The Null Device

Posts matching tags '2013'

2013/12/31

As 2013 draws to a close, it's once again time to look back on the records of the year, and so here is this year's list (ordered by artist name):

  • Beaches - She Beats

    The second album for the Melbourne indie-rock combo features kosmische legend Michael Rother guesting on three tracks. Musically, it straddles the boundaries of shoegaze, post-rock and the more impressionistic end of rock. Layers of guitar fuzz drive forward, propelled by metronomic drumming, as bass and guitar lines interweave and play off each other and reverbed vocals float ambiently over the mix; at times, it sounds like the bastard child of Joy Division and My Bloody Valentine, or possibly the first Wolf and Cub album. The overall effect is vaguely mesmeric.

  • Black Hearted Brother - Stars Are Our Home

    A surprise collaboration from Neil Halstead (originally of shoegaze legends Slowdive, though ploughing folkier furrows in the decade or two since), his producer Nick Holton, and Mark Van Hoen (of IDM outfits Seefeel and Locust), which dropped late in the year on US indiepop label Slumberland, though sounding anything but twee, or, for that matter, folky; instead, we are presented with a coruscating slab of kosmische prog-disco, space rock and more than a hint of shoegaze; maximalist music which is not afraid of layeredness. Stars Are Our Home opens with the title track, a portentious minor-key electronic instrumental one would expect to have been brought into being on a modular synthesiser the size of a room (in reality, it may well have been made on a MacBook running Ableton Live like every other track these days, but such is modern life); this leads into the most Slowdive-esque track, the gloriously fuzzy (I Don't Mean To) Wonder; the rest of the album consists of a mixture of Halstead's languid vocals and honed songwriting, underpinned with combinations of strummed guitars, analogue fuzz, bold, crunchy drums and electronics both subtle and bold, often building up into layered, gleefully multitracked crescendos reminiscent at times of Caribou/Manitoba. One of the highlights was My Baby Just Sailed Away, a cut of supercool kosmische disco that motors through the darkness in a haze of analogue synth arpeggios and guitar crunch.

  • Factory Floor - s/t

    Factory Floor, a trio who originated in the industrial/noise scene in East London, purvey an album of ecstatic electro workouts which meld the icy cool of early-1980s New York disco à la Arthur Baker with the minimal club scenes of Berlin and Cologne and just a hint of Throbbing Gristle-style menace lurking beneath the glossy surface.

  • Haiku Salut - Tricolore

    The début full-length album from the band that formed from one half of The Deirdres treads a far less rambunctious, and slightly less twee, path. Eschewing the handclaps-and-glockenspiel mayhem of indiepop, Haiku Salut venture at times into cinematic chamber-pop reminiscent of Yann Tiersen (Los Elefantes, Lonesome George), Múm-style glitchy dreampop (Leaf Stricken) and the more pastoral ends of the post-rock spectrum (Rustic Sense of Migration), alternating between piano, classical guitar, various percussion, accordion and electronic beats.

  • Kosmischer Läufer - Volume One

    This year's faux-Krautrock record comes with a backstory of being a compilation of tracks composed in the 1970s and 1980s by "Martin Zeichnete", a young East German sound engineer who, because of his illicit listening to West German Kosmische Musik, was drafted by the Stasi to create training music for the DDR's athletes. Which is a more interesting story than it having been made by two guys in Edinburgh in 2013. With a bit of suspension of belief, this record creates a semi-convincing alternate-history Krautrock fantasia, like a less fanciful Endless House. Besides the implausible story and even more implausible digital crispness of the recording, it is a compelling and listenable piece of motorik electronica; if you like music self-consciously rooted in 1970s Germany (and aren't too fussy about it citing the wrong Germany), you might find this to be an enjoyable homage.

