I have been freshly tagged in a meme by Chris. It’s a seven songs meme. Here are the instructions:

“List seven songs you are into right now. No matter what the genre, whether they have words, or even if they’re not any good, but they must be songs you’re really enjoying now, shaping your spring. Post these instructions in your blog along with your 7 songs. Then tag 7 other people to see what they’re listening to.“

First of all, I need to get this pedantry out of the way. If it doesn’t have words, it isn’t a song. Now on to my seven songs and / or other pieces of music.

I’ve placed this ‘below the fold’ because I’ve embedded YouTube videos and Bleep audio. Remember with the Bleep audio you need to press play again after it fades out every 30 seconds.

Click for more »

Jeff at SNP Tactical Voting took the baton from me and listed his top 10 blogs (although unlike me, he concentrated just on Scottish political blogs). In the process, he accused this place of having “a scarcity of posts of late”.

Guilty as charged. A number of elements have conspired against me when it comes to updating this blog.

First of all, I set up a separate F1 blog — immediately robbing this place of around half its content! Then there was the fact that I was in my final year at university. I didn’t want to mess it up as the dissertation deadline passed, then essay deadlines, then the exams came along.

Even since the exams have finished, though, it hasn’t quite worked out. I always find the transition from busy (!) student to lazy summertime bum difficult for some reason that I can’t put my finger on. Blogging always takes a back seat for a week or two as I grab some rest and get those summer jobs dealt with. I have been — gasp — reading books for leisure (which I never get the time to do during term time). I have been listening to that pile of unlistened-to CDs that has built up since last summer. The pile is now down to six which is very exciting. I have also tidied my room from top to bottom, sorting through stuff to work out if I should chuck them out or not.

Then there is the small matter of finding a job. Or, more accurately, working out what my career is going to be. Now that university is over for good (and I doubt I will be darkening the doors of academia again), I can now — belatedly — devote more of my brain power towards researching careers. I have not got very far forward. Every time I seem to get closer to finding a path that I find acceptable, something comes along to put me off. For this and various other reasons, I still find myself running around Edinburgh from time to time.

Also, for the past seven or eight months I have routinely been taking daily walks round the park and suchlike. This was partly to get me out of the house and into the sun. It is also with one eye on my slowly-but-surely expanding belly. A good side-effect is that I spend the walks listening to podcasts that I would never otherwise manage to listen to. However, it’s possibly fair to assume that this time may otherwise have been spent blogging which is why things have been a lot quieter here over the past year or so.

Then, just when I was ready to get back into the swing of things, all of my websites were knocked out by that exploding transformer. Then a different issue put my websites out of action on Tuesday as well! All-in-all, I lost about three days of possible blogging activity.

And then I got some good news. I’ve got a degree, and it’s a 2:1. It was such a relief — I was genuinely worried that I was headed for a 2:2 which would have been seriously demoralising. I would really have kicked myself for a few things if that happened, but somehow I have escaped.

I still don’t know the marks for all of my courses yet, which is quite frustrating. Of the scores that I know, I was on course for a 2:2. And I am sure I muffed up one of the exams that I haven’t had back yet. I’d love to think it was my dissertation that pulled the whole lot up. Anyway, I shouldn’t worry about that now. What matters is that I’ll be doing the silly dressing up thing with the stupid hats and scroll things later this month. (Incidentally, does anyone know where the hell you get a white bow tie in this area? That is the rubbish I am being asked to wear for this thing.)

All of this is just a really long-winded way of saying: yes, I know, it’s quiet round here. Jeff said that the scarcity posts is made up for with thorough detail. That is really a side-effect of the fact that it takes me so bloody long to get round to writing anything. By the time I’ve reached this little screen my head has collected so many thoughts on the issue that I end up writing a bloomin’ essay. Even this post is probably about 2,000 words long now.

The thing is, just because I’m not posting much on this blog doesn’t mean I’m not posting much at all. There are four other major outlets of mine. Twitter is the main one where I post anything that will fit into the 140 character limit. Then there is Delicious where I post interesting links, often along with a pithy comment. Then there are the two other blogs, Scottish Roundup and vee8.

These all have a presence on the sidebar here, but I thought it would be good to have an area where all of these various updates are gathered on one page. I started with a lifestream (launched a few weeks ago, though I kept it quiet). But I wanted something a bit different so I spent a bit of time in Yahoo! Pipes to create what I have modestly called the “megafeed“. For the time being I’ve placed it just above the lifestream on… the lifestream page.

Neither of them is exactly perfect. The lifestream just contains the headlines of each item. It incorporates Last.fm as well, but it’s pretty rough and ready really. Meanwhile, the megafeed just looks like a big list of stuff. There’s no way to tell whether it’s a Twitter update, a blog post or what. I tried to make it more obvious, but either there isn’t a way to do it in Yahoo! Pipes or I am too much of a n00b to work out how to do it. Just thought I’d mention it since I spent a bit of time on it. Think of it as a stalking opportunity.

Now that I have sorted that out, it is time to post not just in the four other places but here as well. Now I have drawn up a little list of posts I want to write. My calendar for this week looks fairly empty. I should probably be looking for a job but I will try to get some stuff up here too.

How Terry Wogan sees Europe

So, yet another Eurovision Song Contest, and get another round of chest-beating and sour grapes from people who think that the reason the UK came last was because of a Europe-wide conspiracy against us and in favour of any of those commies to the east. Every year the protests seem to get louder, and every year they annoy me even more.

