The Null Device

Records of 2017

2017 is almost over, and so, here are my records of the year:

With honourable mentions going to: Beaches - Second of Spring (a cavernous 76 minutes of psychedelic, motorik fuzz-rock from the Melbourne band) ¶ Boogie Idol - 音楽より遠く (described as “the perfect soundtrack to shopping for vegetables or riding an elevator”, this is a sort of Japanese vaporwave, influenced by 1990s Japanese commercial background music; to non-Japanese ears, it sounds exotic and somewhat retro-futuristic) ¶ The Bran Flakes - Help Me (the plunderphonic collagists return, with their characteristic playfulness; this is essentially the Generation X zine culture's analogue of vaporwave, brightly coloured sound sculptures made of the detritus of the 20th century) ¶ Jon Brooks - Agri Montana (Warm, Buchla-driven kosmische pastorals, inspired by vintage postcards and climbing hills in Wales) ¶ Children of Alice - Children of Alice (the surviving members of Broadcast, paying tribute to Trish with a track of eldritch, and very British, hauntological musique concrète) ¶ Even As We Speak - The Black Forest (the Sydney band, who were perhaps the most eccentric act to sign to Sarah Records, return after a few decades, with four tracks of sunny indiepop and a rocking cover of the Horst Jankowski lounge standard made famous by The Goodies' pirate radio episode; short but sweet, and hopefully a harbinger of more to come) ¶ Jakuzi - Fantezi Müzik (krautrock meets synthpop, in Turkish) ¶ Lindstrøm - It's Alright Between Us As It Is (the latest slice of bouncy good-time electro-disco from the prolific Norwegian producer; also features an appearance by Jenny Hval) ¶ The Luxembourg Signal - Blue Field (Moody post-punk indiepop from Beth Arzy (of the Sarah band Aberdeen) and friends) ¶ Makthaverskan - Ill (their third album shows the Gothenburg post-punk indie-pop combo polishing their sound further, with Maja's voice soaring over crisp guitars like something off a John Hughes film soundtrack) ¶ Kelly Lee Owens - s/t (ethereal vocals floating over sequenced Hackney-warehouse-rave electronics, with some interesting progressions; there's also a guest appearance by Oslo angsteuse Jenny Hval) ¶ Pasocom Music Club - SHE IS A (Japanese retro electronica, nostalgic for the vibe of boom-era Tokyo; sounds like electro-funk made with Korg M1 presets, which is, needless to say, not a bad thing) ¶ Hannah Peel - Mary Casio: Journey to Cassiopeia (A short concept album about a fictional spacefarer, performed with modular synthesizers and a brass band, could have gone either way, though Peel manages to pull it off. Coruscating arpeggios, classical arrangements and the odd choral voice meld seamlessly into a beguiling whole.) ¶ The Radio Dept. - Teach Me To Forget EP (released on the back of their 2016 album, this nonetheless stands on its own due to a few excellent additions and an overall cohesion; I've written more about it here) ¶ Raven - The Night Is {dark,silent,bright,loud} (the full-length debut from the Sydney avant-gardist and cellist, a series of instrumentals, made with cello, piano, the odd field recording and digital processing; atmospheric, and in places discombobulating) ¶ She-Devils - She-Devils (the full-length debut album from the Montréal duo, recreating 1950s rockabilly/lounge grooves with loops and beats; vintage-styled fun) ¶ Kaitlyn Aurelia Smith - The Kid (Smith has moved in a more pop direction than her earlier works, though the songs here have a layered, psychedelic sensibility, like Pikelet with a Buchla) ¶ Street Cleaner - Payback 2 (a concept album, the concept being the incidental music from 1980s direct-to-VHS action thrillers, which was made entirely with synthesizers, as that was cheaper, and thus sounded incongruously crisp and futuristic; file alongside John Carpenter and 1980s video-game music) ¶ Tornado Wallace - Lonely Planet (chilled, funky electronic grooves falling somewhere in the space between yacht rock, Balearic electropop and incidental music for a travelogue, with perhaps echoes of Virgin Suicides-era Air. Sui Zhen makes a guest appearance. Smooth sailing, or perhaps a 747 taking off into a neon sunset somewhere near the equator.) ¶ Underground Lovers - Staring At You, Staring At Me (known briefly during its gestation as Melbournism, this album follows on from their 2013 return Weekend, this time not veering far from the Undies' art-rock stylings; Vince does get his TR-808 out on a few songs) ¶ VAR - Vetur (the Icelandic post-rock band's follow-up to their 2014 debut; sweepingly atmospheric as one would expect, and sounding in places like iLiKETRAiNS crossed with a heavier Sigur Rós) ¶ Jane Weaver - Modern Kosmology (the follow-up to The Silver Globe continues further along the kosmische-disco line, with analogue fuzz aplenty and echoes of Stereolab and Neu! in places; oh, and one of the members of Can shows up, but only to say something psychedelic about the cycle of life and death and such).

If I had to choose one record of the year, it be either Slowdive or Milk Teddy; two very different records, but both of them superb. I guess it would depend on whether one wants shoegaze or pop music.

As usual, there is a Spotify playlist here:

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