Archive: Nostalgia

Music of 2009

A series of posts

  1. My top twenty albums of 2009 — part one
  2. My top ten albums of 2009

10. The Fiery Furnaces — I’m Going Away

I'm Going Away coverIt wouldn’t be an end-of-year music roundup from me without something related to The Fiery Furnaces appearing on the list. And here it is: I’m Going Away. This is probably the lowest they have appeared in my end-of-year list since I discovered them. Not that I’m Going Away is a poor album (otherwise it wouldn’t be in my top ten). But as The Fiery Furnaces have produced more conventional music, I have found them less interesting. Nevertheless, this album has some great tracks, not least ‘Charmaine Champagne’.

9. Bibio — Ambivalence Avenue

Ambivalence Avenue coverI had not taken much notice of Bibio in the past, but after hearing some clips from Ambivalence Avenue I decided to give it a shot. I was not disappointed. The influence of Boards of Canada is at times painfully obvious. But into the childlike nostalgic sepia-toned mix is thrown more folk-based influences, IDM, hip-hop and funk. And it all feels like it fits well. My favourite track is ‘Haikuesque (When She Laughs)’, even though it clearly owes so much to Boards of Canada.

8. Tortoise — Beacons of Ancestorship

Beacons of Ancestorship coverI could not wait for this to come out, yet at the same time I was apprehensive about the results. Beacons of Ancestorship is Tortoise’s first proper album since 2003′s It’s All Around You. Even that was a bit of a let-down, and the bits of material they have released in the intervening period (*cough* not looking at any particular collaborations with Bonnie ‘Prince’ Billy, you understand) have been poor.

But Beacons of Ancestorship, if not exactly up to the, ahem, Standards of their classic albums, is by no means a let-down. It’s just that you get the sense that nowadays Tortoise operate comfortably within their boundaries, rather than challenging them as they did in the past. What can’t be taken away, however, is the fact that this video for ‘Prepare Your Coffin’ is awesome.

7. Doves — Kingdom of Rust

Kingdom of Rust coverYou might rightly think, “Blimey, Doves. That’s that band that gets worse after every album.” Maybe so, but the fact that they do this and yet their latest album, Kingdom of Rust, is still brilliant demonstrates just how good a band Doves are. The first single worried me somewhat as it seemed like Doves by numbers. But it has grown on me, and the reset of the album shows a good development in the band’s sound, with a harder edge in some parts and a krautrocky and electronic vibe in others. The highlight is ’10:03′.

6. Dirty Projectors — Bitte Orca

Bitte Orca (Limited Edition) coverDirty Projectors is an odd band, because they are one of the very few acts that I have ever managed to see live (when they supported Battles a couple of years ago). As a live act they were pretty impressive — the singing was incredible. When you hear Bitte Orca, it might sound suspiciously like the vocals are not real. But they definitely are.

Dirty Projectors are clearly going places. The band has doubled in size since I saw them, and Bitte Orca has been critically acclaimed. And for good reason. The band has a very distinctive sound and almost every song is good. This is ‘Useful Chamber’.

5. Animal Collective — Merriweather Post Pavilion

Merriweather Post Pavilion coverAnimal Collective have been the darlings of the music press this year. While they don’t quite justify all of the hype, their album Merriweather Post Pavilion certainly deserves to be recognised as one of the best of the year. They have done a good job of crafting a poppier and more accessible sound while maintaining their experimental roots. This is ‘Summertime Clothes’.

4. Graham Coxon — The Spinning Top

The Spinning Top coverAfter spending his past few albums apparently trying to make more mainstream albums, Graham Coxon went back to basics with The Spinning Top. It reminds me of his earliest albums, which is no bad thing. There is a wonderfully natural and gentle sound to this album and right from the first listen I knew I was going to love it. Here is the marvellous ‘Brave the Storm’.

3. Tyondai Braxton — Central Market

Central Market coverTyondai Braxton is a pivotal member of the experimental electronic / rock band Battles. I think Battles is just about the best band going right now, and I was hugely looking forward to Tyondai Braxton’s solo effort, Central Market. It was not quite what I was expecting, but I was not disappointed. This is the sound of an artist truly pushing himself and exploring musical areas in a way that musicians should do more often.

