Animal Collective's new record, released at the start of the year, took their sound further away from their psych-folk roots and into the realm of dubby electronica, with the help of producer Rusty Santos. Expect washes of delay, percussive polyrhythms and soaring vocals somehow making their way through the electronic haze. They followed it up at the very end of the year with an EP, Fall Be Kind, turning up the layering and sampling the Grateful Dead.
The London-based electropop duo's long-awaited album, combining the synthpop of New Order at their most Kraftwerk-influenced and guitar-led indiepop which (cliché warning!) wouldn't have sounded amiss on Sarah Records circa 1991. Highlights: there's the obvious Kraftwerk homage of Autovia, the vocoder-driven Squarewave To Heaven and the mighty electronic buildup of This City Life. It's all good.
This unanimously grabs the title of "best record of 2009 featuring the grim snarling of dire wolves". Adelaide-born, Reykjavík-based Frostí's latest album is an assemblage of frosty, shadowy ambiences, with stark electronic waveforms, minor-key melodies and processed field recordings (breaths, thuds and the aforementioned wolves), rounded off with references to The Cure and Twin Peaks. File under "dark ambient".
Not so much a record as a clutch of four forming a trend; they're all electronic, a bit to the left of pop though not in the realm of "electronica". Cold Cave are a trio whose sound is a sort of synth-driven new-wave with nods to 1980s gothic rock (highlights: "Life Magazine"). Memory Tapes makes layered tracks, mixing electronic and organic sounds, building up and stripping down and building up again, and turns them into songs (highlights: pretty much any track; let's say Stop Talking).
Rainbow Arabia are a US outfit who craft a sort of electronic exotica for the post-(new-)rave generation (let's call them "electroxotica"), celebrating the global other with exotic scales on synths, drum samples and song titles like Holiday In Congo and Kabukimono (highlight: let's say Harlem Sunrise). The Very Best is a collaboration between Malawian musician Esau Mwamwaya and French/Swedish/London-based (delete as applicable) production team Radioclit, and sounds like what 1980s electropop would have sounded like had it been invented in Africa (highlights: let's avoid the obvious bits—the Ezra Koenig and M.I.A. collaborations, the AIH sample—and say Chalo, which starts with an epic synth riff and follows through in appropriate fashion).
fight crime form part of the sound of 2009.
The long-awaited record from the Melbourne twee-pop combo; pocket-sized pop symphonies, most of them expressions of love for an unnamed second person (sample lyric: "I'd mess up my collar just to feel you correct it"), with ringing guitars and the occasional string arrangement; in places it sounds like a twee version of The Clientele. Without a doubt the most fey record in this list.
Simple, summery guitar pop done well, with good melodies and harmonies. It's not groundbreaking, thematically or stylistically, but it's an old formula, slightly updated and done better than most. Highlights: Saddest Summer, perhaps.
A six-track EP by a band comprised of two librarians and a BBC researcher, playing Casiotone keyboards and guitars and citing Stereolab, Sean O'Hagan, the BBC Radiophonic Workshop, Dario Argento and 1960s Hong Kong pop as influences, and a brilliant one as well, reminiscent of early Minimum Chips EPs in its understated feel. I've listened to this one a lot this year.
Iceland's second entry in this year's list, from the frontman of Sigur Rós and his boyfriend. It's wordless soundscapes, though lighter and more blissful than Sigur Rós; one could say that this is the yin to Frostí's yang.
They're from London, but remind me more of Melbourne bands like The Smallgoods, Gersey and even the (sadly departed) Lucksmiths. Multilayered melodies and harmonies, plays on words and buildups of unassuming lushness, not quite threatening to go into shoegazing territory in places, make for a very listenable record, and a promising band.
In a lot of ways, 2009 was the Pains' year. A New York band, though wearing their classic British indiepop influences on their sleeves and given to touring the UK with an almost suspicious regularity, the Pains released their self-titled album early in the year, with songs like This Love Is Fucking Right (see if you can spot the reference there) and Teenager In Love becoming cornerstones in the soundtrack to 2009. Not content to rest on their laurels, they followed this up with an EP, Higher Than The Stars, bringing more immaculate indie-pop, guitar fuzz and stories of young lives and fraught situations; nonetheless, they can only have one entry in this list, and it'll have to be the album.
Were there a gong for the record of the year, it'd have to go to The Pains Of Being Pure At Heart.
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