2010: Music of the Year

I spent every one of the preceding three hundred and sixty five days, now lost to the annals of history and all things intangible, filling my earholes with someone else’s made-up words and noises, and now I present to you ten such collections over that course of time that particularly tweaked the part of my brain that responds favourably to music.

10. The Dead Weather – Sea of Cowards

Little Jack White has so many thumbs in musical pies at any one time, it seems like everyone forgets to bat an eyelid his way when he unleashes yet another rock glob on the populous even if it is still royally deserved. So, with a quick turnaround second album from the other band that isn’t The Raconteurs, it was like Consolers of the Lonely all over again. Which is a shame, as it is rollicking good fun from start to finish, with piss and vinegar seeping from its wet black jeans. Not a pretty image, but an image nonetheless.

> > > Hustle and Cuss

9. LCD Soundsystem – This is Happening

I’m pretty late to the LCD Soundsystem party (a great oversight on my part), but thankfully rectified with Mr James Murphy’s third (and final?) outing of liquid crystal disco. It sounds effortlessly cool, but there’s so much going on, it’s just plain fun to listen to, dance to and do just about anything to – be it the washing up, filling out an application form or being attacked by PANDUHS!

> > > Drunk Girls

8. Fukurouzu – Loop Suru

A pure punt of a purchase based on hours spent in HMV and Tower Records in Shinjuku and Shibuya at their countless listening posts sampling as much as was currently riding the Japan-o-charts, and it’s only really a mini-album, comprising seven tracks from this new indie group. But every track is superb, each different but just as good as the last. I look forward to whatever they do next.

> > > Dekinai

7. PVT – Church With No Magic

An interesting departure from 2008’s brilliant O Soundtrack My Heart (under their then-name of Pivot), with a darker moodier synth-led atmosphere and added lyrics, though ultimately the singing is just another layer of sound than making their output any more conventional. In fact, it’s probably a harder sell than their instrumental-only work. Still, despite the decidedly iffy title track, Church With No Magic (the album) is an overall success from a band that won’t let expectations get in the way of invention.

> > > Window

6. Charlotte Gainsbourg – IRM

Sure, she’s not the greatest singer, but, aware that her personality and heritage are integral to her success, she clearly knows who will best utilise these to create terrific tracks. 5:55 saw her collaborate with Air, Neil Hannon and Jarvis Cocker. But this time around it was Beck on songsmith duties (a role repeated as principal penner for Sex Bob-omb in the year’s third best movie Scott Pilgrim vs The World), and such a creative union brought about this rather fine selection of ditties.

> > > Heaven Can Wait

5. MGMT – Congratulations

With many a semi-psychedelic catchy-riff festival anthem under their belts (despite still being a disappointing live act) from Oracular Spectacular, follow-up Congratulations could have easily been more of the same. Instead, they went and did something even better, creating a spiralling dizzy mix of magic and wonder that harked back to decades gone by with both joy and sadness. A surprising and mature album that defies the flash-in-the-pan success I expected from them. Congratulations.

> > > Congratulations

4. Arcade Fire – The Suburbs

Blah-blah-blah, not as good as Funeral. Blah-blah-blah, no-one liked Neon Bible anyway. Well, The Suburbs, on its own terms, is a plenty good album. Sure, it could probably lose a few tracks around the middle, but it manages to capture a different feel to their previous offerings, yet still remains distinctively Arcade Firey. There are obvious highlights (Ready to Start, Rococo, Empty Room, Sprawl II) from the get-go, but as a whole, it’s a definite grower and one I’m looking forward to returning to in the months and years to come.

> > > The Suburbs

3. World’s End Girlfriend – Seven Idiots

Is there no end to this man’s mind-boggling talent? A release on his new Virgin Babylon Records label and a late entry into my top ten, it’s also my favourite Japanese release I’ve heard this year. A throwback to the electro-scrambling of his earlier work but still retaining the classical beauty and dark atmosphere of Hurtbreak Wonderland, Seven Idiots is hard to pin down, but an irresistible treat for WEG acolytes, and probably as good as any place to begin for the freshman.

> > > Les Enfants du Paradis

2. Yeasayer – ODD BLOOD

If I still had albums on cassettes, Yesayer’s latest would be one worn-out tape this year, which would have required a lot of unspooling and respooling when not jammed into my chunky old walkman. Luckily, the digital age avoids such wear and tear, so I was free to enjoy every one of the wonderful songs in ODD BLOOD on heavy rotation. Refreshingly upbeat and positive, it’s stirring stargazing stuff.

