Many, many thanks to all of you who have followed the blog through the last 12 months, particularly to all those who have commented and tweeted in response or retort. As usual, here’s my new year mixtape featuring a track from all forty of my Best Albums of the Year. i said yesterday how 2014 had been a breathtaking year, and listening to this 3-hour condensed version of its best music, i really think that becomes obvious.
Enjoy! – and assuming you do, please support the artists wherever possible; links to purchase each of the albums can be found on the last two days’ articles.
Here’s the tracklisting in full, followed by the download link; and you can also stream the mixtape via Mixcloud. Read more
* Please note this list has how been superseded by the one on the Best Albums of the Years page *
Bringing the main course to an end, here’s the conclusion of the countdown of my forty best albums of 2014. It’s been a breathtaking year.
20 | Salvatore Sciarrino – Cantare con silenzio
Easily one of the strangest albums of the year, from a composer who continues to push back the boundaries of what constitutes contemporary classical music. Two of the three works on the disc focus on the flute, sometimes violently foregrounding it while elsewhere it becomes lost amidst heavier forces. The oldest work on the disc, Berceuse, is wonderfully weird, summarised in my original review as “like a seething, roiling organic mass, acting in waves of dense, surging material, it’s as inscrutable as it is hypnotic”. [Presto Classical]
19 | Bass Communion – Box Set
This rather wondrous 4-disc box set brings together a considerable number of rarities from Steven Wilson’s Bass Communion back catalogue. The earliest dates from as far back as 1998, the first of the deeply impressive Indicates Void series based on individual instruments, all of which still sound overwhelmingly modern. In many ways the collection proves how polarised is the Bass Communion canon, not just encompassing but often directly addressing extremes of serenity and cacophany. Regardless of which end of the spectrum Wilson finds himself, his highly-sculpted results are staggering to behold. [Steven Wilson HQ]
18 | irr. app. (ext.) – The Jennies Made Me Do It {1}
Three pieces originating in Matt Waldron’s collaborations and split releases with the equally unhinged At Jennie Richie, they chart an ambitious path through highly complex sonic imagery. ‘Studio Backflow’, unusually for Waldron, is driven along by a relentless pulse, slowly processing past a kaleidoscope of manic sights; ‘Foregone And Ungotten’—the highlight of the disc—begins as a radiant texture before passing down into something altogether more sinister and strange, whereupon it fragments and roams around in a seemingly endless dark space. [Bandcamp]
17 | OY – No Problem Saloon
One of 2014’s most marvellous oddities, No Problem Saloon melds African & European styles and manners into a uniquely congruous confection. Unaffected almost to a fault, OY’s lyrics tackle subjects almost embarrassingly slight (the joys of afros and dreadlocks) as well as deeply profound, the latter captured in the album’s standout track ‘Doondari’, which recounts in detail the stages of the Fulani story of the creation of the world. From my review: “Essentially a slice of drum-pumped electronica, Frempong’s rapid meandering through the repetitions of the story resembles a scrambling recitative passing through an assortment of episodes that skew off at oblique angles, the references to creation & milk finally combining in the quiet wail of a baby.” [Crammed Discs]
16 | Senko – Dronetudes
Despite the title of Danish musician Daniel Kosenko’s latest album, drones are not the primary focus of Dronetudes. Some of these absorbing studies do involve them, draped like large swatches of fabric across each other to create extended forms that shift and shimmer. Beats predominate too, though, existing both in sympathy with and counter to this slower material, and Kosenko clearly revels in the disjunct interrelationship, heard to best effect in ‘karpus trio’—a track that clearly can’t sit still—and album opener ‘wolfsong’, the underlying light of which is continually flecked and tickled by surface-layer beat tracery. [Hymen]
15 | John Pickard – Gaia Symphony / Eden
John Pickard’s magnum opus for brass orchestra and percussion has been given a superb new recording by the Norwegian Eikanger-Bjørsvik Musikklag. Although daunting in terms of both scale and scope, the Gaia Symphony is an immensely accessible and immediate work, carving “huge, rough shapes but handles them as though they were fluid, forming them into pounding rhythms and pseudo-fanfares” (from my review). Anyone potentially put off by the thought of 65 minutes of brass music: think again – Pickard has revivified the medium for the 21st century in this astounding piece. [Presto Classical]