Orchestral arrangements, crunching guitar loops, sweeping electronic effects and kazoos are fearlessly mixed together. As with his work with Battles, there are sometimes childish melodies — the sort of thing kids might hum in the playground. It would annoy you if it didn’t work so well. Despite the amazing scope of this album, I have chosen to feature one of the more conventional songs, ‘J. City’, because it is so irresistibly awesome.

2. Grizzly Bear — Veckatimest

Veckatimest coverGrizzly Bear is one of those bands that just gets better and better. Each album is an improvement on the last, and I can’t wait to hear what they can create in the future. They have a wonderful natural sound to them, which means that even though they are often described as an experimental rock band, they are nevertheless accessible. They just write great songs. ‘Two Weeks’ is an instant chamber pop classic.

1. Broadcast and The Focus Group — Investigate Witch Cults of the Radio Age

Broadcast & the Focus Group Investigate Witch Cults of the Radio Age coverThis is a true meeting of minds. Broadcast are already well established as a great band with an interesting take on bringing the past to the present in weird and wonderful ways. The Focus Group is Julian House, who has designed artwork for Broadcast for several years and is now one of the chief figureheads of the ‘hauntology’ genre, as co-founder of the incredible Ghost Box record label.

It has to be said that this album sounds like ten parts The Focus Group to one part Broadcast. (Who knows what Broadcast’s new material will be like? A new album is due in 2010, and perhaps it is heavily influenced by the happening hauntology sound.)

Broadcast and The Focus Group Investigate Witch Cults of the Radio Age presents a wonderful dreamworld collage of sound. Influenced by creepy 1970s B-movies and low-budget science fiction, psychedelia and folk music. Equally childlike and scary, this is the most different-sounding, yet oddly familiar-sounding, release of the year. I am sure that in years to come it will be viewed as the crowning glory of this strange and intriguing new genre. This is ‘I See, So I See So’.

Music of 2009

A series of posts

  1. My top twenty albums of 2009 — part one
  2. My top ten albums of 2009

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

Noble Beast coverI 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

Butter coverI 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.”

Further Complications coverThis 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

Solo Electric Bass 1 coverWhile 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

When Machines Exceed Human IntelligenceMark 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

Totems Flare coverI 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

From an Ancient Star coverJim 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

Life on Earth coverAnyone 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

The Transactional Dharma of Roj coverFormer 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

Scrapbook coverJonny 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‘.

This is the final selection of my overview of twenty interesting Warp albums from the record label’s twenty years. To read the other parts of this series, please check the table of contents on the right.

Jamie Lidell — Multiply

Multiply coverJamie Lidell is clearly a very talented person. His voice is incredible, but perhaps more incredible is the fact that in his earlier career he contrived to hide it. His work as part of Super_Collider (along with Cristian Vogel) and his début album Muddlin Gear were dark, murky, electronic affairs. Although Jamie Lidell sang from time to time, he didn’t show it off.

With Multiply his sunnier persona was unleashed. Instead of the dark and glitchy music of his earlier material, Multiply is very clearly influenced by soul and funk.

But this album is anything but conventional and boring. Jamie Lidell’s considerable skills as an experimental and electronic musician are fully utilised too. This gives Multiply a great crossover appeal. This is on the brighter side of the border that separates pop from experimental music. But clearly there was no way to stop him from pushing the boat out a little bit. This makes Multiply equally enjoyable for those who like to tap their feed and those who like to stroke their chin.

Here is the odd video for the song that effectively introduced me to Jamie Lidell, ‘The City’:

Boards of Canada — Geogaddi

Geogaddi coverWhile most favour Boards of Canada’s earlier album Music Has the Right to Children, for me it’s all about Geogaddi. To me, this album is endlessly fascinating, and always an intense listen.

Geogaddi is the darkest of Boards of Canada’s albums. Their other material is known most for its innocent, childlike and nostalgic qualities. Geogaddi retains an element of that, but with a dark undercurrent running throughout.