> > > Ambling Alp

1. Janelle Monae – The ArchAndroid

My new favourite lady of song and dance, and while I would usually do that terrible thing one does about things they love by secretly hoping it’s never popular so it can be your own special thing, I wish Ms Monae every success that comes her way. In this day and age of Lady Gaga left right and centre, here’s an artist with style AND substance. And some killer moves to boot.

The ArchAndroid represents Suites II and III of her Metropolis saga (begun with the equally wonderful The Chase EP), featuring a time-travelling plot of forbidden love, the suppression of robotkind, and t-t-tipping on a tightrope. But what really marks The ArchAndroid out from the pack is the diverse range of musical showmanship and craft throughout the album, hopping from genre to genre with every track, yet all tied together by the narrative through-line and Monae’s incredible range. Rock, jazz, classical, folk, funk, soul, electronica…all bases covered, all boxes ticked, all with relish and fun, but with surprising depth and meaning.

It’s wonderful to have an artist so resolute in breaking down boundaries, avoiding categorisation and celebrating differences rather than conforming to mainstream expectations or whatever is ‘hip’ or ‘cool’ in any given week. What the world needs now is a little bit of Janelle Monae.

> > > Tightrope

If the list and YouTube links were not enough to satisfy, I’ve also knocked up a playlist featuring tracks from some of the albums above, as well as a bunch of my other tip-top tracks of the year, in a handy one-size-fits-all Spotify playlist.

LISTEN NOW: 20x2010

MUSIC SPECIAL: Top 10 Albums of 2009

Yes, it's listy-time! It's all redundant now, as I'm sure everyone's already picked their favourite albums of 2010 already, or would rather do a little bit of noughties-navel-gazing, but so what? Here's a selection of my favourites that you were no doubt all listening to way back in 2010-1AD, and if that weren't the case, here's your chance to rectify that pronto. So, without further ado...

01: Grizzly Bear - Veckatimest
Sounding both very much of its time yet beautifully antiquated at the same time, Veckatimest is an album worth getting wrapped up in over and over again, and remains rewarding on each listen.

02: Danger Mouse and Sparklehorse - Dark Night of the Soul
Okay, so technically not a 2009 release on account of it not being actually released (sort of), but if you know where to look, it is great collaboration with many a formidable special guest, particularly from David Lynch who provides vocals on two of the very best tracks.

03: The Flaming Lips - Embryonic
Like an alien distress signal captured by government scientists in the 60s and only just released into the public, it's a distorted rambling affair but as utterly captivating as ever.

04: Franz Ferdinand - Tonight
Third time out for the Franz boys, and it's another batch of fun, cool, catchy body-jittering toe-tappers. You groovy cats, you! Easy to take for granted, but really, I don't think they've yet to put a (dancing) foot wrong.

05: Handsomeboy Technique - Terrestrial Tone Cluster
The only new Japanese album I think I listened to this year! Eek! But it's a formidable follow-up to his excellent debut. Drifts off a little towards the end, but for the most part, exceptionally lovely.

06: Yeah Yeah Yeahs - It's Blitz!
Ticks a lot of boxes with an emphatic YES in ways that are not immediately obvious, but instantly gripping. Kick-ass tuneage.

07: Hank Pine and Lily Fawn - North America
The long-awaited continuation of the titular characters' quest through the American gothic fairytale (via Canada), it eschews much of the story-telling in favour of consistenly high quality ditties.

08: Animal Collective - Merriweather Post Pavilion
The critical masterpiece of the year, there is much to savour on this album, and with every listen, it's easy to sink even deeper into the marvellous sounds contained within.

09: Wild Beasts - Two Dancers
Two distinctive voices + a bunch of great tunes = stirring stuff.

10: Discovery - LP
Blippy and electronic, yet warm and sunny, it's a joyous affair that sounds like pop from the not too distant future. And the future is now, kids!

Special mention as well for Compilation of the Year which was Dark Was The Night, a magnificent snapshot of contemporary North American folky-indie with a mix of new tracks, covers and traditional standards, and all for a good cause. And because I'm great, I've created a Spotify playlist sample of the above (substituting tracks from a few of my also-rans for those unavailable), something I'm thinking of doing more regularly (yay, playlists for all). Hear it yonder.

Any more recommendations or suggestions for ones I've missed more than welcome!

CD: Zongamin - Zongamin

UK-based Japanese artist and musician Susumu Mukai released his debut album under the moniker Zongamin back in 2003, but, bar a couple of exhibitions and the odd remix, has done little else since. Which is a shame, as his first effort is a fiendishly unique adventure spanning numerous musical genres, yet rendered in his own inimitable style that can only be described as Zongamin-esque.