Apparently it was inevitable that Russia were always going to benefit from “political” voting. So inevitable that I didn’t see anyone predicting it. Terry Wogan himself didn’t, except until Russia started racking up the points at which point it had become an obvious conspiracy.

The thing is, this is nonsense. As Chris Applegate has pointed out, this is the first time Russia has ever won the Eurovision Song Contest. So much for the inevitability of Russia’s success.

While so many wise-guys are quick to say after the event how predictable the result of the ESC was, I’ve yet to see so many people successfully predict who will win beforehand. Derek Gatherer predicts who will win, but only after the semi-finals have taken place. This is a bit like buying a lottery ticket once you know what the first five balls are. Even then, his prediction — Ukraine — was wrong (although close).

There were three specific countries that Terry Wogan said twice during the broadcast would benefit from political voting across Europe. He said this for each of the three countries during their turn, and he said it again during the recap while the phone numbers are displayed on the screen. (Check it on BBC iPlayer.)

The three countries that, according to Terry Wogan, were inevitably going to benefit from political voting? Romania, Albania and Poland. These countries finished 20th, 17th and 24th respectively — out of 25 countries in the final. If there was a conspiracy, whoever was behind it cocked it up big time.

Of course, Terry Wogan could have seen that his theory was bogus if he simply looked at the results of the semi-final (he did do that, didn’t he?). He would have seen that Poland only got through because it was chosen by the jury and did not finish among the top seven chosen by the televote. Albania also just scraped in, having come 7th in the televote.

The fact that Poland came joint-last in the final along with the UK shows just how hollow the ‘bloc votes’ theory is. It is certainly not as simple as “countries in the east are bound to benefit”. Poland’s paltry score of 14 was made up of points from just two countries — Ireland and the UK. The last time I checked, neither of these countries were in eastern Europe.

Furthermore, the past fourteen Eurovision Song Contests have been won by fourteen different countries. This is completely unprecedented in the history of the ESC (the previous longest run being eight). Incidentally, only 7 of those countries can be credibly described as “eastern European”.

It hardly needs to be pointed out that the countries that make up the British Isles have been the most successful in the ESC’s history, Ireland and the UK having won twelve contests between them, including an incredible run of five wins in six years in the mid-1990s. The UK has also finished second 15 times, more than any other country.

Far from becoming predictable, the Eurovision Song Contest is more open than it has ever been. You can put this almost entirely down to the introduction of televoting in 1998. As Chris Applegate says, it is far easier to rig Eurovision when it is just a few jury members rather than the entire population of the EBU countries that have to be manipulated.

All of this is not to say that there is not political (or cultural, or whatever) voting going on. Incidentally, the cultural-similarity argument is quite strong, though not watertight. Even correcting for linguistic and cultural similarities, Estonia, Latvia and Lithuania still engage in bloc voting.

Even so, this is a very small number of countries. As Ewan Spence points out most “blocs” consist of 5 or 6 countries.

In fact, Derek Gatherer’s Venn diagram shows that “blocs” are actually as small as two countries, or four at a push. Of course, the UK and Ireland have formed their own little bloc, which is what makes little Britishers’ protests all the more pathetically hypocritical.

As such, the fact that Russia won cannot credibly be blamed on bloc voting. In order to win the ESC, any country has to appeal beyond their bloc and gain votes from across Europe. For this reason, the idea of entering different songs for England, Scotland, etc. (or even full-on independence — any excuse to bring that up, eh? ) so that the UK could engage in its own bloc voting would fail.

The ESC Today website has analysed the votes of “western” and “eastern” European countries separately. What they show is that even in the western-only table, Russia came fifth. That’s not a win, but it is only 13 points behind the western winner, Greece. Also of note in the western-only table is the fact that Germany finished bottom and the UK also did very badly. Meanwhile, in the eastern-only table, Poland finish joint bottom with nul points.

Clearly, blaming the iron curtain as Terry Wogan does (hopefully in jest) is wide of the mark. Even locking the eastern Europeans out of the voting, eastern Europeans would still pick up plenty of points.

The thing about the “bloc votes” theory is that it’s just the sort of thing that becomes true if you just say it often enough. Ignorance has a lot to do with it.

Recently I had the misfortune to catch an episode of The Paul O’Grady Show where Terry Wogan was a guest talking about the ESC. He mentioned in passing that Azerbaijan were participating for the first time — to hoots of laughter from the audience. “Azer-ban-jan?!”, yelped O’Grady. “I’ve never even heard of Azer-ban-jan! Is it even in Europe?” I hope O’Grady was joking (though there’s every chance he wasn’t), but I just know that some of the laughing audience members were thinking exactly that.

I think for a lot of people, the Eurovision Song Contest is perhaps the only time of the year they discover a Europe beyond, say, the EU-12 or the iron curtain or Mediterranean holiday resorts. In a contest of 41 countries, and with many well-known western European countries (Italy, Austria, Switzerland, Luxembourg) declining to participate, the chances are high that the winning country will be one that many people couldn’t point to on a map. It might be as if “eastern Europe” is just one big country for these people.

If a country people can’t point to on a map (or those dirty commies in Russia) wins the ESC rather than a country a stone’s throw away from the UK, people jump to conclusions and start concocting the conspiracy theories. So if Russia wins, it’s political voting because eastern Europeans don’t want Russia to shut down the gas pipe. If Serbia wins, it’s the Balkan bloc voting that did it. If Finland wins, it’s the Scandinavian bloc vote. And so on.

Well here is a radical idea. Perhaps the countries that win the Eurovision Song Contest do so because they write songs that appeal to a wide variety of European countries and performed well on the night.

