Melbourne's Aleks and the Ramps have made a career just on the music side of the border between music and comedy, being a bit like a Doug Anthony Allstars with a stronger focus on musical composition and arrangement. Facts, their first record in three years (and their first since the departure of Janita Foley) follows in this. It sounds slightly smoother and more polished, with layers of shimmering keyboards, guitars (ranging from languid slide to funky African grooves and the odd crunchy power chord), the odd banjo and ooh-aah backing vocals forming pop melodies that reach an almost loungey smoothness at times, serving as a bed for Aleks' laconic, deadpan croon, delivering a continuous stream of zingers like “it's hard to breathe in the back of a horse costume, or pay attention to the tension in the room”, “now he never leaves the house looking less than presidential, as he studies all the bridges for their suicide potential”, and “meanwhile back on the Serengeti, my shirt's still smelling all cigarettey". I'd love to see these guys on a bill with Tigercats.
With Bloom, Beach House have transitioned to being the closest thing to a Cocteau Twins for the 2010s; they're different, of course (the guitar work doesn't sound quite like Robin Guthrie's, and the vocals are in comprehensible English), but subjectively, the experience of listening to Bloom is like that of hearing the Cocteaus' Victorialand was; the way that the songs come together, build up and envelop the listener. Beach House's previous albums didn't quite gel for me, but this is the one where it all comes together.
The latest from the San Diego garage-rock classicists, Endless Flowers; it's somewhat more light-hearted than the Dionysiac/Baudelarian darkness of their previous works, perhaps due to happy romantic circumstances in the frontman and songwriter Brandon Welchez' life; No Black Clouds For Dee Dee certainly appears to be dedicated to his new wife, Dee Dee from NYC86ists the Dum Dum Girls. Nonetheless, the Crocodiles do a certain kind of studied yet louche underground rock'n'roll really well, and got quite a few spins where I am. Highlights would include Electric Death Song, Sunday (Psychic Conversation #9) and Hung Up On A Flower, a paean to narcotic languor which ends with the drummer reciting poetry in German through a Space Echo.
Two quite different records with a few common themes running through them. Both are predominantly electronic, albeit in different fashions; the warm analogue radiophonica of the ERC contrasting with the icy autotuned crispness of Purity Ring. Both have a connection to the eldritch; 1612 Overture is a concept album about the Pendle witch trials, juxtaposing those with the inequities of Cameron/Clegg Austerity Britain, while Purity Ring's vocals juxtapose a Cronenbergian body-horror imagery with a sheen of airbrushed eroticised glamour associated with commercial pop music. And finally, both albums lift their forms from underground trends; The Eccentronic Research Council (who consist of two musicians–one of whom was in early-2000s Mancunian chilled-beat mongers I Monster, best known for the German lounge orchestra-sampling Daydream In Blue—along with solidly Northern actress Maxine Peake providing the monologues) borrow wholesale from the hauntology milieu pioneered by the Ghost Box label, with their faded retro-modernist cover art featuring geometric forms and Helvetica, and their name, like The Advisory Circle and the Moon Wiring Club, evoking a fantasy pre-Thatcherite Britain of ghost-haunted analogue circuits and a vaguely socialistic yet faintly ominous technological optimism. (And then there's the opening track being titled Autobahn 666, and starting with synthesizer arpeggios and sampled car sounds; I'm fairly sure I've heard something like that before somewhere.) Purity Ring, meanwhile, take the Witch House/goth-crunk trend that all the cool kids in Brooklyn were into a few years ago and run with it for a good distance.
The Swedish crooner and sometime Melbourne resident's first full album in five years, and a welcome return. It's less upbeat than his previous album, 2007's Night Falls Over Kortedala, with Jens having gone through a breakup before writing it, though this is welcome; as a songwriter, he does melancholy better than contentment. (I thought Kortedala was a bit too cheerful, and generally skipped the romcom-in-a-pop-song that was Your Arms Around Me when it came on). And while it is tinged with melancholy, Jens' pop sensibility manages to keep it from being a downer; there is a lushness to its arrangements, and, of course, to Jens' voice. Highlights include The World Moves On (a story of romantic (mis)adventure in Melbourne's inner north on the hottest day on record), I Want A Pair Of Cowboy Boots, and the bare, elegiac Every Little Hair Knows Your Name, which, along with its reprise, bookends the album.