From the short sparky choral-driven opener (Make Love Not War) onwards, Zongamin crafts a strange concoction of mysterious music that feels like a trip into the unknown. Much of it sounds like backing music to a 70's documentary on jungle exploration or unearthing mystical tombs of Ancient Egypt, especially Street Surgery, Tresspasser and Mummies (of course, judging by the track names and album artwork, this is no happy accident). It's all a rather strange, sometimes even sinister, atmosphere for what would otherwise be pigeonholed as a dance or electronic or even rock album, but even then, it's the kind of dance music that refuses to make a song and dance about it; and muterock, if you will. With the clipped beats, tiny blips and mumbling bass, it's both raw and restrained, with a lo-fi charm that can be attributed to Susumu playing his own instruments and then editing and mixing his own created samples. Only the two-minute rock-burst of Whiplash, also the only track with vocals (guess what the lyric is?), pushes Zongamin to a state of mild mania.

But that's not to say the rest of the album is too understated - indeed, it's exactly that which makes the upbeat funkier tracks that bit more interesting. Both Spiral and Painless are exciting expeditions into minimalistic disco, and J. Shivers Theme is a whistle-led bongo bop of the highest caliber (and was used in a recent Orange mobile ad campaign with narration from Stephen Fry), but it's the grimy grooves of Serious Trouble and Tunnel Music that are the album's real treats. Unconventional certainly, but undeniably compelling in a way that makes you want to pop limbs and twist appendages. And the Japanese bonus tracks aren't half bad either.

However, it's all a bit too much to take in on one sitting. All the tracks have their merits, but after two minutes or so, many of them suffer from repetition and lack of direction, and it's not long before impatience turns to skipping tracks altogether. There's a lot of talent on show, but it seems that many ideas run out of steam before the crucial point at which they can be stepped up that extra gear to turn what is simply a good tune into a great one. Much of this review has been spent building up the wonders of the Zongamin-iverse, and it's still an album to recommend, but it all just lacks a certain something to keep the ears from wandering elsewhere. Regardless, I hope we see another offering from Susumu soon - there's still a lot of potential on the music-front to be realised.

7/10

> > > Official Site

CD: Supercar - Highvision

When I first listened to Supercar's 2002 follow-up to Futurama, because it retained so many of the elements one would expect from an album of theirs, my immediate reactions were rather dismissive, as I'd go through each track thinking "God, this is such a Supercar song". But the more I listened, the more I realised "Wait, I LOVE Supercar - that's surely a good thing". And it is a good thing indeed, as the charging guitar-rock Supercar of old is virtually non-existent here, with the experimentation of Futurama expanded upon, refined and, ultimately, bettered.

Beginning with the stirring strings-led Starline, the sound crafted on their sixth (and penultimate) album is a wonderfully dreamy mix of ambient rock and electronica, ten tracks in all that sit together beautifully. While there are characteristics of their earlier sound (most noticeable in the pop-rock stylings of Otogi Nation), this feels like Supercar at their most free, which translates into the airy quality of much of the album. Futhermore, the zippy electronic triumvirate of Strobolights (which contains no guitar whatsoever, unusual for a typically guitar-based band), I (with high-pitched vocals a-plenty) and Yumegiwa Last Boy (featured prominently in quirky Japanese comedy-drama Ping Pong) sees the band almost enter dance music territory.

Even with these upbeat tracks, there is still room for their more moody side to be released, particularly the soaring Aoharu Youth, and Nijiro Darkness, which manages to be both haunting and hopeful, poignant and pretty. At just ten tracks, the quality remains near consistently high, though there are minor dips in the shape of Silent Yaritori, a perfectly decent track that feels like a lacklustre coda after the brilliance of Nijiro Darkness, and, Warning Bell, which, when taken out of the context of the rest of the album, sounds a little ordinary.

But as a whole, Highvision represents Supercar at their peak of creativity and genius (well, I've yet to listen to their final album, Answer, due to stupid Sony copyright protection), making their break-up even more upsetting. Two years later, and interest is still high, with the recent release of a 10th anniversary music video DVD and a re-release of their first album Three Out Change. None of this will convert naysayers, but if you've yet to sample their unique sound, Highvision is a wonderful place to begin. And then return to again and again.