The real reason the UK tends to do so poorly in the ESC these days is that its entries are so mediocre. The UK seems to alternate between entering a song that is overtly camp and too knowing and / or stupid to be taken seriously (Scooch, Jemini, Daz Sampson) and insipid, bland, instantly forgettable dross (Javine, James Fox, Andy Abraham). It’s no accident that the last time the UK won the ESC back in 1997, it was with a song that was actually quite good (and incidentally holds the record for the largest winning margin in the ESC) and performed by a well known band and not some reality TV reject?

I mean, really, what can the UK expect if it enters someone like Andy Abraham? The man lost at The X Factor for crying out loud. What made anyone think he would win Eurovision?! As for the performance, it was nothing to write home about was it? Terry Wogan said he liked it, but I seem to remember he said the same about Jemini’s notoriously bad performance.

Blaming the UK’s loss on bloc voting when there are more sensible explanations just reflects badly on Wogan and all the others who bring up this red herring. It comes across as sour grapes.

I suppose the question is, does the UK really want to win Eurovision? The ESC is seen as trashy kitsch by most in the UK. This helps explain why most of the UK’s entrants these days are desperate reality television losers. Some countries may see the ESC as a joke, but others are clearly passionate to win the contest. Russia in particular tends to enter more famous artists. Their performer this year, Dima Bilan, is one of the country’s biggest pop stars who is on the verge of making a name for himself internationally.

It seems to me as though there are many countries who want to win the Eurovision Song Contest much more than the UK wants to. So why not let them win rather than throwing your hands up and shouting “conspiracy”?

As for Terry Wogan’s hints that he may quit Eurovision, I do hope he calls it a day. I can’t stand his commentary. The man is not a fraction as funny as he thinks he is. He mistakes rudeness for wit. He has been past it for as long as I can remember. If he quits, I hope Paddy O’Connell get the job. He has always done a fantastic job at commentating during the semi-final. He is witty but not cynical, and obviously still likes the ESC, unlike Wogan.

For what it’s worth, my favourite song was France’s — ‘Divine’ by Sébastien Tellier. I think France should just be given bonus points for entering a song containing non-French lyrics for a change!

By now you may have heard of a website called Muxtape. In a way, I’m surprised it hasn’t been shut down already. It’s probably the most blatantly illegal website since YouTube. Technically, I guess, you’re meant to own the copyright to everything you upload to the service. But of course that’s not what most people use it for.

Muxtape is an enticingly simple website that lets you make a little playlist of tunes, a bit like a mixtape. Webware jokes, as if you would remember mixtapes! Meanwhile, David Title ponders if you have to be between the ages of 29-45 for the mixtape to mean anything to you!

I’m 22 (almost typed 21 there… can’t bear the adulthood), and I love the romance of mixtapes. It is like instant nostalgia. Cassettes are meant to be naff, and they are to an extent. But holding a tape is quite special, like holding a past future in your hands. Defects such as tape hiss, wow and flutter are as acceptable as surface noise. They add to the quaint beauty of the cassette.

And here is the thing. I used to make mixtapes. Then one day I decided to “upgrade” to CD-Rs. The CD-Rs would surely be more reliable and durable, right? Pah. The CD-Rs I bought were defective. For some reason iTunes (or the CD-R, I don’t know which) was making the audio of each track start two seconds before the access points. I wasted 4 CD-Rs trying to fix it, to no avail. Then it was reported to me that the CD-R wouldn’t even play! Annoying or what? The packet of faulty CD-Rs still sits beside me unused.

For all of their faults, cassettes are at least more reliable in the medium term than this. I have come to the decision that CD mixes are a bit like sending someone a letter but typing it out rather than handwriting it. You still put in the hard graft constructing it, but it is still somehow less personal, less human.

Of course, Muxtape is nothing like a mixtape. Indeed, it is probably even worse than a CD. As has been pointed out by David Title, a real mixtape is:

hours of love and care and cursing your slipping on the pause button. It’s recording little personal messages between the songs. It’s handwritting the titles and artists in painfully small print. It’s an act of love.

Muxtapes cannot even be personal. The terms (whatever they’re worth, given the dubious legality of the service) restrict you to one account only — and that’s a public account.

Nonetheless, that cute picture of the C90, the blocks of colours, the oh-so-fashionable massive Helvetica font (not that I’m guilty of that one) and the sheer simplicity of Muxtape is enough to reel you in and get you to make your own.

And make my own I did. Here is my Muxtape.

I should point out that if you like any of the tunes on my Muxtape, I think you should buy the album (the ‘Buy from Amazon’ link on Muxtape is a new addition today — a handy hint). I bought all of these. In the case of John Cage, I bought four different performances of it. In the case of Autechre, I bought the album twice.

Incidentally, there is an interesting take on the legality or otherwise of Muxtape at WebJam. The fact that Muxtape does not provide you with an easy method to download the music may be its saving grace. Besides, the cat is out of the bag. In the same way as shutting down Napster didn’t stop peer to peer filesharing, closing down Muxtape will only lead to several new clones of it.

On the simplicity of Muxtape, it is appealing — but it does make it rather light of features. There is no search function and even Google is blocked from indexing pages on Maxtape. Instead, you are presented with a random list of Muxtapes. Apart from that, you have to rely on word-of-mouth to find anyone’s Muxtape.

It’s just as well some clever fellow has created a smart Last.fm / Muxtape mashup (via Qwghlm). Enter in your Last.fm username and it will find Muxtapes containing artists that you like. Awesome.

