It is the end of the year. I like music. That can only mean one thing: a run-down of the music I have bought this year, arranged into vague order of how much I enjoyed them.

In this twentieth anniversary year of Warp Records, it has been a stonking year for the label in my view. After some pretty disappointing years, 2009 was the year they showed that there is life in the label yet.

This year I also reached further into the past, while continuing to buy contemporary releases. Old soundtracks and music inspired by the past are heavily featured in this list.

Here is part one of my list, spanning from number 20 to number 11.

Links are to Spotify where available.

20. Andrew Bird — Noble Beast

I would not normally have made this purchase. But I decided to experiment with asking for recommendations using Twitter. Noble Beast was the first suggestion I received, and I’m glad I followed it because it is a rather pleasant album. I particularly enjoyed ‘Not a Robot, But a Ghost’.

Original article about Noble Beast

19. Hudson Mohawke — Butter

I am not yet sure what I make of Butter. If the garish cover wasn’t enough to put you off, the music is in many ways equally garish. Yet there is something enticing about the sound of this album, which mixes out-there electronic sounds with the pop-funk sensibilities of OutKast. This track, ‘Rising 5‘, is available to download on the Warp Records website.

18. Jarvis Cocker — “Further Complications.”

This should have been a fine album by a national treasure. Certainly, Jarvis Cocker’s first solo album was decent enough. As it transpires, though, “Further Complications.” is merely an okay album with some strangely messy-sounding production. It does, however, have a few great moments. I particularly love the closing track, ‘You’re In My Eyes (Discosong)‘.

17. Squarepusher — Solo Electric Bass 1

While Squarepusher is best known for being an electronic music maverick, he has become an increasingly notable bass guitar player. At last, this other side of his musical talents has been showcased on a full CD, Solo Electric Bass 1. While it may be a bit too noodly and self-indulgent for some, and there is no doubt that it is a pretty dense listening experience, there are plenty of moments to enjoy and savour. Such as this piece, ’seb-1.03′.

16. Harmonic 313 — When Machines Exceed Human Intelligence

Mark Pritchard transmogrified from his similar-sounding Harmonic 33 to Harmonic 313 with When Machines Exceed Human Intelligence. The projects’ two sounds are radically different, although approached from the same perspective: creating a sound that is heavily influenced by electronic music of the past. Harmonic 33 brought library music to life. Harmonic 313 turns to the dystopian 1980s, with a worry that artificial intelligence will one day become too intelligent and usurp the human race. Here is the closing track, ‘Quadrant 3′.

15. Clark — Totems Flare

I am still not sure that Clark is fulfilling the potential he promised with the 2001 release of Clarence Park, which I still think is his best album. However, with Totems Flare he has taken yet another step in the right direction. While earlier material was too heavily indebted to other artists, Clark has really begun to carve out his own sound. The major innovation in Totems Flare is the increased use of vocals, as demonstrated on my favourite track on the album, ‘Rainbow Voodoo’.

14. Belbury Poly — From an Ancient Star

Jim Jupp is the celebrated co-founder of the Ghost Box record label, which specialises in releasing a particular type of music (sometimes known as ‘hauntology’) which is heavily influenced by psychedelic and folk music of the 1960s and 1970s, library music, public information films, programmes for schools… with a dark twist. Although I prefer some of the other artists on Ghost Box, Jim Jupp’s Belbury Poly project is still one to keep an eye on. From an Ancient Star represents a progression in the Belbury Poly sound. This is ‘Adventures in a Miniature Landscape’.

13. Edward Williams — Life on Earth

Anyone who has an interest in vintage soundtracks or music for television will adore the soundtrack to Life on Earth, the seminal 1979 nature documentary series. It is beautiful and haunting, with a gentle and entrancing use of electronics. It was released this year after a series of coincidences, beginning with one of the 100 privately-pressed records being found in a charity shop. The quality of the recording is not great, meaning that you have to peer a bit to hear it. But this just adds to its charm.

