeps to this very high level. Top stuff.
Number #8 -- Future Islands: Singles
Perhaps the most incredible thing about this band is how a short, balding, chalky-white frontman manages to channel the bass tones of Barry White and the exuberant energy of a pre-car insurance Iggy Pop. Get over that however -- and his appalling dancing -- and you'll find some of the the catchiest and most original synth-driven pop songs out there.
Number #7 -- Aphex Twin: Syro
13 years is a very long time in this industry. Bands can come, go, come back, release a best of and then bugger off again in less time than that. So Richard James (now you see why he sticks to "Aphex Twin") had a monumental challenge ahead. How can you remain relevant in a genre that hasn't stood still for a moment of your absent 156 months? Well, by releasing something that feels important. A masterful understanding of harmonies and crafting human emotions from inhuman sound. If you have even the slightest appreciation of (or curiosity about) the genre, then this is utterly essential.
Number #6 -- Interpol: El Pintor
It's been 10 years since hipster-supremes Interpol last released something good (in my opinion, anyway). They burst onto the scene in 2002 with the exquisite "Turn on the Bright Lights" and backed it up with 2004's "Antics", but their next two albums, despite greater spacing, felt as though they were the product of a band with either no effort or no ideas left to give. So when this came along early in September, I booted up Spotify with no more of a hint of hope, and yet an hour later I'd snapped it up and had it looping on iTunes for a solid week. And I keep coming back for more. It's not as refined, as complete or as masterful as some of the other entries on this list, but what it is is exactly what Interpol were in the early 2000s -- refreshing.
Number #5 -- Wild Beasts: Present Tense
2011's "Smother" was one of my highlights of the year, but it didn't quite have a lasting impact on me. It was a very good album but the mark of a great album is persistence and permanence. Well it's been 9 months since the release of "Present Tense" and it is and has remained, my most listened to album of the year. It's slick, it's stylish and it's bursting with an impressive amount of creativity -- especially from a band that hails from Kendal; AKA the "Kirkby of Cumbria". The scariest thing is that as complete and supreme as "Present Tense" is, you still get the feeling that the band haven't even approached the peak of their powers.
Number #4 -- The War on Drugs: Lost in the Dream
If I could choose one album from this year to highlight the importance of sonic depth, this would be it. Music, in a wider context, is often representative of the society of its era, and thus we have the 'conveyor belt creativity' model of instant gratification; sadly that does not produce any meaning beyond that of the corrupting potency of fame and fortune. So when something like this comes along, where every ounce of creative input and meaning is backed up by powerfully original and engrossing sounds, you can't help but be blown away.
Number #3 -- The Twilight Sad: Nobody Wants to Be Here and Nobody Wants to Leave
I was lucky to hear some of the album's content before its release, when I saw them live earlier in the year. What the raw energy of the live performance brought to the music aside, I've been better served spending a good month listening to the record in comparative isolation. As ever with good records, it can take a bit of time to delve into it. But after burying myself in this absorbing album, I can safely say that The Twilight Sad are continuing down the right path. In spite of a lack of widespread acclaim or attention, they are honing a unique brand of what I could only describe as depressive, shoegazing folk. But labels be damned, they are a band that deserve your time and attention, because they truly appreciate it and every bit of effort, passion and emotion comes through in their work.
Number #2 -- Run the Jewels: Run the Jewels 2
I like to think I can appreciate a wide-spectrum of music, but I'd be the first to admit that there are some genres that I find that bit harder to love. One of those is Hip-Hop. So when a Hip-Hop record climbs so high in a list like this, you know it packs a punch. Killer Mike and El-P are back a mere year after their debut collaboration -- a testament to both their work ethic and their bountiful supply of fresh ideas. Run the Jewels 1 received acclaim from both the Hip-Hop community and also in a wider field, but despite the excellence of that album, they've managed to one-up it in almost every way. Improving on a quality album is one thing, but making it almost irrelevant is another altogether. The most brutally uncompromising, compellingly listenable Hip-Hop record of the past God knows how long. If you're a fan of the genre, it will blow you away. If you're not a fan of the genre, then it will convert you. When they say your favourite rapper ain't sh*t, they ain't kidding; they are peerless.
Number #1 -- St. Vincent: St. Vincent
Though modern music and the culture that surrounds it is more concerned with the circumference of a woman's behind than the breadth of her talents, if everything was just and fair, it would be Annie Clark who was revered as the most important and respected woman in the industry. Alas that is not how things work, but she is trying and succeeding to make the journey for those who follow her career one hell of an enjoyable ride. She had a lot to do following up my album of 2011 "Strange Mercy" and the eccentrically fascinating collaboration with David Byrne "Love This Giant" in 2012. But she, as ever, seems unfazed by the critical adoration she receives, and makes making truly great music look like child's play. The guitar work is as inventive as ever and it's backed up with a suite of lyrics packing a vicious bite. This was my album of the year from the moment it was released in February and that hasn't changed since. How one woman manages to incorporate every kind of instrument, squeeze original sounds out of the electric guitar's 80 year legacy, and write lyrics with such wit, I will never know. All I can be sure of is that so long as she keeps putting out records, I will keep buying them.
And as a bonus, here's my 5 disappointments of the year:
Number #5 -- TV On the Radio: Seeds. I was elated to see one of my favourite bands getting back in the saddle after the tragic death of their bassist Gerard Smith, a few years ago. However, despite their commendable efforts to blossom in the wake of such a horrific event, this album only serves to highlight what has been lost and what is still missing. It is still a good album, with a few stellar tracks, but they are better than this and I can only hope that, with a bit more time, they can fill the void that remains.
Number #4 -- Jack White: Lazaretto. I love Jack White, don't get me wrong. Usually anything he touches turns to fap, for me. But I'm a harsh critic and I expect more from great artists. Nothing here is new, simply put, which is something I never thought I'd have to say about Jack White. Utterly unessential.
Number #3 -- Foo Fighters: Sonic Highways. Proving their last album was not a dip in form but rather a slope in their career. Their early catalogue will remain 21st Century Rock 'N' Roll excellence, but with great sadness I must admit that the Foo Fighters are no longer relevant or interesting, and that they haven't been for a while.
Number #2 -- Alt-J: This is all yours. Their debut managed to a hit the mark and achieve the rare combination of critical and commercial success, so I had great expectations for this. Sadly their idea of improving is adding frivolous extras to an otherwise unchanged sound. Not a bad album, but a bad case of 2nd album syndrome.
Number #1 -- Foster the People -- Supermodel. Similarly to #1, a band following up an original and enjoyable debut album in the wrong way. Except unlike Alt-J's effort, this is an undeniably bad album. Avoid it like you might a Mo Besic slide tackle.
Cheers for reading/skimming, guys. I look forward to seeing what the rest of you have loved this year, and hopefully finding some new bands to listen to