In the meantime, it’s worth remembering that Last.fm itself has provided its own playlist service for years now, and it is on much more solid legal ground. There are some annoying restrictions — of course, you can only choose from the tracks that Last.fm has on its servers. Plus, perhaps even more frustratingly, the music is shuffled. This robs you of one of the joys of putting together a mixtape: getting the track order right. Catch my Last.fm playlist here.

I was going to to a track-by-track review of Quaristice. Pinksy asked what it sounds like, which is quite a tough question to answer. I was tempted to give it a shot though.

But I think I will give the track-by-track review a miss — in case I end up sounding like this.

It already has its own parodies.

Like a bad Plaid track really. Is it ‘played’ or ‘plahd’?

In fairness, it is difficult to describe Autechre, and I defy anyone to pronounce most of Autechre’s track titles. But these parodies are too funny! Love the piss-take fake Autechre music in this one as well.

Yesterday I promised that I would finally get round to posting my top three albums of 2007 today. I almost forgot about it because I was having so much fun writing my dissertation (true story). But a promise is a promise, so I am staying up extra late. I’m sure it won’t take long…

3. Shining — Grindstone

This must be the most overlooked album of the year. I should point out, in case you were confused, that I am talking about the Norwegian electro-jazz-prog metal band, not the Swedish suicide-themed death metal band.

I discovered Shining because some of their members used to be in Jaga Jazzist, another Norwegian band that I love. But while Jaga Jazzist are known for their quirky electo-jazz stylings, Shining have increasingly forged a path into the altogether darker territory of progressive metal.

But it’s not just that — it’s a cartoon version of metal. Jazz instruments play as big a role as guitars, and the whole lot is backed by whacked out singing and interspersed with ambient interludes. In short, expect the unexpected.

If it all sounds a little bit overwhelming, as though they have over-egged the pudding, do not fear. Although light moments are mixed with the darkness of metal, it is far from a scatter-gun approach. Everything is meticulously arranged. In fact, it is the multi-layered nature of the tracks and musicianship of the band members that impresses me the most about Grindstone.

I think it is an utter travesty that Shining are not more well-known.

Listen to the album in full at Last.fm

Video: ‘Winterreise’ — not an official video, but it has kind of been endorsed by the band.

2. Radiohead — In Rainbows

So much has been made of this album, but not much of it has been about the music itself. I am a serial offender here as well.

I was disappointed at first. If you have been reading this blog for long, you will know that I quite like exploratory electronic music. I am much more of the Kid A stripe of Radiohead fan than The Bends kind. So I initially found In Rainbows to be a let down. It seemed too safe for a band as good as Radiohead.

It sounded little different to Hail to the Thief. It rather does suggest that Radiohead have found their equilibrium. The post-OK Computer explorations were just that: explorations. Now they have found a happy medium, and every future Radiohead album will pitch its flag in this middle ground.

But that isn’t necessarily a bad thing. It is strange to hear Radiohead sounding so comfortable — but over time I have come to see that as one of the greatest strengths of In Rainbows. Probably for the first time in several years — the first time ever? — Radiohead don’t sound tetchy or fed up or lost. They are at ease. They are just making great music.

In Rainbows makes Kid A sound immature and Hail to the Thief sound downright shambolic. Not that I am announcing that I now dislike Kid A — it is probably still my favourite album. But In Rainbows has a craftsmanship to it. It has been constructed, not thrown together. Kid A had ideas. In Rainbows has songs.

So the experimentation has gone. Or at least it is taking a back seat. So there is nothing aurally exciting like ‘Everything in its Right Place’ or ‘Pulk’. But there is now pure beauty: ‘Nude’, ‘Videotape’ and ‘Reckoner’ are now among my very favourite Radiohead songs.

What makes In Rainbows stand out as a great album is Phil Selway’s drumming. Time and again he has been the essential element in a Radiohead song, most notably in ‘Pyramid Song’. Today he is at the top of his game, providing unusual but immediate drumbeats. He’s obviously had to up his game since the rest of the band started using drum machines!

If I have a complaint, it is about ‘Arpeggi/Weird Fishes’. Not that it’s a bad song, but I much prefer the original ‘Arpeggi’. It doesn’t sound as powerful as the original live version, as the guitars make the arpeggios sound rather muddied.

And great albums don’t have songs as weak as ‘House of Cards’ and ‘Bodysnatchers’. The latter also has a line that has been stolen straight out of Pulp’s ‘The Fear’, right down to the way it’s sung. Not a high crime, but rather off-putting.

Discbox purchasers got a second CD, and amazingly the music is pretty much at the same high standard as on CD1. ‘Bangers + Mash’ in particular is a great, fun song. It should have been on CD1 in place of ‘Bodysnatchers’.

Videos: lots — mostly live performances

1. Battles — Mirrored

I have been going on all year about how great Battles are, and truth be told I don’t think there’s much else I can really say about Mirrored. Suffice it to say that it is great to hear someone genuinely pushing the boundaries and showing everyone what really can be done with technology when you put your mind to it.

Video: ‘Tonto’

My original review of Mirrored

At last! I have got round to the top ten. Was it worth it? Probably not. Next (i.e. this) year, I am only doing the top 20, I swear…

10. Hanne Hukkelberg — Rykestrasse 68

A neat album of playfully experimental jazzy folky songs. The interesting but subtle use of found sounds makes Rykestrasse 68 an unconventional album, but one that never forces the fact down your throat.

At the heart of this album is good songwriting and a wonderful singing voice. I just love the quirkiness of the vocals in ‘Fourteen’.