12. Roj — The Transactional Dharma of Roj

Former Broadcast keyboardist Roj Stevens this year released his début solo album, a masterful foray into the mysterious. Roj has created a curious and slightly creepy album — just as you would expect from a Ghost Box release. Imagine eastern spiritual vibes being interrupted by imaginary transmissions from fictitious Soviet stations.

11. Jonny Trunk — Scrapbook

Jonny Trunk, of the eponymous record label that specialises in “music, nostalgia and sex”, this year released a collection of snippets of music that he has worked on in his spare time. Purposefully, it has not been carefully packaged. It is called Scrapbook for that reason. The tracks retain their working titles, and are sequenced in alphabetical order. But despite the apparently slapdash nature of the release, there is something magical and charming about this album. Just as you would expect from Jonny Trunk, it is equal parts nostalgia, humour and brilliance. One highlight that encapsulates this is ‘Hawks‘.

Okay, so Brawn may only have been in Formula 1 for less than one year. But undoubtedly it is a name and a team that will go down in history.

There was a magnetic attraction to the Cinderella story that was the life of Brawn GP. Until March, the existence of the former Honda team hung in the balance. A last-minute lifeline and some punchy Mercedes engines (which required the incredible generosity of McLaren) saved the day for the employees at Brackley.

The car turned out to be devastatingly quick. In its short life, the Brawn team achieved some juicy records. This made it, by many measures, the most successful new team there has ever been in F1. Today it secures a status as the only team ever to have a 100% championship-winning record.

The shortest-lived legendary team

Despite a lifespan of less than a year, Brawn will go down in legend. Its rapid success ensured that it had become a household name. And its livery — with the distinctive chartreuse swooshes highlighted by bold, black borders — will surely become as iconic as a JPS livery, a Marlboro livery or a Gulf livery.

People quickly became attached to the Brawn colours. Just look at how many of this year’s F1 books are decked out in a snot green that tries to replicate the fluorescence of the car itself. It is such a strong image.

A livery change was widely expected as soon as Brawn started to get more sponsors. But a livery change never happened. Despite the fact that most of Brawn’s sponsors over the 2009 season actually had red logos, thereby clashing awkwardly with the neon yellow, Brawn stuck with the original livery because it worked so well.

Mercedes to ignore Brawn heritage?

Maybe I am over-egging the pudding a little. But I genuinely think the sport has lost an icon. Today’s announcement that the Brawn team will be bought by Mercedes brings to an end this incredible story of the plucky underdogs who won against all odds.

It is yet another stage in the rollercoaster existence of the Brackley-based team whose history can be traced back to Tyrrell. In the past five years alone, the team has been owned by British American Tobacco, Honda and Brawn. The Mercedes era should finally bring some stability to this team.

In its press release today, Mercedes has included a mock-up of the sort of livery it presumably wants to run with next season. All trace of the Brawn heritage has apparently vanished.

Maybe I am just too romantic for my own good. But I would like to see the splashes of Brawn chartreuse remain, with the rest of the car remaining silver. After all, the current McLaren livery has “Rocket Red” in more or less the same places as Brawn’s chartreuse.

There is much talk about how the “return” Mercedes to F1 as a works team will mean a return of the legendary “Silver Arrows”. That’s funny, because I seem to remember everyone saying the same thing when McLaren switched to a silver livery in 1997. Maybe it doesn’t count any more.

McLaren’s colours: If not silver, what?

Speaking of McLaren’s silver livery, their press release today says that it will remain the same. Against expectations, McLaren have extended their engine deal with Mercedes to now last until 2015. But Daimler AG will be selling back the bit of McLaren that they own, and McLaren will become a Mercedes customer team rather than the pseudo-works team they had become.

As speculation increased over the past week or so, I began to wonder what colour scheme McLaren would adopt were they to part ways with Mercedes. Obviously that is a bit academic now, but it’s interesting to think about.

Nowadays most people think of McLaren as a silver (or, for the less charitable among us, grey) team. But it is probably more accurate to think of McLaren’s main colour as being red.