9/10

> > > Supercar (Official Site)

CD: Halfby - Green Hours

I first became aware of Kyoto DJ/artist Halfby aka Takahiro Takahashi when I saw the Groovisions video for his track Rodeo Machine at onedotzero's 2006 digital film festival in London. The Airside-esque visuals and funky upbeat tune won me over, and I'm pleased to report that the rest of the album the track was taken from is similarly bright and buoyant.

Green Hours is cut-and-paste sample beats and pieces designed for the simple purpose of making you dance, smile and just plain enjoy yourself. Much of Halfby's work seems inspired by 70s happy-go-lucky records favoured by The Go! Team, with an element of Fatboy Slim mixy tricks - and amongst the dozen tracks on Green Hours, there are some that can certainly sit alongside the best such company have to offer. The rap mash-mixathon of Bring it Back is an early highlight, Man&Air and Coro Coro Sound System are grin-inducing heel-kicking celebratory anthems, and the soothing super-cool Bathrobe and album closer Soulful Lover Puppy ensure that Green Hours kicks rump throughout.

Best track though would have to be Flicker Song, a blissful carefree masterpiece that would suit an early evening trip to the seaside or an Amazonian boat-trip as much as it would a montage of a 70s all-female crime-fighting trio taking time out from busting perps for a shopping trip.

There's a childish playfulness to Halfby's music (as also shown in the wildlife-centric videos and album art) that make it so endearing, but at the same time it also results in the album's only two clangers. Admittedly, West Jungle March is quite cute and brief, but it breaks up the flow and feels a little unnecessary. However, Girls at Bass School's embarassing reworking of This Old Man is so 'down wid da kidz', it's inexcusable. But even if these two pour a little pee in the party punch, they are bunched together and easily skippable.

Overall, Halfby is a DJ that requests your utmost attention and Green Hours is provides a near-perfect soundtrack to any party. And now that I have seen him live in action, my appreciation of the album has increased and I will be sure to check out his other work when I have the chance.

8/10

> > > Second Royal Records

CD: YMCK - Family Music

While the likes of DJ Scotch Egg and Germlin use cut and paste 8 bit noises to create their sounds, Japanese chiptune outfit YMCK go one step further, using the old game console sound chips as simple replacement for genuine instruments to create bouncy jazzy pop melodies. It's not a scrambled remix of video game music, but more akin to traditional music that just so happens to use video game-esque equipment to produce the sound. It's what Mario would listen to on his walkman.

What stands out is that they rarely sample the games they reference. The title of their 2004 debut album Family Music of course puts you in the frame of mind of the Famicom (Family Computer - the original Japanese Nintendo Entertainment System). But apart from the odd blip and sound effect (and a quick riff of the Super Mario Bros. theme on SOCOPOGOGO (YMCK Version)), they are pretty much all original compositions. Even Tetrominon ~From Russia with Blocks~ resists the temptation to crack out the classic Game Boy Tetris tune, but at least there's some great lyrics:

From Russia are falling down
to make your brain messed up with mysteries
It's hard to perceive, easy to destroy
like your life itself

The blocks from Russia are falling down
You got to put into a box
gathering and eliminating a piece of Tetrominon

And while that's all well and good, YMCK seemed to forget to make the music in anyway interesting or stimulating.

The tracks are easy to enjoy individually and in small doses as a quirky novelty, but listening to the whole album is a tiresome feat. As you can imagine, there's little variety with the sound and content, and with some tracks stretching beyond the four and a half minute mark, it's hard to be patient enough to keep yourself from skipping onwards. But all that's waiting is another sugary dose of unexciting blip music. The high-pitched hushed vocals from lady band member Midori render every track more or less identical and the tunes would have perhaps benefitted without her listless half-whisper.

It all reinforces the view that video game music is primarily designed to be listened to while playing video games (no, really?) and the only reason certain tracks can be enjoyed at any other time is for nostalgia value. There are a couple of instances where it does gel together (the tiny opening Fanfare and Interlude tracks, plus the closing Your Quest Is Over is pretty), but overall it's somewhat lacking.

Family Music is an album in dire need of some spark and excitement. There is no doubting the technical accomplishment on display, but it all feels like a demonstration of their skills rather than a CD you want to listen to again and again. And while you may level some of these arguments against the likes of Plus-Tech Squeeze Box and the Adaadat noise merchants, I'd rather have a mashed-up joywreck assualt on the ears than this. Not bad every now and again, but it's just too much and not enough at the same time.

4/10

> > > YMCK (Official Site - English), Usagi-Chang Records

CD: Cornelius - Sensuous

Cornelius aka Keigo Oyamada has widely been regarded as one of the most important figures in contemporary Japanese music, whose innovative albums have gained something on an international, as well as a domestic, following. So, it is only natural that his first album of new material in five years should require one's avid attention. However, it seems that little progress has been made since 2001's Point.