The music is more complex and multi-layered. Hidden messages are peppered throughout, and some tracks reveal more about themselves when played in reverse. There are hidden references to religion, the occult, mathematics and numerology. Some even say it is a satanic album. (As a joke, the album lasts 66 minutes and 6 seconds — a silent track, ‘Magic Window’, was inserted at the end.)

Whether Boards of Canada were trying to send some sort of message by planting these references is doubtful. Such references are few and far between on Music Has the Right to Children, and absolutely non-existent on the follow-up album The Campfire Headphase. I think the references were planted in Geogaddi to create a talking point and nothing more.

It certainly got fans talking. This webpage lists a full selection of mysterious messages and trivia about the album, even with a track-by-track breakdown.

Needless to say, leaving aside the hidden messages, the music itself is fantastic. Geogaddi is an unsettling album to listen to, but nonetheless hugely enjoyable and an intense experience.

One of my highlights is ‘Gyroscope’, which manages to fuse great music with one of my other interests as it incorporates samples of a numbers station. This is a fan-made video for the track.

Prefuse 73 — One Word Extinguisher

One Word Extinguisher coverWith One Word Extinguisher, Prefuse 73 effortlessly fused experimental electronic music with energetic hip-hop to create a unique-sounding album. The album is jam-packed with ideas — perhaps too many of them. An idea is allowed to develop just as far as it will go and no more, making this an album of many, mainly short tracks.

The music is also quite diverse, fusing many of Prefuse 73′s musical interests, spanning hip-hop, IDM / glitch, rock music and perhaps even a little bit of jazz. As such, the album is a fantastically colourful and diverse journey. There is not much chance to catch your breath.

There are also plenty of collaborations on this album. While he went a bit overboard with the concept in the following album, Surrounded by Silence, on this album the right balance is struck. I particularly like ‘Dave’s Bonus Beats’, containing drumming by David Lebleu from post-rock group The Mercury Program. The track comes complete with the answerphone message sent to Scott Herren to confirm that the drum track had been sent, adding a personal layer to the music.

During this period, Scott Herren was clearly at his creative peak. Very soon after the release of One Word Extinguisher came the accompanying Extinguished, a distinct album made of the “out-takes” from One Word Extinguisher! For a collection of out-takes, Extinguished is surprisingly good — indeed, almost as good as the original album.

At the same time as the material released as Prefuse 73, Scott Herren was also churning out quality albums as Savath & Savalas, a project more focussed on folk and Spanish-influenced music. Sadly, his subsequent material has not been nearly as good. In contrast to the exciting explorations of his earlier music, Scott Herren began to use the same recognisable formulas over and over. I have since lost interest in Prefuse 73.

Nonetheless, One Word Extinguisher remains an excellent album. Here is a track towards the end of the album, ‘Styles That Fade Away With a Collonade Reprise’.

Grizzly Bear — Veckatimest

Veckatimest coverWarp played a blinder by signing Grizzly Bear. Their pre-Warp album, Horn of Plenty, was charming but not particularly special. After signing to Warp, they came up with the wonderful Yellow House which was full of hidden beauty.

This year, with Veckatimest, Grizzly Bear have released an indie-rock / chamber-pop masterpiece which has propelled them onto the cusp of stardom. Every track is a winner. Gently enticing and maturely constructed, I can’t get enough of this album. This album ought to become a rock classic.

Grizzly Bear is easily the greatest triumph of Warp’s recent policy to diversify further from electronic music. I look forward to hearing what they come up with in the future.

Here is the lead single, ‘Two Weeks’:

Pitpass ran an interesting story yesterday about the deadlock that appears to have been reached between Sony and Bernie Ecclestone who are in negotiations to create a new Formula 1 video game. It is a shame that Bernie’s “hardball” attitude has led to this apparent stalemate.

