Because that’s what you really want to know, isn’t it? It is mid-April, and ever since Christmas you have been on the edge of your seats thinking, what music really got Duncan’s toes tapping in the arbritary selection of 365 days we elect to call “2010”? Well your luck is in, because I am going to tell you right now, while neatly ignoring everything that has happened in 2011 so far.
So here are my five of my top ten releases of 2010, in no particular order. The other five will appear in a separate post to be published next week.
Squarepusher has always existed in an extra dimension, deftly able to make his albums sound like they can be performed live, while clearly being studio creations. Building on previous albums, Just a Souvenir introduced the ‘fantasy band’ concept, cementing the vision of ‘live’ music that could never be played live.
Shobaleader One is supposedly the realisation of the fantasy band. The band seems to be made up. It’s the concept of Gorillaz mixed with the gimmicks of Daft Punk. But the music sounds like Squarepusher’s.
While parts of the album seem naff, I can’t help but enjoy this music — and still marvel at Squarepusher’s inventiveness.
Autechre — Oversteps
As if we needed reminding, Oversteps was a reminder of why Autechre are considered to be at the forefront of electronic music. In fact, it seems like a shame that seemingly no-one is able to make music that comes close to what Autechre achieve.
For instance, take the track ‘ilanders’. Who else could come up with those crazy unique beats, mixed with that bad-ass bassy melody, and make it sound so right? I hope Autechre are documenting their techniques so that they are not lost.
For me, Oversteps is Autechre’s best work since 2001′s Confield. If you know how much I love Autechre’s music, you will understand just how excited I was by this album.
Machinedrum — Many Faces
I had lost touch somewhat with what Travis Stewart had been up to since his releases as Machine Drum on the excellent Merck label, which shut down a few years ago.
I was delighted to learn about this release, which sees Machinedrum expand beyond the glitch-hop of his earlier releases and move into massive electro-house — and beyond. It’s the “many faces” of Machinedrum, geddit?
Great fun to listen to, and my favourite musical surprise of the year.
Field Music — Field Music (Measure)
An increasinly rare slice of thoughtful and intelligent rock music.
Field Music manage to produce surprising and perhaps unconventional music without heading towards pretentiousness. And their music clearly takes cues from music of the past, without ever ending up sounding derivative.
The music of Field Music has always been well-constructed and melodic. But mixed in with the bouncy angular tunes that we are accustomed to from Field Music, is a helping of more subdued songs.
Moon Wiring Club — A Spare Tabby at the Cat’s Wedding
This is a delightful slice of electronic music. It is spooky, haunted genius. Fitting neatly into the hauntology scene, it is seriously wronged-up and unlike anything you have heard before.
Amazingly, Mister Moon Wiring Club makes all of this music using MTV Music Generator 2 for the PlayStation 2. This does give the music a slightly templatey sound, with rather odd-sounding beats. But this gives Moon Wiring Club a very strong signature sound that is not replicated by anyone else. It amazes me that music like this is made on a PS2!
In keeping with the confusing nature of the music, the CD and vinyl editions are substantially different to each other. And the second pressing of the CD comes with a different cover.
Warp Records celebrated its twentieth anniversary this year with an extravagant box set, Warp20 (Box Set). Measuring in at 10 inches × 10 inches × 3 inches, it truly is a thing of beauty. Packed in there are five CDs and five 10 inch records, full of Warp goodness old and new.
It was not cheap either, so was only for the most fanatic of Warp followers. Luckily for Warp, there are plenty of fanatical followers — myself included.
Warp20 (Chosen)
Also released separately as a 2CD album on its own, Warp20 (Chosen) is designed to be a collection of the best of the first twenty years of Warp Records.
The first ten tracks, making up disc one, were chosen by voters on the internet. As such, the top ten is sadly predictable. You really could have forecast in advance the inclusion of the likes of ‘Windowlicker’, ‘Roygbiv’ and ‘My Red Hot Car’ in the top three.
The inclusion of most of these tracks was surely never in doubt. Certainly, the top eight are bona fide Warp classics (I am not so sure about Jimmy Edgar’s ‘I Wanna Be Your STD’ or Clark’s ‘Herzog’, but I can understand their inclusion). There is also a noticeable skew towards the late 1990s / early 2000s. Only one track, LFO’s ‘LFO (Leeds Warehouse Mix)’, is from before 1998.
It is clear that the current fans of Warp Records — at least those who voted in the internet poll — are a bit like me. They were not around for the birth of the label, and cling on to the late 1990s IDM explosion as Warp’s classic sound. I think this is Warp’s best period too, but I would have preferred a greater variety in the first disc.
Luckily, the second disc is on hand to provide some of that variety. Label boss and co-founder Steve Beckett chose a further fourteen tracks which make up disc two. While all the usual suspects are again present and correct (giving the likes of Aphex Twin, Boards of Canada and Autechre two appearances on the compilation), other periods and genres are given rightful recognition.
Ultimately, though, while there are a couple of gems here that I didn’t previously own, Warp20 (Chosen) is a bit redundant for me, and no doubt for almost everyone else who bought this box set. If you are such a great fan of Warp that you are going to shell out eighty quid or so, you almost certainly need no such overview to the label.