  • The Magic Theatre - The Long Way Home

    Seemingly tailor-made for those missing Isobel Campbell's Gentle Waves project, The Magic Theatre (from two of the members of indiepop cult heroes Ooberman) delivers a package of immaculately retro-styled and impeccably artful chamber-pop. Released on credible Madrid indiepop label Elefant, The Long Way Home has the widescreen Technicolor sheen of high-end 1960s productions, with sweeping strings and woodwinds and nary a distorted guitar to be heard. Of course, in 2013, making a record that sounds like this is a deliberate decision, and some would say an affected one. The record nails its stylistic colours to the mast at the outset with The Sampler, a fairy-tale account of making a dress for a ball, sung over sweeping strings and sugarplum bells; this is followed by It Was Glorious, an paean to a youthful summer and/or a soundtrack to Jack Wills catalogue photography. (There are vaguely posh undertones to much of this album, perhaps echoing él Records' faux-aristocratic indie in the 1980s.) Festival of Fire veers in a Bollywood-via-Wes-Anderson direction, while Cathedrals Of The Mind, a whir of erudite references, explores the complexity, and ultimate futility, of civilisation, with more than an echo of Windmills Of Your Mind to it; this song in particular seems written for the end credits of a vintage spy thriller. The highlight would be the lovely I Want To Die By Your Side, which sounds like a synthless Dubstar and will undoubtedly end up a fixture of many mix tapes and indiepop kids' weddings. The closing track, which is also the title track, ends the record on a high.

  • Samarís - Samarís, and Cuushe - Butterfly Case

    This year's odd couple of albums; this time the shared theme being chilled-out electropop from volcanic islands. Samaris hail from Reykjavík, Iceland; their self-titled album actually consists of two EPs released last year, but those were not widely available prior to being rereleased as an album this year. They make a sort of low-key electronic dream-pop, with subtle subbass, skittering beats, artful use of dub delay, the odd arpeggiated synthesizer and quiet vocals in Icelandic; I was reminded a little of GusGus' 1997 album Polyesterday; not so much by the sound, but by the feel of it. Meanwhile, Cuushe, who hail from Kyoto and Tokyo, are slightly more upbeat and (for want of a better word) electronic-sounding; though sharing the IDM influences; there are slightly more layers of synths, the tempos are a bit faster, and the overall impression is a bit more urban. Their vocals, often multitracked and layered, are in English on all but one song, and sound slightly reminiscent of Múm.

  • Underground Lovers - Weekend

    It has been a long time between records for the Underground Lovers; their last album was 1998's Cold Feeling, a homage of sorts to their influences (Suicide, the Velvet Underground, Neu! and New Order are all in evidence there). And those who waited 15 years would not have been disappointed; this album has all the elements one expected from the Undies' 1990s heyday; the skronky too-cool-for-school alt.rock guitar lines married with slightly obsolescent dance-music electronics (no wubwubs or mad drops here), the mild incongruity adding texture. The Go-Betweens' influence can be felt in places in the record, in some of the more wistfully reflective songwriting (such as in the almost shoegazey Haunted (Acedia)), and more explicitly in the track Riding, recounting a party in the bygone days of a scene. The lushness of the production is particularly evident on the quieter tracks, including the opener Spaces, and the stylish dream-pop of Dream To Me, which is a Bacharachian trumpet accent away from being a Birdie song. The album closes with The Lie That Sets You Free, a motorik workout on a par with Cold Feeling's Feels So Good To Be Free. This record carries its weight in years, as befits a band of the vintage of the Underground Lovers, and does so gracefully. All in all, a fine return, and hopefully not the last we'll hear from the Undies.

  • Veronica Falls - Waiting For Something To Happen

    The best New York C86-revival band to come out of London, Veronica Falls hone their chops for their second album, which is a somewhat more tightly-coiled, groovy and melodic affair than the affable scruff of their début, whilst maintaining a similar theme of stylised teenage drama executed in boy-girl vocal harmonies.

  • T.R.A.S.E. - Tape Recorder And Synthesizer Ensemble

    Not a new record per se, but a new find, consisting of demos and experimental recordings made by Mancunian teenage synth boffin Andy Popplewell in the late 70s/early 80s on synthesisers he built himself; abandoned for a few decades, it surfaced when Popplewell, now a middle-aged tape-restoration consultant, used his old tapes as an experimental subject for restoration, and then happened to chance upon obscurantist cratedigger Andy Votel, who was getting some tapes restored for his Finders Keepers reissue label. A lot less rough than one would expect; highlights include the proto-shoegaze of Harmonium, the beats of Electronic Rock and a cover of Gary Numan's We Are So Fragile.