Video: ‘A Cheater’s Armoury’

9. The Future Sound of London — From the Archives Vol. 1–3

Technically, this isn’t from 2007 (or is it? I dunno), which is the only reason why this doesn’t appear any higher on the list. But bear with me.

The Future Sound of London are (a little bit) before my time. But they are still among my very favourite electronic music groups, despite the fact that electronic music normally dates really badly. Sadly, little has been heard of FSOL since the release of Dead Cities in 1996 (not counting that Amorphous Androgynous stuff). I don’t suppose we can be too upset — they were stunningly prolific in the few years leading up to that moment.

I often yearned for the return of FSOL. A best of here and a compilation there has come, mostly reminding people that maybe FSOL just belonged in the 1990s. Would their music still seem so vital today? I wondered.

Well in 2007 FSOL seem to have begun a huge clearout of some sort, releasing several CDs worth of archive material from the 1980s and 1990s. So far only From the Archives vol. 1–3 seem to have come out on CD. I’m biding my time to see if the rest gets a CD release, but it doesn’t look like it.

Anyway, the point is that From the Archives is amazing. It is hard to believe that all of these tracks are rejects. It is clear that the technology available to them was not what it would be today. But this just means that it sounds like classic FSOL in their prime. To think that they had all of this awesome music just sitting around doing nothing for all those years!

Plenty of tracks contain familiar elements and samples from more well-known FSOL material. So it is useful to think of it as a historical document as much as a collection of albums.

The artwork takes a similar tack. Well-known elements of old FSOL artwork have been remixed into a form that is rather deferential to the peak period of activity. All in all, it’s quite a refreshing approach because normally bands seem keen to distance themselves from the past.

Because it sounds dated, and consists of music that didn’t make the cut, it is perhaps best to recommend it only to people who are already fans of FSOL. But for those people, what a treat this is! I couldn’t believe my luck when I read about it.

For those not so keen on getting the lot, there is a digest 2× vinyl edition. And Bleep are selling what appears to be an alternative digest version on MP3 and Flac.

8. Simian Mobile Disco — Attack Decay Sustain Release

Simian Mobile Disco is the phoenix that has risen from the ashes of the early-noughties indie-electro band Simian. Slaving away for years only to have your shtick stolen by the much more successful Hot Chip as soon as you disband. It must hurt.

A change of tack was in order for the Simian lads then, and Attack Decay Sustain Release is the result. Unashamedly danceable to an almost cheesy extent, don’t expect much in the way of experimental explorations. Do expect to be grinning ear to ear.

Video: ‘It’s the Beat’

7. Björk — Volta

The pre-release hype had it that this was Björk’s most accessible and poppy album for around a decade. There is a modicum of truth in that. But fans of Björk’s wonderful explorations won’t be disappointed.

Okay, so if you compare the Timbaland-produced lead single, ‘Earth Intruders’, with one of the more guttural offerings from her last album, the almost a cappella Medúlla, then it does look like a change to a poppier direction. But there is more to Volta than that.

In reality, it is just as exploratory as other Björk releases. Any preconception that Volta is a pop album is encouraged by the fact that ‘Earth Intruders’ opens the album, but the balloon is popped when the song fizzles out and ends with a cacophony of foghorn sounds that last over a minute.

There are a few other fun moments. ‘Innocence’, the second single, is a particularly interesting song. It is fun and catchy, but if it is commercial then it is a delightfully skewed version of pop. For me, though, the best moment is Vertebrae by Vertebrae. I love those dissonant horns.

Video: ‘Earth Intruders’

6. The Fiery Furnaces — Widow City

It is a sign of how strong 2007 was for music that The Fiery Furnaces are so low on this year’s list. Possibly the most prolific band around, they often churn out more than one album per year and quality never seems to drop.

Okay, so Widow City isn’t quite up there with Blueberry Boat or Rehearsing My Choir. But this is still a stunningly awesome album. Fans of Matthew Friedberger’s double solo album will be particularly pleased — Widow City is similar in style in a lot of ways.

The album begins with a lush, slow, Eno-esque guitar solo. A fine curtain raiser to the normal Fiery Furnaces diet of playful alliterative lyrics, Mellotrons and other vintage synths, and delightfully wonky prog.

Unusually, there are some weak moments in this album. Some tracks towards the end of the album are particularly forgettable, but ‘Clear Signal From Cairo’ takes the wooden spoon — it just hasn’t clicked with me at all.

Video: ‘Ex-Guru’

5. Justice — †

It’s easy to get bored of electronic music. In dry patches you listen to one techno album after another, none particularly improving on what has come before. Then a group like Justice comes along to provide a breath of fresh air and remind you why you love electronic music.

What’s good about this album is that it is really immediate. It is clearly designed for the dancefloor. But there is still a good deal of sonic experimentation going on there to keep it interesting for the chin-strokers like me. And of course Justice have that infectious sound that only Parisian groups seem to have (hence the number of times you see Justice compared to Daft Punk).

My favourite track is ‘Tthhee Ppaarrttyy’. It’s not a banger as you might expect from the title — not at first anyway. Instead, it sets the scene of a person preparing for a party against an introspective-sounding melody. Can’t forget the other highlights though — ‘DVNO’ and, of course, the monumental ‘D.A.N.C.E.’

Video: ‘D.A.N.C.E.’

4. Underworld — Oblivion With Bells

I have been a fan of Underworld for quite a while, but I was still floored by the quality of this album. It has been a while since Underworld have released a studio album, so I was wondering if they were running out of steam. On the contrary, they have raised the bar.