14 | Joseph Trapanese, Aria Prayogi & Fajar Yuskemal – The Raid 2 (Original Motion Picture Soundtrack)
One of 2014’s most exhilarating movies needed nothing less than a score that matched it in terms of both violence and dexterity. What it got was easily the year’s most breathtaking soundtrack, one that moved and acted with the skill of the film’s hero, Rama – biding its time (and thereby tapping deeply into the emotional subtexts that run like threads throughout) before unleashing onslaughts of unimaginable ferocity and virtuosity. Music remade as a martial art. [Amazon]
13 | Markus Reuter – Sultry Kissing Lounge (Crimson ProjeKCt Tour 2014)
Superficially similar to the EP of tracks recorded in Australasia (included in my Best EPs of the Year list), this extended set originating in European concerts goes very much further and deeper. ‘Patricia’ sets the bar very high, filled with surging triadic waves that continually hint at but thwart any cadential connotations; ‘Lorena’ opts for a vaguer harmonic language that threatens to be dragged into the depths. All 13 of these remarkable improvisations are outstandingly beautiful, crowned by Reuter’s thrilling white-hot guitar improvisations, frenzies shaped into melodies like strands of lightning from a Tesla coil. [Iapetus]
12 | St. Vincent – St. Vincent
Something from Annie Clark’s collaboration with David Byrne seems to have rubbed off, as her latest album has a distinctly heavyweight lollop in its step from the get go. Songs like ‘Rattlesnake’, ‘Birth in Reverse’ and ‘Digital Witness’ are punchy as hell, eat beat like a slap in the chops. Her experimental nature still pervades every song, making even relatively conventional numbers like ‘Psychopath’ sound oblique; standout track ‘Bring Me Your Loves’ encapsulates the album, pushed along with military precision while exploring unexpected side alleys en route. Not a verse-chorus structure in sight. [Amazon]
11 | John Cage – Works for Two Keyboards • 2
Xenia Pestova, reigning queen of the toy piano, reunites with Pascal Meyer on this superb second survey of John Cage’s two-keyboard music. In my review i remarked how their performance of Music for Amplified Toy Pianos “is as fascinating as it is laugh-out-loud hilarious, their navigation through Cage’s indeterminate score resulting in a mercurial kind of halting hocket between the toy pianos & an array of bizarre sounds.” The prepared piano music is no less striking (and more gamelan-like than ever), testifying to the continual freshness and unpredictability of Cage’s music. [Amazon] Read more
Have you heard of Fuzzy? No, i hadn’t either – so i was pleased to explore a new compilation of music by the enigmatically-monikered Danish composer (otherwise known as Jens Vilhelm Pedersen), recently released by DaCapo. Chimes of Memory presents five works, most of them pretty hefty and which together indicate a composer of diverse interests and decidedly playful outlook. Electronics feature prominently, yet the longest piece is his 30-minute Notre-Dame Trilogy for solo organ, completed in 2006. Fuzzy’s approach to the instrument is clearly rooted in the 20th century French organ tradition but this doesn’t so much fetter the music as provide a frame of reference for it to circle around, bash against and, occasionally, flee from. As such, although regimented within highly compartmentalised structures, Fuzzy’s irrepressible humour and sense of fun keeps the music from being all about an ongoing sense of formal interconnectedness. Put simply, intuition and whim seem to have led the way, and despite some lurches into quasi-Baroque figurations and one or two rather obvious melodic homages to Dupré and Tournemire, Fuzzy more than stamps his own mark on this most unwieldy of instruments, only occasionally using it at full blast. Electronics are clearly close to Fuzzy’s heart, though, often evocative to the point of resembling TV/movie soundtracks. In a piece like B-Movies, for harp and electronics, it’s quite deliberate, the soloist acting as a foil to the electronic scene-shifting around it. But Tre tilbageblik for bass saxophone and electronics clarifies that a dramatic sensibility—and a highly accessible one at that—is an essential part of Fuzzy’s language. Read more
HAPPY NEW YEAR everyone!
Easily one of the strangest albums of the year, from a composer who continues to push back the boundaries of what constitutes contemporary classical music. Two of the three works on the disc focus on the flute, sometimes violently foregrounding it while elsewhere it becomes lost amidst heavier forces. The oldest work on the disc, Berceuse, is wonderfully weird, summarised in 