Red is the most prominent colour of the most evocative McLaren livery — the famous Marlboro scheme it ran in its 1980s heyday. Historically, McLaren ran with an orange livery.

The team describes the red colour that features in today’s livery as “Rocket Red”. It is not a scarlet or a Ferrari red. It is rather orangey, perhaps in a nod to the team’s history running in orange.

In recent years, McLaren have been known to run test cars in an orange livery from time to time. It would be really neat if McLaren toned down the “Rocket Red” a notch or two, and made its colour orange once again.

Or am I just being too romantic again? Maybe not. It is a good sign that McLaren Automotive use orange prominently in their marketing.

10. Stereolab — Chemical Chords

This is more or less what you would expect from Stereolab. Fantastically jaunty and slightly idiosyncratic pop songs. This is hardly Stereolab’s best album (and I say that as someone who has only heard three of them), but it is a joy nonetheless.

9. David Byrne and Brian Eno — Everything That Happens Will Happen Today

This pair produced one of the most important and experimental albums of recent decades. But My Life in the Bush of Ghosts was over 25 years ago, and this was the first time they had worked together since. There was no point in expecting the same again, and what we have here is an album of fairly conventional — though diverse — pop songs. It seems as though Brian Eno’s mission in life just now is to make good songs (which have good lyrics). There are some great songs here (I particularly like ‘I Feel My Stuff’), but it ain’t a world changer.

8. Neon Neon — Stainless Style

Boom Bip and Gruff Rhys built on their earlier collaborations to create this most unlikely of concept albums. It is based on the life of John DeLorean, creator of the DeLorean car which was clad in stainless steel. The music revels in the 1980s concept, and the slightly off-the-wall idea behind the album belies a clear genuine love of indulgent 1980s synth-pop. A great listen.

7. Various artists — BBC Radiophonic Workshop: A Retrospective

A great look back at the legacy of the BBC Radiophonic Workshop, the hugely influential electronic music department. This 2CD set compiles music from the entire 40 year life of the Workshop. The first CD is absolutely charming, and my jaw drops thinking about how much effort was put into these early electronic masterpieces. The later music is not so special — ironically as the technology got better it only opened up a world of identikit sounds. This is not enough to spoil the CD as a whole though.

In-depth review of BBC Radiophonic Workshop: A Restrospective

6. The Advisory Circle — Other Channels

I just adore this album, which faithfully recreates vintage electronic music of the sort we were all exposed to in our youth. Be transported to two or three decades back. Television idents, programmes for schools, public information films, library music… dare I say the Radiophonic Workshop? But all with more than a smidgen of creepiness and uneasiness built in. It’s Boards of Canada+. If that’s your sort of thing this really is an essential purchase. Don’t listen to it at night though.

5. John Baker — The John Baker Tapes Volume 1 and 2

John Baker was one of the most important members of the BBC Radiophonic Workshop. This pair of CDs unearthed a load of hidden gems from his career that may otherwise have ended up in a skip. Volume 1 documents his work at the BBC, with lots of great bits and pieces like news jingles, theme tunes and little bits for educational programmes (I love the song about not being taken in by slick salesmen). Volume 2 focuses on his commercial work and private recordings of his jazz piano playing. There are notes on each of the tracks, an in-depth biography written by his brother, Richard Anthony Baker, and a recording of the Radio 5 Live obituary broadcast also by Richard Anthony Baker.

The CDs serve not only as an important document of John Baker’s work, or even a collection of important electronic music — but almost as a time capsule of 1960s and 1970s life in Britain. Tracks titles like ‘Decimal Currency’, ‘Building the Bomb’ and ‘Giro Advert’ serve to make the collection an important document of social history too.

In-depth review of The John Baker Tapes Volumes 1 and 2

4. Squarepusher — Just A Souvenir

Tom Jenkinson expanded on the more live sound he has developed since Ultravisitor by producing this concept album inspired by a fantasy futuristic band from his daydreams. It’s a good device that allows him to become quite indulgent with his use of experimental electronic techniques, while also exhibiting his über bass and drumming skills. At the same time there are gloriously poppy songs like the irresistible ‘A Real Woman’.