It takes a while for the album to get going. I thought lead single and opening track ‘Crocodile’ was so-so. After that things star to get better. Before you know it, every track is a winner.

Particular highlights include ‘Ring Road’ which has an infections driving beat and hypnotically rhythmic vocals. It’s impossible not to nod your head or tap your foot along. Meanwhile, ‘Boy, Boy, Boy’ sounds like the past future of pop music that sadly never happened.

What amazes me is the fact that after all of these years Underworld are still going strong. Okay, it’s been five years since their last album, but this is top quality stuff. Most electronic acts tend to fizzle out after a few years. But Underworld’s history can be traced back to the 1970s, and they’re still going strong. I might even go as far as to say that Oblivion With Bells is Underworld’s best album. Karl Hyde must be the coolest fifty-something around. Except for Brian Eno.

Video: ‘Boy, Boy, Boy’

The top 3 is coming tomorrow. I promise.

If there is a musical act I like more than Radiohead, it is Autechre. The release of Autechre’s new album, Quaristice, bears some resemblance to Radiohead’s attention-grabbing In Rainbows release. It also bears a lot of the hallmarks of my predictions / observations about the apparent future of the music industry which I wrote about earlier this month.

I has already been known for a while that a new Autechre album was due out on 3 March. But on Tuesday it was announced via an email to subscribers to the Warp Records newsletter that Quaristice was available to buy as a digital download immediately.

This is the second time in as many months that Warp has sprung a surprise. They did it last month by releasing Clark’s Throttle Promoter EP with no prior warning, along with the announcement of a new album, Turning Dragon, just a month away. It is a pleasant change given that Warp seem to like announcing an album several months in advance and switch the publicity machine into overdrive (and the recorded music industry wonders why people just illegally download albums instead of waiting).

Of course, I had to buy it straight away. Unfortunately, Bleep was struggling to cope with demand. After spending far too long trying to get the zipped download to work, I eventually resorted to laboriously downloading the album track by track. The whole process took over three hours. Ironically, it would have been a lot quicker and easier — not to mention cheaper — to just illegally download it.

On top of the immediate digital release, a limited edition version of Quaristice was announced. This is interesting because Autechre have never had a ‘limited edition’ version of one of their albums released alongside a standard edition. I don’t know if that was because Autechre didn’t like the idea or if Warp thought it wouldn’t be worth it. But whatever, this move seems to back up the observations I made a few weeks ago — the limited edition is becoming much more important for the recorded music industry.

The limited edition Quaristice sounds swish. It comes with a second CD of alternative versions of tracks from the album housed in a rather luxurious-sounding package:

The double CD set comes in a Designers Republic styled, photo-etched, 0.4mm steel slipcase with foil blocked inner gatefold wallet.

It comes at an equally luxurious price — £24.99. And postage is £5! Limited to 1,000 copies, it sold out really quickly, so I feel lucky that I didn’t hang around like I often do. I speculate that they could have easily sold 5,000.

The MP3s cost £6.99 (if I had opted to go for the lossless Flac files (which I didn’t because they are not iPod-compatible), it would have cost £8.99). As such, I have spent £36.98 on Quaristice — almost as much as the £40 Radiohead ‘discbox’.

Before In Rainbows I had never spent anything like £40 on an album. Now I have done it twice in the space of a few months. What a sucker. Who said it was impossible to make money from recorded music any more?

All-in-all, it is a very clever move by Warp. I have bought every Autechre album that’s ever been released for around a tenner. With a couple of sly moves they have managed to just about quadruple that. And judging from the trouble I had downloading it and the fact that the limited edition sold out so quickly, it has happened at least a thousand times over. The accountants at Warp must be happy today.

(Needless to say, I will be reviewing Quaristice when I get the chance.)

The music? Yes, okay.

The lyrics? A few bad lines — some dodgy rhyming and one particular line which is in a mixture of the past and present tenses. But over all it is fine fine.

But those lyrics with that music? Is it not a slight clash of tone?

Maybe it’s just me. I have never heard anyone else comment on this. It does seem to have been a stupendously successful song. ‘About You Now’ is Sugababes’s biggest selling single ever, which is not bad going for a group that popular.

But every time I hear it, it infuriates me a little bit more. The lyrics are quite melancholic and downbeat. It would probably have made a really good ballad. But the actual music is really jumpy and upbeat. It’s actually difficult to imagine how it could possibly have sounded any happier. It is as though they did a remix version and then decided the remix sounded better, forgetting that it is a completely inappropriate tone for those lyrics.

It reminds me of the original theme tune for The Fast Show.

There is some exciting news from Last.fm. I have been in love with that website ever since I signed up back in 2004, and there is now yet another reason to love it.

As of today, you can play full-length tracks and entire albums for free on the Last.fm website.

Something we’ve wanted for years—for people who visit Last.fm to be able to play any track for free—is now possible. With the support of the folks behind EMI, Sony BMG, Universal and Warner—and the artists they work with—plus thousands of independent artists and labels, we’ve made the biggest legal collection of music available to play online for free, the way we believe it should be.

Beforehand, you could only play a select few tracks in full for free — and to be honest, they were mostly rubbish. Now all four major labels as well as 150,000 indies are on board letting people listen to their music for free on Last.fm. Millions of songs are now at my fingertips.

Okay, so the music is not completely free. Once you’ve listened to a track three times, you will be blocked from listening to it again until you pay up. But complaining about this would be churlish. Even if you approach it as a kind of ‘try before you buy’ service, this is much, much better than anything that has come before.