Perhaps of more value is the fold-out poster of comments posted by the internet users who placed their votes, providing (relatively) qualitative information to accompany the raw top ten.
Warp20 (Recreated)
This is the surprise highlight of the package — a double-disc album of Warp artists covering classic Warp tracks. It shows you how far Warp has come in the past ten years. For its tenth anniversary, Warp released an album of Warp artists remixing classic Warp tracks.
But with a more diverse range of artists on its roster, and plenty of artists with a different set of skills, it seems as though it makes more sense to ask artists to do covers rather than remixes. The results are pleasingly wonderful. Clearly, when you take maverick musical geniuses and ask them to take on the works of other maverick musical geniuses, the results are going to be deliciously skewed and entertaining.
The album opens with Born Ruffians covering Aphex Twin’s classic humorous tracks from the mid-1990s, ‘Milkman’ and ‘To Cure a Weakling Child’. The band’s stripped down approach works surprisingly well. The vocals are shouted out as though from the rooftops, rather than being distorted by electronic effects, adding to the comedy effect.
Another surprise highlight is Maxïmo Park’s take on ‘When’, originally by Vincent Gallo. This is a wonderful piece of dark synth-pop. Hopefully it signals a new direction for Maxïmo Park, whose sound has otherwise become stale.
Meanwhile, Jamie Lidell’s version of Grizzly Bear’s ‘Little Brother’ is just as beautiful and organic as the original. It is another instance of an artist revealing something otherwise unheard in his audio arsenal.
But the real highlight of the album is ‘Phylactery’ by John Callaghan, which is based on Autechre’s ‘Tilapia’. This transforms one of the first signposts of Autechre’s foray into increasingly unique and obscure electronics into a wonderfully wonky pop song.
One instance where a remix may have been a better idea is when Luke Vibert tackled ‘LFO’. The results are actually rather good — undoubtedly a Luke Vibert take on a classic Warp track. But it certainly lacks the punch of the original. This makes it a slightly trudging, though intriguing, listen.
Overall, though, Warp20 (Recreated) is a marvellous document. It reveals sides to Warp artists that hadn’t been revealed before. It’s like peering into the fourth dimension of an already-extraordinary label.
Warp20 (Elemental)
This disc contains an hour-long mix of 65 Warp tracks, created by remix maestro Osymyso. A similar mix, by Buddy Peace and Zilla, was released five years ago along with the WarpVision DVD. Although Osymyso had five years’ worth of extra material to work with, I am less fond of his effort. Nonetheless, the creativity involved in creating such a mix, containing a diverse array of Warp music from the past twenty years, still astounds me.
Warp20 (Unheard)
Moving on to the vinyl in the box set, we have three ten inch records made up of eleven previously (sort of) unheard tracks. Incidentally, these are smartly presented with a minimalist design and debossed text.
The selection kicks off with Boards of Canada’s immersive ‘Seven Forty Seven’. This is not, strictly speaking, unheard. It was originally featured in an interactive Boards of Canada website several years ago. But it is the first time it has been presented as a track itself. It is so good that I can’t work out why it hasn’t been released before.
This is followed up by the equally exciting ‘Oval Moon (IBC mx)’ by Autechre. Named after IBC, the Manchester-based pirate radio station through which Autechre first made their name, this is real old school stuff. Having been produced in 1991, it is almost as old as the Warp label itself! And it’s excellent.
After these two stonkers, the rest of the collection does not quite stand up to the same level. But it is still a good listen. Fair efforts from Clark, Plaid and Flying Lotus are included, along with classic unreleased material from Elektroids and Nightmares on Wax.
Meanwhile, the plodding and uneventful ‘Sixty Forty’, originally from a 2003 Peel Session, is probably the most disappointing Broadcast song I have ever heard. The collection is rounded off with ‘As Link’, a new Seefeel track, whetting appetites for their rumoured comeback.
Warp20 (Infinite)
Musically, the box set is rounded off with a couple of records made up entirely of locked grooves. There are fifty loops in total, plundered from Warp’s back catalogue. It is an interesting experience to experiment with them for a bit, but probably of limited use to anyone who is not a DJ.
Warp20 (1989-2009) — The Complete Catalogue
The final item in the box is a large book that documents the artwork for every release on the Warp label. It is interesting to leaf through and assess how the label progressed over the years, and recall the memories of hearing all of this wonderful music for the first time.
Warp Records is almost as well known for its strong visual identity as for its music. There is some fantastic artwork in the Warp catalogue. While this book is not at all the best way to appreciate the artwork, it does serve as an excellent historical document cataloguing Warp’s classic covers.
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.
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.
I’m not sure about the choice you face though. You can either get it as a digital download, or you can stump up £40 to get a ‘discbox’, which contains versions of the album on CD, vinyl and download. And wait until December for it.
Gah, I’m just excited that new Radiohead material is being released at last.