I have been a big fan of Sony’s Formula 1 series of games. Its history can be traced back to 1996 when Formula 1 (based on the 1995 season) was released. It was a complete masterpiece. Developers Bizarre Creations had made the first 3D Formula 1-based video game and they got it near enough perfect first time round. It is still a joy to play the game today.

It was an arcade-style racer which meant that it was fairly basic, certainly by today’s standards. But it was a huge hit even among non-F1 fans. It was Europe’s second biggest selling video game of the year.

Formula 1 97 followed the year later, refining the product to a great extent. You could even set an option to have tear-off strips. When your visor got too dirty you had to press a button to clean it! It also had a separate arcade mode which felt like a completely different game. This meant that the game pleased non-F1 fans and dedicated F1 geeks alike.

From there, things went a little pear-shaped. Despite the huge success, Bizarre Creations decided to call it a day with F1 so that they could concentrate on Metropolis Street Racer. That series has since become the hugely successful — and, I must say, excellent — Project Gotham Racing series.

In the meantime, Psygnosis, the publishers who owned the rights to the F1 game, were left in the lurch. Visual Sciences were given the job of developing Formula 1 98, but they had just a few months to do it in. Sure enough, the game was an utter beast — buggy, unplayable and generally unsatisfying.

Another change of developer came for Formula One 99. Studio 33 were brought on board. They managed to do a competent job, but it was clearly a case of getting the basics right first as the game was slightly bare. It was, however, the first game to incorporate the Safety Car! Whether gamers enjoyed the experience of being behind the Safety Car is another matter…

In the intervening period, Psygnosis was bought by Sony Computer Entertainment Europe and renamed Studio Liverpool. This began Sony’s association with the F1 license. Gradual improvements were made for both the 2000 and 2001 editions, but the glory days of Bizarre Creations’s games would not be reached on the PSone again.

It is worth remembering that this period was a rather congested time for Formula 1 fans. In some years there might have been around half a dozen different versions of the F1 game. The PSone alone had four F1 games released in 2000.

As well as the Sony offering, Video System brought their F1 World Grand Prix brand from the Nintendo 64 to the PlayStation. Developed by Lankhor, the game was highly realistic, with a dizzying array of different set-up options and horrifically realistic handling. At least, I hope that was the case because it made the game damn well unplayable. It was a struggle even to reach the end of a straight. It was without a doubt the worst F1 game I have ever played.

The following year, Video System published a second game based on their 1999 license. This time they turned to Ubi Soft to develop it. F1 Racing Championship was considerably better than the first attempt, but that wasn’t saying much. As it was the third PSone game based on the 1999 season, there was little reason to buy it, particularly as the year was now 2000!

More successful was the Electronic Arts series. The company made the brave decision of publishing F1 2000 at the start of the 2000 season. Sony had been releasing their games at the end of each season. This meant that there were some inaccuracies in the game as teams proved to be more or less competitive than their pre-season testing form showed. But that seemed academic when all of a sudden there was a chance to play the F1 game several months earlier than normal, and crucially before the Sony edition came out.

However, the EA game was simply not as satisfying as the Sony version. For one thing, EA brought in Visual Sciences to develop the game, although this was kept quiet! VS was the company that made a hash of Psygnosis’s Formula 1 98. Although this time round they did a better job, it was still a bit of a handful to play.

EA also made the decision to release an updated version called F1 Championship Season 2000 at the end of the season to fix some of the inaccuracies of the original. There was quite a neat “scenario mode”, where you would relive actual events from the 2000 season. But by now the PSone market was truly over-saturated with F1 games.

Presumably realising this, FOA gave Sony an exclusive license to publish Formula 1 games from the 2003 season. EA’s parting shot was to release F1 Career Challenge. This took advantage of their licenses for the seasons from 1999 through to 2002. You would begin your career in a poor car and try to make your way up to a better car through the seasons.

This added a much-needed new dimension to F1 games which were often very samey for the obvious reasons that they were all based on the same circuits and the same cars time and time again. Sony / Studio Liverpool have since added a career mode to each of their subsequent F1 games.