For me, this is the day the recorded music industry has begun to face the music (excuse the pun). There have been signs of them facing up to the reality of a world with the internet. But even, for instance, their plans to sell DRM-free MP3s through Amazon was as much an attempt to derail Apple’s dominance in the digital download arena as anything else.

No doubt there will be questions about the financial viability of this. The BBC report on the announcement certainly adopts a slightly sniffy, sceptical tone.

It certainly feels strange, coming just a couple of weeks after Pandora closed its similar service in the UK on the basis that the labels were making it too difficult.

Both the PPL (which represents the record labels) and the MCPS/PRS Alliance (which represents music publishers) have demanded per track performance minima rates which are far too high to allow ad supported radio to operate…

But that is pretty much the model that Last.fm is adopting:

We’re not printing money to pay for this—but the business model is simple enough: we are paying artists and labels a share of advertising revenue from the website.

Today we’re redesigning the music economy.

How can Last.fm make it work if Pandora couldn’t? It is true that Last.fm has big backing in the form of its owner, CBS. But if it’s not financially viable, it’s not financially viable, right?

Maybe there is more to this, or there is something I’m missing. Leaving the Pandora issue aside, it looks as though something big has happened today — as though someone’s banged a gong and the majors have all woken up to what’s going on. And they’ve agreed to finally do something sensible about the situation. Today music became even cheaper, and we all became a bit richer.

Well, last year I looked at some reissues as well, so I thought I’d do that this year as well. I wasn’t joking when I said I might not get this list finished until February. This is in alphabetical order.

Seefeel — Quique (Redux Edition)

This is nice. This forgotten shoegaze / techno crossover classic got a re-release for seemingly no particular reason. Not even an anniversary. If they’d waited until 2008 they could have done it for the fifteenth anniversary. I guess that for whatever reason they felt like the time was right to reissue it last year.

Scottish readers may be wondering, and I can confirm — this album’s title rhymes with ‘keech’. But the music itself is anything but.

This ‘redux’ edition comes with a full second CD of lost extra goodies. Tracks that inexplicably never made an album as well as alternate versions and remixes come included. My particular favourite — of both discs — is ‘Clique’. Why did this not make the album? It should have been a single!

Quique has a gentle ambient approach, like a wall or ocean of sound. I personally prefer the heavier, darker, more industrial sound of their follow-up, Succour. But Quique is nevertheless a fine album, and I’m happy to have picked up this double disc joy.

The Knife — Silent Shout (Deluxe Edition)

I missed this one first time around. Wasn’t quite interested enough. But when it was re-released as a three disc package I went for it. Maybe I was right first time round.

It’s actually a fairly good album. There are some good tunes. But I was disappointed. Given the rave reviews the album got, I very much found it a damp squib. Good to listen to from time to time though.

Maybe part of the problem is that I already knew one of this album’s tracks quite well. For that reason it suffers from that problem where one song seems to tower over the rest of the album. Even knowledge of this problem hasn’t prevented me from feeling a bit disappointed though.

The new extra discs give me much the same feeling. One is a DVD of a concert performance (An Audio Visual Experience) and all of The Knife’s videos. The other is a CD with the audio of the concert performance.

On CD it sounds quite good. About the same standard of Silent Shout. But watch the DVD and it just looks a bit ridiculous. It is about as live as Princess Diana. The vocals seem to be live, but that other guy clearly doesn’t know what to do with himself. If somebody is making that music live, it certainly isn’t him.

I’d love to believe that waving a couple of ridiculous looking glowing sticks in a pseudo-rhythmic (and often not even in sync with the music) manner is making all of those sounds. But I get the feeling that that awesome instrument hasn’t been invented yet.

I know that live electronic music is a bit of a grey area. But seriously. I prefer the “look like you’re checking your email” approach. At least that is less pretentious.

I enjoyed the music videos though. I will probably check out some of their older stuff if I see it going cheap somewhere.

White Noise — An Electric Storm (digitally remastered)

Already this has become one of my favourite albums of electronic music. I am absolutely in awe of it. Having read about the techniques used to make it, and just the sheer fact that it was so visionary, I really think this ought to be more famous than it is.

I have already written a suitably gushing review of it. I had forgotten how long it was. All those words and not a single comment! Gah.

That’s yer lot. Incidentally, I have been linking to my original impressions of the albums I have been listing in this series. But there was also a post where I wrote about 12 of them — a kind of mid-year roundup. If you are interested, you can read it here. You will notice that I was actually near enough on time with that one. Ironic really, given how busy I was at the time…

There are only two things in the world that give us absolute total happiness. One is seeing other people fail. The other is unwrapping a newly-bought CD.

–Armando Iannucci

In the wake of all the upheaval that the recorded music industry is facing, a lot of people have been predicting the death of the CD. After all, the very reason why music is cheap or free these days is because they don’t need to be put on a physical object which then has to be transported around the world. Surely digital downloads are the only conceivable future for music distribution.

I don’t like the idea of this. If I was five years younger it would probably make perfect sense to me. Last week’s edition of The Economist tells the story of a focus group that EMI held. It was aimed at understanding yoofs better. At the end of the meeting, the teenagers were invited to take as many free CDs from a pile on a table as they wanted. Not a single person took a CD.

It’s just the latest example of a recorded music industry that has always found it difficult to adapt to new technology. Historically, consumers have gone for the most convenient and cheapest format rather than the technically excellent one. So says Fredric Dannen if you scroll a long way down.