Leeds' The Rosie Taylor Project made their appearance in 2008 with This City Draws Maps, an 8-track album of understated folk-pop songs for overcast days, all finger-picked guitars, breathy vocals and the odd trumpet and glockenspiel, somewhat reminiscent of Melbourne bands like Gersey or Sodastream. On their 2012 follow-up on London's Odd Box label, the sun breaks through the clouds as the band finds more of a groove. The first track is a two-minute quasi-instrumental, starting with synth pad, with a dubby bass guitar and drums joining in; the second track, For Esme, gets things moving, with an almost mariachi-esque trumpet. The rest of the album manages to combine the introspective lyricism of its predecessor with a more elaborate production and some catchy grooves, the height of which is probably Sleep, which almost reinvents disco from first principles. Keep an eye on these guys.
Not quite the full album of polyester-smooth yacht rock I was expecting after Victory Walker, though these guys sure know how to rock a party. On A Bedroom Wall sees Still Flyin' take a more electro/new-wave direction, almost meeting Cut Copy in the middle. If all the hipsters in your town were wearing cleats for some portion of 2012, this album could be the reason.
It's fair to say that Amelia Fletcher is no underachiever; having co-founded the groundbreaking Sarah Records indiepop bands Talulah Gosh (whose other alumni include 2012 Turner laureate Elizabeth Price) and Heavenly a quarter of a century ago, she has maintained a presence in the genre all the while becoming the senior economist overseeing mergers and acquisitions in the UK, possibly making her the most senior civil servant with an active recording career. The latest album by her current band, Tender Trap, stands solidly alongside her earlier bands' classic output. Ten Songs About Girls is a record firmly in the Talulah Gosh/Heavenly style, honing and perfecting it and even in one song (Step One) laying down a template-cum-manifesto for it. Highlights include the opening track, Train From King's Cross Station (is that a nod to Betty and the Werewolves' Euston Station?), with its spiky punk guitars and bass and cupcake-sweet girl-group harmony vocals, Leaving Christmas Day (a song about breaking up with someone over his creationist beliefs, which will have a place on indiepop-for-atheists mix tapes next to McCarthy's Should The Bible Be Banned?) and the lovely, poignant Memorabilia, an account of a long-lost relationship in the past through a box of badges, mix tapes and letters. Unlike the works of other veteran indie acts (like, say, Tracey Thorn, The Would-Be-Goods and Saint Etienne), Tender Trap have eschewed writing songs set in later adulthood, staying in the boyfriends-and-girlfriends milieu of an extended adolescence set sometime between the heyday of C86 and now; this works well for them.
Tigercats have become one of my favourite London bands recently, and their début album captures the energy of their gigs as well as can be done. Their sound is a tightly angular, ecstatically rhythmic, Afrobeat-tinged post-punk party pop, in some cases shading into Architecture In Helsinki territory (such as Limehouse Nights). Highlights include the opening track, a manifesto for the gentrification-besieged Isle of Dogs, The Vapours, which gets its name from a dream of 1980s new-wave one-hit wonders, and the epic roof-raiser Banned At The Troxy. I'd love to see these guys on a bill with Aleks & The Ramps.
Glaswegian indie veterans The Wake's previous record was 1994's Tidal Wave of Hype, released by Sarah Records in the wake of Madchester and as Britain's indie underground was exploding into the marketing phenomenon known as Britpop. 17 years later, they return, opening the third chapter of their recording career. A Light Far Out does not sound like either The Wake's starkly monochromatic Factory material nor the almost baggy grooves of their Sarah material, though there are echoes of their material; their melodic basslines, synth pads and an air of wistfulness, augmented with subtle and skilful use of electronic music elements such as granular delays and glitchy loops. The opening track, Stockport, starts with a familiar jangly guitar and melodic bass sound, accompanied by subtle electronics, and soon builds up into something lusher, yet with a yearning quality not unlike The Field Mice, a combination which recurs on If The Ravens Leave, the contemplative Methodist and the layered instrumental Faintness. Carolyn takes over vocal duties on the gentle and yet almost sinister Starry Day, a song with a hint of the Wicker Man about it. A highlight is the 9-minute title track, which is given time to evolve, through gentle guitar arpeggios, vocals and then languid seascapes of synths, subtle electronic beats and, eventually, violins. All in all, a welcome return, and a very strong record in its own right.
Had I to choose an album of the year, it would be either Tigercats' Isle Of Dogs or The Wake's A Light Far Out; two very different records it would be very hard to choose between.
The rerelease of the year would have to be Clag - Pasted Youth, which is more of a retrospective compilation of the Australian twee-punk band's releases and live gigs, long unavailable except on badly digitised MP3s, now remastered and accompanied with liner notes. Were there to be a track of 2012, it would be Peaking Lights' Lo Hi.
For your listening pleasure, there is a mix here.