The other day I took my first trip to Fopp since it re-opened. After Fopp’s flopp, HMV bought the name and six of the stores (a far cry from the 120-or-so stores there used to be). HMV probably bought it to stop Gordon Montgomery from making an easy comeback, but they have promised to run the remaining Fopp stores as Fopp themselves ran them.
Immediately people were wondering if HMV had bought the right stores. I guess they are in a much better position to know which stores are profitable and which are not. But they bought the Rose Street store in Edinburgh. It’s a good shop, but there are already two HMVs within a stone’s throw. The one on Cockburn Street was smaller but only has that dusty Avalanche for competition. And it was closer to the university, which, for purely self-interested reasons, made it automatically better for me.
Also, a lot of the point about Fopp was the fact that it wasn’t HMV. Nor was it some indie-wank shop. It was something in between, which I thought was just perfect.
During my trip there, I was pleased to see that almost nothing has changed in the Rose Street store. There are only very slight cosmetic differences that only the most anal people (like me) will notice. Price stickers are now HMV-style, as are the receipts. But apart from that, most things have pleasantly remained the same.
The prices are still in nice round numbers. There is none of that £X.99 nonsense. It feels good just to hand over a twenty and be done with the transaction with no fuss.
I did try to do my usual thing of looking for a cheap Can album, but although they had loads of Can albums, they were all £15! The same was true for Brian Eno. I guess it’s not inconceivable that this would have happened in the old Fopp, but it did ring a minor alarm bell. Hopefully it is just my imagination. Thankfully, in general, the prices are still pretty good. I bought four albums for £20 (including one Stereolab CD which was just £3! Bargain!), which is pretty good going.
There was something quite striking about my visit to Fopp though. I was browsing there in full knowledge that the shop was almost wiped off the face of the earth, so I was thinking about the business side of things as I was shopping. The thing I noticed above everything else was that almost every single other customer there was a middle-aged man. I was probably the youngest person in the shop. It’s true — kids just don’t buy music these days.
On my way down to Rose Street, I passed the folk specialist Coda store on Bank Street. I wondered to myself, “I wonder how long before that goes?” In fact, I have often wondered that to myself over the years (before today’s music retail woes), but that probably shows my narrow-mindedness about folk music. Today, I suppose most of its customers will be the more loyal middle-aged men. That was probably a curse just a few years ago. It’s surely a blessing now!
I am a big fan of the CD format, and I love to have a physical copy of any music that I have. Then it feels like I really own it, and is a signal that I really value the music rather than just downloading any old crappy MP3 and throwing it in the recycle bin if I don’t like it.
It’s a bit like a story I read about in a very exciting book called A Logic of Expressive Choice by Alexander A. Schuessler. It’s a bit dry, but it has some neat examples to demonstrate its points.
(I don’t have the book to hand, so my memory of this example is quite sketchy, but you will get the general idea.) One of them involved a man who, every year, would camp outside to buy tickets to something or other. He waited an extraordinarily long time to ensure that he was at the front of the queue so that he could get the best tickets.
One year the venue decided to just give him the best tickets anyway, as a kind of token of appreciation (or probably as a publicity stunt). The man was outraged and refused to accept the tickets. For him, his value came from the waiting, not from acquiring the tickets themselves. He took pride in waiting for ages. It was his way of saying to the world, “Look how much I love this thing! I will wait for ages to make sure I see it!” When the theatre offered him the tickets, he was robbed of his chance to express himself in this way.
I think I am the same with music. Sure, I could illegally download every song in existence for free. I could even download them legally and pay for them. But I wouldn’t have anything to show for it. I like to look at my music collection and think to myself, “blimey, I’ve got quite a lot of CDs now”. Even though this means that I am losing space in my room.
I think most people growing up these days won’t value music like this. They have access to far more music than they can possibly consume, and they just do it. They just download disposable albums without thinking about it and don’t give the music their full attention. (I can see myself as an old man with my pipe and slippers, fondly remembering the days of CDs, when youths respected music.)
But a lot of people are saying that CDs are doomed. Vinyl will still have its niche, but CDs won’t be around any longer. Imagine that! I could end up having the opposite dilemma to the previous generation — I will have to convert my entire CD collection into vinyl!
As much as I dislike this situation, it has to be said that there is not much going for music retailers these days. They are dropping like flies. And when they are not dropping like flies, they are hurriedly rearranging their deckchairs in preparation for the sinking.
Richard Branson has just sold his Virgin music stores. This is incredible because it is the first time in three decades that Richard Branson hasn’t had his fingers in the music retail pie. It was music retail where he started, so for Virgin to be pulling out of it altogether, you know that things are just not going well at all in the music retail world.
Also released separately as a 2CD album on its own, Warp20 (Chosen) is designed to be a collection of the best of the first twenty years of Warp Records.
This is the surprise highlight of the package — a double-disc album of Warp artists covering classic Warp tracks. It shows you how far Warp has come in the past ten years. For its tenth anniversary, Warp released an album of Warp artists remixing classic Warp tracks.
Moving on to the vinyl in the box set, we have three ten inch records made up of eleven previously (sort of) unheard tracks. Incidentally, these are smartly presented with a minimalist design and debossed text.
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