When the long-playing record (LP) format was introduced by Columbia Records back in the late 1940s, the industry as a whole resisted it, and many predicted it would never take off because 78s sounded better. Without question, early LPs did not sound nearly as good as 78s. But given the choice of listening to all of Beethoven’s Ninth Symphony on two sides of one record versus sixteen sides of eight records, the consumer opted for convenience and simplicity (not to mention less shelf space).

…You can always count on the record industry to cling to the past, and to fight innovation.

So does the arrival of MP3 mean the death of the CD? I personally hope not. I love CDs. I am of that generation, probably a small five–ten year window of people who wouldn’t consider vinyl but had no access to file sharing as they grew up. Napster came onto the scene in 2000, when I was 14 — well into my music-consuming life.

I have been collecting CDs since I was nine years old. I haven’t counted, but I must have around 600 CDs. I only bought my first vinyl records a few years ago. I bought them grudgingly, only because they were not available on CD. I reckon today I have 30 vinyl records.

I have only ever bought around a dozen MP3s — again, because they were not readily available on CD or vinyl. (I have downloaded a few dozen more because they weren’t commercially available at all — mainly live bootlegs and demos.) I would consider buying more. But although MP3 is the format du jour, there is a big block in my mind preventing me from buying something that I will never be able to see or touch.

I suppose this makes me a collector. (Yes, my collection is in alphabetical order — or it was until I ran out of space.) Collectors tend to be fans of vinyl though, which makes me an anomaly.

It would be nice to think that the CD will limp on and eventually survive another day in the MP3 era just as vinyl has done in the CD era. I have grown up with CDs and I love them. I’m not an audiophile, so the sound quality issue doesn’t worry me too much. And to be honest, I can’t be bothered with the faff of vinyl.

Whether it is CD or vinyl, there will always be people like me who treasure the physical presence of an album. It’s not just about a collection of notes. It about an event, a happening. It’s the artwork, the packaging. The sleevenotes, the lyrics. The smell of the booklet. It has an aura. When you hold a copy of a good album, you are transported to its space without even having to put it on. Could all of this really die because of the internet?

When Radiohead released In Rainbows, the pricing structure grabbed all of the headlines. But that wasn’t the interesting thing for me. The pay-what-you-want method is just a belated recognition of the fact that people could choose to pay nothing anyway.

The other aspect of the release of In Rainbows interested me much more. I didn’t pay anything for the MP3s. I downloaded them for free when they were released on 10 October. That’s because I got them as part of the £40 “discbox” set.

The discbox is a premium edition of In Rainbows. It comprises a CD of the album, an second CD with eight extra tracks and enhanced content, a 2× vinyl edition of the album, and generally all-round badass packaging.

£40 is the most I have ever paid for an album. I hesitated before I ordered it — but not much. Although I am sort of a collector, I have never been a completist. I am usually happy to have the CD version on its own. But I couldn’t resist the awesomeness of the discbox — despite the fact that I hadn’t even heard the album.

This was largely ignored in the media coverage of the album, but to me it was the most notable aspect of the unconventional release of In Rainbows. When I first posted about In Rainbows, I neglected to even mention the fact that the MP3s were free. I didn’t find it that interesting.

People like me, who love the physical formats, will be continue to be catered for. It is easy to make money out of us. Slap a sticker saying ‘limited edition’ on a record and suddenly demand for it will become price inelastic. Suckers like me will buy premium versions of albums at higher prices than we would otherwise consider. And this will become ever more important for the record companies as physical sales continue to get eaten into by the internet, where profit seeking is impossible.

In Rainbows wasn’t the start of this. Limited edition versions of albums have been around for a very long time. But in an age where it is becoming increasingly difficult to make money out of recorded music, it is becoming more and more prevalent.

When I went shopping for Sigur Rós’s Heima DVD I thought £17 was a bit steep. Then I saw the limited edition version for £25 and bought it.

The deluxe multi-format edition seems to be becoming more common as well. Björk’s latest single, ‘Declare Independence’, is available as a deluxe edition, yours for only £19.99.

Formatted in the same extravagant packaging as the Volta double LP, this contains all conceivable formats of the single: double vinyl, CD and DVD.

Something else that is becoming more and more common is for people to automatically get the MP3 version for free when they order a physical version. For instance, Nonesuch has started doing this. You can choose between standard 128kbps MP3s or maximum quality 320kpbs at no extra cost.

It makes sense to me. Being able to have your entire music collection on a portable device is becoming an expectation these days. Since vinyl is a bit more tricky to get onto your iPod, it would be good to get the MP3s of music that you have already bought automatically for free. Hopefully more record companies will adopt this approach.

A lot of people have wondered aloud if the fact that we can now get music for free from the internet is devaluing music. But it seems to me as though the internet is not only driving the price of music down — it’s also driving the price of CDs and records up.

Getting there slowly but surely. We might be two weeks into 2008, but that won’t stop me from looking back at 2007. By this rate it will be February before we get to the end of this list…

20. The Tuss — Rushup Edge

Whoever is responsible for this is at least a genius at generating hype. While the music is ostensibly by Brian and Karen Tregaskin, there are all sorts of clues that point towards this being the work of Richard D. James.

It’s difficult to imagine such an obscure record to make the pages of The Guardian under normal circumstances, but the whiff of Aphex made it happen. And the sight of IDM spods on the internet excitedly polishing off their magnifying glasses (after The Campfire Headphase failed to contain any codes to crack) carried the hype overboard.

Of course, I had to buy it to see what all the fuss was about. Turns out the music is okay, and it certainly sounds like Aphex. I’d be v