In-depth review of Just A Souvenir

3. The Fiery Furnaces — Remember

The Fiery Furnaces don’t know how to do anything the conventional way, and they even found a way to completely change the way you can think of a live album. The recordings are pieced together from a variety of different concerts. And it’s not just different songs from different recordings. Different recordings of the same song are spliced together, mercilessly interrupting itself in the middle, complete with jarring changes in sound quality. It is not as annoying as you might think. Along with the fact that the live versions of songs are often radically different to the original studio recording, this is sure not to be a wasted purchase.

In-depth review of Remember

2. Autechre — Quaristice and Quaristice (Versions)

Autechre seldom fail to surprise. The often imitated but never bettered duo specialise in altering your perception of what music can be. With Quaristice they pushed on with their particular brand of pathbreaking electronic music. But it lacks the coherence of previous albums, jumping about in style and mood from track to track while previous albums had a well defined sound of their own. Instead of the eight or nine long tracks, Quaristice has 20 tracks more typically three or four minutes long. I originally felt that it was a weak album, but now whenever I listen to it I find myself completely loving it. Even a disappointing Autechre album is head and shoulders above what anyone else produces.

Quaristice (Versions), the extra CD that came with the limited edition version, is shaped more like a traditional Autechre album, but the music itself is more of the same — literally. Longer cuts give these tracks more room to breathe, making it a perfectly pleasurable listen, even if it did begin to feel like you were paying for the same music several times over (especially if you bought Quaristice.Quadrange.ep.ae, which I reviewed in the earlier post).

In-depth review of Quaristice

1. Portishead — Third

Hands up who expected this album to be crap? An 11 year gestation period did not bode well. But the end result is in fact excellent. Actually, I could hardly believe what a good job Portishead had done. Clearly having made a conscious decision to avoid the Portishead trademarks which turned into trip hop clichés, the band have set themselves a subtly new direction and have pulled it off magnificently. There is still that slightly dark and black-and-white sound. But now there is a rather more live feel to the music, albeit with more of an emphasis on jaggy and sometimes slightly unsettling electronic sounds. And the songs are absolutely top-notch. I hope it isn’t 11 years until the next Portishead album.

The premise of Just a Souvenir is most intriguing. “This album started as a daydream about watching a crazy, beautiful rock band play an ultra-gig,” says Tom Jenkinson on his website. He goes on to describe the mad japes that the band got up to in his daydream, setting out a vision of an eccentric, futuristic, science fiction-inspired rock band. Squarepusher then saw it as his duty to recreate his daydream in album form.

I can’t help but wonder if the story is just a bit of an excuse, explaining the slightly tongue-in-cheek nature of some of the tracks. Just a few minutes into the album the listener is asked to “re-spect the coat… HANGER” by a cod 1980s vocoderised singer (a giant coathanger being the fantasy band’s main prop). This is not a criticism. I don’t like music to take itself far too seriously, and Squarepusher remains on the playful side of things for most of this album which makes it a much more pleasurable listen.

The premise of the album also gives Squarepusher maximum opportunity to pursue his crazy sonic experiments. Then there is the fact that the band is apparently supposed to be a prog rock band. This mixture — a focus on technology and quasi-prog stylings — makes Just a Souvenir sound like the sort of album most bands in the 1980s would have dreamt of making. It’s the music that Tomorrow’s World promised.

But perhaps the most unique-sounding tracks are the ones which don’t have the pomp of the prog rock approach. The sonic experimentation is most evident on tracks like ‘Open Society’, ‘Fluxgate’ which presumably depict the classical guitar player who can travel backwards in time, taking the surrounding sounds with him to create “imploded sonic pin cushions”.