These were difficult years to be an F1 gamer. Instead of getting what we wanted — namely, a decent F1 game every year — we were getting several mediocre games, none of which did the trick. Thankfully this changed with the move to the PS2 and the exclusive license awarded to Sony. It was tough luck if you didn’t own a PS2 though.

Sony’s early PS2 games were not all that great. But they were notable for being the only way you could get DVD reviews of the 2000 and 2001 F1 seasons, complete with footage from F1 Digital+. These remain the only official review DVDs of those seasons.

Every year the F1 game improved a little bit. Formula One 04 was enjoyable enough. But Formula One 05 was probably the first time you could say there was an F1 game as good as Formula 1 97. There were also some neat features where, using the Eye Toy peripheral, you could insert your own face into the game and watch yourself participate in the podium ceremony. Rather surreal, but good fun! Unfortunately, F1 05 was far too easy to play even on the hardest difficulty settings. Another nice touch was a set of unlockable classic cars.

Formula One 06 further refined the game. By now, a number of authentic features had been added to please the F1 fans. For instance, in career mode if you are stuck in the test driver role you have to be prepared to trundle around an empty track doing consistent laps — a lot more difficult than it sounds! Come race time you could even choose to drive the formation lap yourself and you would have to get the tyres up to temperature.

(You can read my more detailed reviews of Formula One 05 and Formula One 06.)

There has been one game on the PS3, F1 Championship Edition (strangely familiar title, that). It is based on the 2006 season. I’ve never had the chance to play it, but it looks great.

Just as the F1 series was becoming great again though, the F1 games have dried up. I had wondered why. After all, the 2007 season ought to have been more lucrative for Sony because of the hype surrounding Lewis Hamilton. Unfortunately, Bernie Ecclestone seems to have thought this more than Sony did, leading us to the current deadlock.

In the meantime, Electronic Arts have signed a £5 million deal with Lewis Hamilton. However, this does not necessarily mean that a new EA F1 game is on the horizon. Several years ago Jacques Villeneuve was involved in a fantasy racing game called Speed Challenge: Jacques Villeneuve’s Racing Vision. This EA deal could be a similar plan.

With stalemate all round, it is probably too late even for a game based on the 2008 season to be made. What a terrible shame. You might think I am going overboard a bit. But for me, the annual video game has become an important memento of the season, just as much as the review DVD is. If I feel a bit nostalgic for Pedro de la Rosa in an Arrows, I stick on Formula One 99. Now it looks like two whole years will be lost.

Fans of F1 games should check out F1Gamers. The site is chock full of obtrusive adverts, but it’s a good resource nevertheless.

Perhaps my geekiest guilty pleasure is an interest in television idents. Many a lonely Friday evening has been spent perusing such websites as TV Ark and The TV Room. Not because I’m a sad loner, you understand, but because it’s the really cool thing to do these days.

I also love cereals. The most functional cereal of them all is Weetabix. It’s the only way to go if you have a particularly challenging day ahead. There is nothing in the world that three Weetabix can’t solve. Except perhaps indigestion.

So an advertising campaign that combines the might of Weetabix with the quaint kitsch of classic television idents cannot be anything but awesome. I don’t watch much television these days, so I guess there is the chance that everyone in the world apart from me already knew about it and this post is a bit like going, “ALL BECAUSE THE LADY LOVES MILK TRAY! LOL!”

The only way I learned about the Weetabix advertising campaign was from a post at Idents.tv. I had seen one of the adverts before out of the corner of my eye, probably when I was fast forwarding through the adverts during a grand prix. It didn’t occur to me that it was supposed to mimic idents, with their trippy ambient music and strange abstract visuals.

The TV theme is continued at the Weetabix.tv website, where all of the ident-adverts are available to view. A lot of them have clearly been inspired by classic BBC Two idents from the 1990s.

We have all seen idents thousands of times. Yet, they are forgotten by many and treated as though they are merely wallpaper at best and an annoyance at worst. Yet, idents are the most familiar sight on television; a reminder that all is right in the world. They are beautiful pieces of design that are almost always better than the programme that follows them. So it’s great to see idents being recognised by Weetabix in their advertising campaign.