The Null Device
Posts matching tags '2005'
And here are my records of 2005, in no particular order:
- Machine Translations, Wolf on a String*. Six tracks, subtle and impeccably produced, layering guitars, electronics and understated vocals, and with a great deal of thought in the arrangements and compositions. The title track is hauntingly lovely, and Miss China and Paris Road are low-key pop gems. The other three tracks are good too.
- Broadcast, Tender Buttons. Their last album was a bit bland compared to The Noise Made By People; this one is a return to form. It's like early Stereolab playing on a Game Boy, all sparse, motorik grooves, gloriously dirty aliased waveforms and Trish's dreamy vocals.
- Sambassadeur, Between The Lines EP. A four track EP, released in Sweden last year but the UK only this year, from another good Swedish indie band. They also released a quite decent album later this year, but for some reason, this grabbed me more. The title track of the EP is a joyous piece of upbeat indie-pop; the other tracks are fitting B-sides, pop songs with guitar, trumpet, melodica, and a bit of shoegazing feedback and Mary Chain-style fuzz.
- Holidays On Ice, Playing Boyfriends and Girlfriends* Classy, polished indie-pop from various established Australian musicians, including Angie Hart of Frenté/Splendid; has echoes of Yo La Tengo. Even though the idea of a group of thirtysomething Australian band veterans releasing a record with an unbelievably fey title and a naïve picture of kids playing in the snow (presumably somewhere in Northern Europe or North America) on the cover does seem a tad contrived, the product is eminently listenable. Highlights include the upbeat pop of Sailor Girl, Speak-n-Spell-driven semi-instrumental Spell Happiness, the board-game-referencing (though not AIH-referencing) glock-pop of Fingers crossed and some of the instrumentals.
- Minimum Chips, Kitchen Tea Thankyou* This one took me by surprise. After getting used to the Chips putting out one EP every few years, I did not expect them to drop an entire album one year after their last EP. But they did, and we get almost 50 minutes of Minimum Chips goodness: modular organ grooves, jagged guitar jangle, sophisticated Continental pop sounds filtered through Melbourne/Brisbane indie-rock, and Nicole's floating vocals, more "aaah" than "ba ba ba". ("Lady Grey", in particular, could be descibed as "Golden Brown", had it been written by Stereolab about tea rather than The Stranglers about heroin.) A few of the tracks were familiar from Minimum Chips gigs two years ago, and had only made it onto record now.
- Robin Guthrie and Harold Budd, the Mysterious Skin film score Possibly the best thing Guthrie has put out since Victorialand. Ethereal and moody, like golden sunlight in a dream. The film was quite good too (though somewhat more disturbing).
- The Winter Ship, Teardrops EP*. Four tracks of shoegazing post-rock goodness, with rather nice string arrangements, from the Melbourne instrumental outfit. Swimming Through A Narrow Space sounds not unlike Mogwai's Helicon 1 only with words. The other tracks are no less lovely.
Honourable mentions go to Architecture In Helsinki, In Case We Die, Broken Social Scene's self-titled album (which I received only in the last days of the year, too late to fully get into, though I get the feeling it may be a grower), LCD Soundsystem's self-titled album, The Magic Numbers' self-titled debut (which has some strong guitar-pop tracks, though is a bit bland in places, and may not be a proper CD in all territories), Momus, Otto Spooky, Francis Plagne, Idle Bones (which has a few good songs and a lot of meandering ambient field recordings; were the ratio reversed, it'd be quite impressive), and Suburban Kids With Biblical Names, #3.
It was also a good year for rereleases, with the entire Field Mice back-catalogue seeing the light of day again, in the form of new releases of Snowball, Skywriting and For Keeps, all extended with non-album tracks, and all three Slowdive albums (Just For A Day, Souvlaki and the exquisite Pygmalion) being rereleased—the first two with bonus discs full of EP and live tracks—through Sanctuary; meanwhile, neo-shoegazer Ulrich Schnauss's first album, Far Away Trains Passing By, is seeing the light of day again (good to see that Domino are using their NMECarlingnuwaveartrock windfall for good).
My gigs of 2005:
- Belle & Sebastian playing If You're Feeling Sinister at the Barbican. They brought their second album to life really well, and played a few other favourites before and after it.
- My Favorite, playing at Underbelly, 17 June. The last ever gig they did in the UK before breaking up. Their brand of immaculate, upbeat, New Order/OMD-influenced pop with lyrics of suburban alienation and existential angst really appealed to me.
