Of course the full ‘story’ of 2013 musically, as far as I’m concerned, involves a lot more than just the twenty albums in my last post. There are several other categories of records beyond albums newly released this year, and which I liked enough to include in that list, that made up my musical year. Hark at me, using terms like ‘musical year’. These are those, roughly divided into some sort of taxonomy.
Archivists are under-valued in this country, perhaps. By me, certainly, probably because I worked in a library for five years, so I’m kicking against something. Anyway, I’m not really one for compilations, as a rule (because I’m such a dreadful rockist, probably), but I’m coming to appreciate them more as I get older, especially well-curated ones. These are three new ones I bought this year.
Deutsche Elektronische Musik 2
I still can’t deal with the proggy, folky ones, but the swirly, metronomic stuff and the crazy, rocky stuff is outstanding. Luckily there’s considerably more of the latter two types, especially the swirly, metronomic stuff. This is every bit as well put together as the first volume from a couple of years ago. Brilliant. (It’s krautrock, if the title didn’t give it away.)
I Am The Centre
The term ‘new age music’ makes you feel a bit sick in your mouth if you’ve bought into any kind of post-punk counter-cultural indie bullshit philosophy, but, honestly, what’s more ‘punk’ in spirit than this bunch of fucking crazy hippies making music to revolutionise your inner spirit to? I can’t think of much that’s more alternative than this. Some of it is very close to what ‘cool’ people call ‘minimal’, almost all of it is practically indistinguishable from the ‘ambient’ stuff that Eno and Aphex Twin et al have been praised for, and bits are very similar to The Necks or Stars of the Lid or whoever else you care to name. Just because there are field recordings of birds chirping in the background, or a flute, seems to make it unpalatable conceptually. Get over it. Why is Steve Reich famous but not Michael Stearns?
Who Is William Onyeabor
Caribou, Four Tet, and their mates have been dropping this guy’s name for a while, as well as sampling and just outright remixing him too. He made a handful of albums of Nigerian synth funk in the early 80s – extended afrobeat jams, but closer to kraut or disco than jazz compared to Fela – and then stopped and became a preacher and a businessman and stuff. Now he refuses to talk about his music, and those original records either sell for 50p or £500, depending on whether the seller knows wtf it is and thus how to pitch it. This compiles a load of his stuff together (duh), and it’s great.
Near misses / nonplussed
This is the largest and most awkward of the taxonomical sections that make up this weird list, and contains taxonomies within it; new stuff released this year, which I liked enough to buy, and perhaps liked really rather a lot, but which I wasn’t blown away by, or merely thought was ‘quite good’, whatever that means. Some of it was inches away from the other list, and got deleted last minute. Some of it was never anywhere near.
Close, but no cigar
A minor tweak, a moment of punctum; these were so close to being in that other list. The Pantha is too pretty and lightweight; The National over-arranged and busy; Primal Scream a touch workmanlike a touch too often.
The National – Trouble Will Find Me
Pantha Du Prince – Elements of Light
Satelliti – Transister
Primal Scream – More Light
Brandt Brauer Frick – Miami
Liked it, but nowhere near enough
Plenty of people seemed to love these, and I liked them, just not that much. The Fuck Buttons album simply didn’t hit me emotionally like their previous one; BSP and PSB were both accomplished and musical but lacked that final spark to make me love them; the Daft Punk was 20 minutes too long and burdened with cloying over-indulgence at times; Arctic Monkeys stuck together three great singles and some other stuff that was OK; Steve Mason was as emotive as ever but not as creative, perhaps.
Fuck Buttons – Slow Focus
British Sea Power – Machineries of Joy
Public Service Broadcasting – Inform, Educate, Entertain
Factory Floor – Factory Floor
Daft Punk – Random Access Memories
Arctic Monkeys – AM
Rokia Traore – Beautiful Africa
Steve Mason – Monkey Minds in the Devil’s Time
Not listened to it enough to form a full opinion
Stuff I only just got hold of (Hecker, Emika, Dawn of Midi, Souleyman), never quite got to grips with (Dean Blunt), or couldn’t find time for, for whatever reason (Marling).
Dean Blunt – The Redeemer
Emika – Dva
Tim Hecker – Virgins
Dawn of Midi – Dysnomia
Omar Souleyman – Wenu Wenu
Laura Marling – Once I Was an Eagle
Thought it was awful
A dreadful, dog’s dinner of an album that I ought to have returned straight away. Flawed product. Useless.
Phoenix – Bankrupt!
Possibly the most interesting bit of the list; nothing ‘new’ here, but it was all new to me, one way or another. Some things, like the Basinski, Russell, and Fleetwood Mac, I’ve been aware of for a decade (or several) but simply never got around to, until Devon Record Club exposed them to me and made them feel essential. Others are filling in the blanks of new stuff I’ve got excited by this year (Stetson, Holden, Grant), or revisits to things I thought I didn’t like first time around, but was wrong about (Fake). Others – House of Blondes – are whole stories in and of themselves, that I can’t quite explain.
William Basinski – Disintegration Loops
Arthur Russell –The World of Arthur Russell
Nathan Fake – Drowning in a Sea of Love
John Grant – Queen of Denmark
House of Blondes – Clean Cuts
Colin Stetson – New History Warfare Volume 2; Judges
Holden – The Idiots Are Winning
Various Artists – New Orleans Funk
Fleetwood Mac – Rumours