And this year's honourable mentions go to: Beachwood Sparks - Desert Skies (summery Californian retro guitar-pop; formulaic as all hell, but done decently; a stylish haze of displaced nostalgia), CHVRCHES - The Bones Of What You Believe (2013's hipster-friendly electro smash; like a more euphoric, less witchy Purity Ring), Crocodiles - Crimes of Passion (Crocodiles' most poppy record so far, produced by Sune Wagner of Danish rockabilly pop combo the Raveonettes), Day Ravies - Tussles (a promising début from a new Australian band in a lo-fi/shoegaze/skronk vein; this will take more listening), Fuck Buttons - Slow Focus (a worthy follow-up to Tarot Sport and their Olympic opening ceremony appearance, albeit in a darker vein), Mazzy Star, Seasons Of Your Day (another in 2013's crop of comeback records, this time from the pastoral dreampop combo), Momus, with two releases; the stripped-down almost bluesy Bambi and MOMUSMCCLYMONT, the funky self-titled début of his collaborative project with David McClymont, the now Melbourne-based bassist of Scottish indie legends Orange Juice, My Bloody Valentine - m b v (a worthy and intriguing follow-up to Loveless; now let's see what they do next), Neon Neon - Praxis Makes Perfect (a concept album about an Italian Communist book publisher during the upheavals of the Years of Lead, executed in electropop/yacht-rock style), OMD, English Electric, and Pet Shop Boys, Electric (two similarly titled albums from two veteran synthpop acts bring two different approaches; OMD bring the gravitas of High Modernist heritage to the genre, as evident in tracks like Metroland, while the Boys take it to the dancefloor with some hard grooves and their usual wry lyrics), The Paradise Motel, Oh Boy (the Motel's concept album about Australian masculinity sees them change into a band almost unrecognisable from the haunting Tasmanian Gothic of their early EPs; this record starts with a ballsy, bluesy growl and goes on from there), Pikelet, Calluses (loop-pedal wizard Evelyn's latest goes into loose-limbed mutant-disco territory than Pikelet's previous works, with funky basslines and coruscating synth arpeggios melding with the exotic tonalities one has grown to expect), Still Corners, Strange Pleasures (Still Corners' second album is a brighter affair, with more of a spacious 80s dream-haze thing going on), Yo La Tengo, Fade (YLT's latest is a warm, layered and subtly idiosyncratic affair, building on their legacy, and doesn't disappoint), various artists, I Am The Center: Private Issue New Age Music In America, 1950-1990 (forget the airbrushed dolphins-and-rainbows kitsch and cynically made cash-in attempts for sale in crystal shops, this is a compilation of original compositions by various inspired individuals and eccentric experimentalists, complete with biographical liner notes, and, musically, is a lot more interesting and nuanced).

Nothing immediately jumps out as a record of the year, though Samarís and Underground Lovers are strong contenders; had Black Hearted Brother come out earlier, it could well have given them a run for their money.

My gigs of the year would be:

  1. Loney Dear, Majornas Missionsyrka, Gothenburg, 5 October; Loney Dear performing a number of songs, including some classics and a few new ones, accompanied by a chamber orchestra, in a rather lågom church next to a Gothenburg tower block. The orchestral arrangements were exquisite, and the whole experience was worth the flight to Sweden.
  2. Kraftwerk, Harpa, Reykjavík, 4 November; not having managed to see them in London or New York, I jumped at the opportunity when they announced a show in Reykjavík, making my second trip to Iceland of they year. The show was spectacular; more about it here.
  3. Haiku Salut, St. John's, Bethnal Green, 12 October; Haiku Salut playing in a church, accompanied by several dozen electronically controlled lamps that lit up in time with the music. A great show and a somewhat twee spectacle.

For your listening pleasure, there's a streamable mix taken from the records of the year here.

2013 cds lists music 1

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