Stylistically these tracks are similar to some tracks that Squarepusher has been doing for a few years, beginning with ‘Itti-Fack’ from the Square Window EP. These tracks are brief and sound as though the audio has been recorded in another dimension. I can’t think of anyone else who makes music that sounds like this. It’s almost as though Squarepusher has created a new genre which, for the time being, is specifically his domain.

Elsewhere, Squarepusher’s sonic palette has been expanded with the surprising inclusion of some all-out rock songs. Although Tom Jenkinson is well-known for being a highly accomplished bass guitar player, his playing is typically of the jazz fusion variety, or perhaps set to some of his madcap Amen break-fuelled drill and bass, IDM or suchlike. I suppose since now that IDM is deeply unfashionable, it is sensible of him to move away from that sort of thing.

But it is nonetheless surprising that he has gone so far down the rock route. While tracks like ‘Delta-V’ are by no means like conventional rock music, the almost metal-like style of these tracks undoubtedly moves Squarepusher into brand new territory. Incidentally, what an enjoyable listen ‘Delta-V’ is.

What strikes one listening to this album is just how much it does sound like a full band. It has long been known that Tom Jenkinson is a truly multi-talented fellow, being a particularly accomplished bass guitar player while also impressing on guitars and drums, all while mixing it with electronic music’s oligarchy at Warp Records.

For his past few albums, Squarepusher has been increasing the eclecticism of his output, beginning with the amazing Ultravisitor (still my favourite Squarepusher album) which gave us a full taste of all of his talents from drum and bass stormers to gentile Spanish guitar performances, mixing studio-based and live performances to create a truly unique, odd-sounding album that can’t help but leave you impressed.

But in Just a Souvenir the tone doesn’t jump around uncomfortably as it sometimes does in Ultravisitor. Now all of Tom Jenkinson’s many talents are performing to such a high level, gelling so well that you would never guess that it wasn’t actually a band. What an achievement.

• Clips from the album (you will need to press play every 30 seconds):
  
• Just a Souvenir website
• Squarepusher website
• Warp Records website

Hello.

I’ve been wondering a bit about the way technology news is still ghettoised. I don’t mean news about the latest rubbish web 2.0 start-up with a ridiculous name. I mean quite important stuff. Security problems and the like.

Take what happened last week. A patch to fix a major flaw in the DNS was released. It is pretty important stuff. But the only mentions of it have been ghettoised in the darkest recesses of the technology sections, cordoned off in yellow and black tape with “warning: geeks only” written on it.

I don’t watch the television much these days, so I might be wrong. But I saw no mention of it on the news. I heard no mention of it on the radio. You certainly don’t hear people talking about it on the streets or in pubs.

You might think, “So what? Security update for X, Y and Z are released every day. You can’t have the news reporting it every day.” But something extra happened with that security update that was released last week: it crippled many users’ computers. Including my parents’ computer.

It is just as well I was still able to use my computer to try and find out what the problem was and how to workaround it. It turned out that ZoneAlarm threw a hissy-fit after Windows XP had updated and prevented users from accessing the internet.

In fairness, the BBC reported this on their website — but that’s not very useful if you’ve got no internet. Perhaps there are still people scratching their head about why they’ve not been able to access the internet for the past week.

The problem is twofold. One, the mainstream media seems quite averse to any technology story unless it’s to do with [say this like a caveman] “GOOGLE” or “APPLE”. Or “GOOGLE”. Simply, if you want to find out anything meaningful about technology you have to really know where to look for it.

And this brings me on to the second part of the problem. The people who don’t know where to look for information are also the most vulnerable users. There are people who, for whatever reason, can’t be motivated to take proactive measures to prevent themselves from the various security issues that inevitably arise when you use the internet.

I have a friend who bought a new computer a few weeks ago. The other day he complained to me that his new computer has already got spyware on it. The thing is that it’s not difficult to protect yourself really.