- One of the three Architecture In Helsinki gigs I caught on their two UK tours; let's say, for the sake of argument, the one at the Dublin Castle in Camden. Their live performances seemed a lot tighter and more energetic than they were when I saw them back in Melbourne.
- Broadcast at Koko. They brought their new album to life quite well, and played some of their old tracks too.
As usual, here is my purely subjective roundup of albums/EPs of the past six months. Some are new, some are older, but all are things I obtained in the past six months and (in the case of things a few years old), by bands I only recently discovered. This list is, of course, completely subjective; you may disagree, but to paraphrase a Lush lyric, maybe you're right but this is my blog.
- Minimum Chips, Sound Asleep (Sound Malfunction); the long-awaited new 7-track EP/album from the Chips actually came out in 2004, but I only got it this year on account of being abroad. It wasn't a disappointment. Seven tracks, with their trademark tight, jaunty grooves, clunky bass lines, vintage electric organs, glockenspiels, trombones and Nicole's vocals, recorded with the perfectionistic production values their EPs are known for. It varies from twee to angular, and ends with a 1-minute explosion of krautrock-tinged noise.
- The Rumours, We Are Happy (Cavalier Records); tight guitar pop in a classic vein from the Melbourne band, with songs of unrequited love, hopes, fears and moments, delivered in a very Australian pure-pop sensibility; hearing this in the London winter was like sunshine in aural form.
- Sambassadeur, Between The Lines (Labrador); a 4-track EP from a Swedish indiepop group. Elements of C86/Sarah Records-style fey indiepop and shoegazer. Jangly guitars, handclaps, tambourines, catchy pop harmonies and low-key vocals with lyrics (in English) about watching the northern lights and just enough reverb/delay and the odd bit of Mary Chain-esque skronk. I look forward to the album (which is out in Sweden and awaiting a UK release through local shoegazer indie AC30).
- Laura, Mapping Your Dreams (Alone Again). I heard this when walking past Perfect post-rock; evocatively atmospheric moodscapes of layered guitar, driving basslines, drums and the odd synth, glockenspiel and murmured vocal, with not a note out of place. Not too far from Mogwai territory via inner-north Melbourne, and strays into Prop territory in one track. Simply sublime.
- July Skies, The English Cold (Make Mine Music); sparse, evocative post-rock soundscapes of minimalist reverb-washed guitar, and understated vocals; like a more understated Piano Magic circa Artists' Rifles, with a bit of late-period Slowdive; this is a concept album, ostensibly about the southern English countryside at the outbreak of World War 2, with song titles like Farmers And Villagers Living Within The Shadow Of Aerodromes, Strangers In Our Lanes and Countryside of 1939.
- Robin Guthrie/Harold Budd, Music from the film Mysterious Skin (Commotion); Guthrie's most sublimely ethereal work since Victorialand; works beautifully within the film, and manages to stand on its own too.
- My Favorite, The Happiest Days Of Our Lives (Double Agent Records); indiepop that's like synthpop with guitars, bass and live drums. Shimmering guitar, keyboards reminiscent of OMD or 1980s New Order, the odd melancholy piano, overlaid with alternate male/female vocals. Beneath the sweetness and light there is a darnkess and a deep melancholy; the pure-pop sweetness of Andrea's voice melds incongruously with the lyrical subject matter of suburban alienation, mental illness, violence and loss; the monochromatic booklet with its post-rock-esque blurry photographs and essay about the ghost of Joan of Arc as the original emo kid, adding even more incongruity. It also comes with a second disc of synthpoppy remixes, including one by Future Bible Heroes.
- Trademark, Want More (Truck Records). Theatrical, somewhat spoddy and ever-so-slightly facetious synthpop from three English blokes in labcoats. Parts of it border on goth-club material, with cold, industrial distortion, melodrama in a minor key and Depeche Mode affectations, whilst others head into Human League/OMD club-pop territory, and the rest of it being not unlike Baxendale; polished, clever and very English. The songwriting is nimble, with plenty of wordplay, and the arrangements and production are impeccable, using the medium to its full expressive potential and keeping things interesting. And it features songs equating emotions with oscillator waveforms, and a love song with the words "simple harmonic motion"; how can you go wrong?
The New York Times Magazine has an alphabetical list of the key ideas of 2004. They make for interesting reading, with items like Genetic Family Values, Wal-Mart Sovereignty, Democratic Providentialism, The Acceptable Knock-off, Kill Midlevel Terrorists, Feral Cities and Psychopathic CEOs, and more. (via worldchanging)