As I have always preferred Fantasma, his third solo album, it's something of a disappointment that the absurdity and upbeat nonsense that made Fantasma so unique is largely absent. Instead, it is largely another batch of experimental pop incorporating electronic tones, everyday noises and Oyamada's restrained vocals. And while it is true that no-one else makes music in quite the same style, the end result lacks the uniqueness that made Fantasma so damn enjoyable. Nevertheless, it is perhaps unfair to dwell to much on past efforts for comparison, as while this album may not be Cornelius' best, there is still much to gleam from the dozen tunes on offer here.

It seems that Cornelius must love wind and love the sound of tinkling, as windchimes bookend Sensuous. You could probably split the album in two between the more ambient soundscapes (such as Omstart and Like a Rolling Stone) and the guitar-licked beats of Breezin' and Fit Song, yet both kinds have an airy, drifting quality. While it is nice to have something of a running theme, it also makes the tracks all seem to run together, with few that properly stand out and others that can only really be considered filler material. However, the ones that do stand out are certainly worth the effort.

The only track that sees Cornelius properly rocking out is the fast-paced Gum, filled with charging guitars and cymbal crashes as voice samples echo back and forth from all angles. It's as close to Free Fall as one gets this time round, but it's satisfying enough. Upcoming single Beep It is not especially clever but has a neat beat and manages to be pretty funky. The aforementioned Like a Rolling Stone is soothing and dreamy, as is his cover of Ratpack standard Sleep Warm. It's just a shame that his brilliant cover of YMO's exquisite Cue that appeared on the Breezin' single release doesn't appear here.

But perhaps the best track on Sensuous is barely a song at all. At just over a minute and a half long, Toner seems to be Cornelius at his most pure, using piano and electronic blips and sound effects to turn the menial task of printing out a sheet of paper into something more playful . It's like listening to someone remix Microsoft Windows start-up noises, but much better than that sounds.

As a result, Sensuous is something of a frustrating experience, feeling a little soulless and hollow at times, but with just enough flashes of brilliance to leave me sure that Cornelius has plenty more imagination and creativity to offer. I just hope that next time, his talent takes a more refreshing direction. And that we don't have to wait another five years.

7/10

> > > Cornelius (Official Site)

CD: Polysics - You-You-You

I am not one for buying singles, particularly considering how expensive they are in Japan, but this latest release from Polysics was an essential purchase, as it came with a DVD featuring four of their tracks from their last live show in the UK at London's 93 Feet East on Monday 1st May 2006. And I was there! Ergo, you can see me and my buddies jumping up and down like big sweaty sillies screaming "KAJA KAJA GOO!". The actual tunes on the single aren't half bad either.

In fact, the title track is perhaps their best air-punching pop-punk techno-laced anthem since Black Out Fall Out, which is high praise indeed. With its infectious synth hook, punchy drumfills and Hiroyuki Hayashi's rooftop calls, it's upbeat stuff. As the chorus breaks, a robot voice sings "You You You" - perhaps in response to Now Is The Time!'s I My Me Mine - and the synth soars, before launching into a winning guitar solo. Hopefully it will become a crowd favourite and a cornerstone of future setlists (I'll be smiling if it pops up when I see them play in Nagoya on December 9th).

The quality doesn't dip too far with the following track, むすんでひらいて (Musunde Hiraite - something about tying up and opening), but this is an all-together different beast. Here, Hayashi's high-pitched squeaks and screeches are matched by a deeper moodier voice, as blips and pops play over grimy guitar. It feels like a trip to the funfair, as it flits between ghost trains, wurlitzers and carousels while stuffing its face with candy floss and marshmallows. It is perhaps a little too bizarre to fit on a future album (even for Polysics), but works perfectly as an individual wacky track.

Finally, there's a remix of Walky Talky by Holger Czukay, former bassist with German 'krautrock' band Can (Wikipedia knows all). It seems like pretty standard stuff at first (a different beat here, a new sample there), but it launches into an uncharacteristic ambient interval. When it comes out the other side, it drags remnants of ethereality with it that smother the rest of the track (pretentious? Moi?). It's an unusual effort and more interesting than your typical end-of-a-single mix, for sure.

Dare I say it, but You-You-You may be better than any of the tracks from Now Is The Time!, and if it is indicative of what is to come from Polysics' next album, then I will buy it the day it is released. Promise!

8/10

> > > Polysics (Official Site), Sony Music