I’m not really a computer expert in the slightest, but I know the basics of how to protect myself — essentially keep all your software updated with the latest patches and don’t click any dodgy links. I don’t think it’s really a difficult concept. And — touch wood — these basics have worked for me. Since I got my own computer early last year I’ve never had anything worse than a tracking cookie on my computer (as far as I know — I just know that this is an invitation for my computer to explode under the weight of pop-ups tomorrow…).

But even simple measures like these that anyone can take are difficult to get through to some people. So many people still treat computers with awe. It is sometimes easy to forget how foreign computers are to many people.

I remember a couple of years ago when there was a really bad signalling failure on the train line into Edinburgh. Basically every train was cancelled. An old lady pointed to the automated departure monitor and asked why it said a list of trains towards the bottom of the screen were still listed as being on time.

This is what she said in protest (as though it would make her more likely to get on a train to Edinburgh): “I thought computers were wonderful things that never ever went wrong.” But even my basic knowledge of how computers work told me exactly why the trains were still listed as being ‘on time’ — because they hadn’t even departed from their start station, so hadn’t passed any sensors and weren’t technically late at all. The computer was none the wiser for obvious reasons.

This can be put down to the old issue that people in their thirties and younger have been using computers for almost all of their lives and understand what a computer is good for and what it isn’t. Youngsters who have lived with computers all their lives understand how a computer works, but for many people older than that computers just work by magic.

The thing is, that divide between young and old is not so clear cut as I used to think. I was listening to iPM yesterday and there was an interview with Clive Sinclair. He pointed out that back in the 1980s computer users really understood computers because they had to in order to get them to work. Today’s youngsters growing up with computers generally don’t understand computers at all.

So we come back to my friend who is the same age as me and has a problem with spyware. I have had a few conversations with him where I have tried to persuade him to use Firefox. For him, the internet is the internet and he doesn’t understand how one browser can be better than another. Even though I have told him about all the superior features and better security that a browser like Firefox or Opera can provide, he persists on using Internet Exploder version bum point poo.

Many people, through ignorance, don’t take the simple measures to keep themselves safe on the internet. I’ve had a look at the stats for this website to see what bad browsers visitors to this site are using.

In the past month, an amazing 20% of visitors used Internet Explorer 6. This is a web browser that was originally released seven years ago and last updated four years ago. It is notorious for its security problems. The more up-to-date Internet Explorer 7 was released almost two years ago.

You would expect Firefox users to be smarter, right? Not always. In the past month, 243 Firefox users that visited this website were using a version of the browser that is considered unsafe (which I defined as 2.0.0.14 and below). This included 19 people using 1.5.0.12, 11 using 1.0.7 and 8 using 1.5.0.3. Most amazingly, 4 visitors were using Firefox 0.9.1, a browser that has been out of date for four years. I dread to think what kind of security problems these users have been getting themselves in.

It got me wondering. If this many people are using dodgy browsers, how many people are still trying in vain to unsubscribe from spam emails? How many don’t know that even viewing an image in an email alerts a spammer that your email address is active? You could go on.

I don’t mean all this in a preachy kind of way. I completely understand why it is difficult for people to keep up to date with all the security issues that arise. I just find it really frustrating that simple awareness issues are not, well, made aware to people.

Things don’t get much more ubiquitous than the internet. It is impossible to imagine that someone growing up today will not be a regular internet user in some form or another. And there are real dangers on the internet that aren’t to do with [say this like a caveman] “PEDOPHILS” and “CYBER BULLIES”. But the media reports on made-up dangers like “KNIVES” and “YOOFS” and “KNIVES” as though we are on the verge of bladeageddon.

Yesterday I was listening to Digital Planet. They had a chap called Stefan Frei on reporting that around 60% of all internet users are using an out-of-date browser. He had a really smart way of thinking about software security. You should think of software as being perishable, just in the same way as foodstuffs. You wouldn’t eat a mouldy slice of bread, so why would you use a browser with a huge security hole in it?

It’s a really smart analogy that should be spread far and wide. It’s just frustrating that the place I heard it was on Digital Planet, which is probably listened to mainly by people who already know that they should be updating their browsers.