Pop.
Much like Yellow Magic Orchestra last week, German DJ Wolfgang Voigt aka Gas, is an artist I hadn’t heard of prior to their inclusion on my shortlist, but again I’m beyond glad I opted for their album; their fourth record under the Gas moniker, Pop, is an ambient classic. Initially soothing in it’s effervescent early tracks, Pop builds, becoming darker and more intense, implementing harder hitting house bass beats and creating both otherworldly soundscapes as well as an unsettling, unpleasant, harsh, industrial atmosphere later on. It’s difficult to know how else to describe this album, you just need to stop reading this, play it for yourself and form your own bloody opinion.
Stories From the City, Stories From the Sea.
So captivated by 2011’s Let England Shake, I returned to PJ Harvey at the soonest available opportunity, which comes in the form of her 2000 album, Stories From the City, Stories From the Sea. Layers of melodious guitar reverb run like a red thread through SFTCSFTS, in each instance used to create a different atmosphere: a noisy, punk feel to accompany the angry, shouty vocals on the track “Big Exit”, where Harvey comments on American gun culture and gun violence; the infectious optimism of the indie pop song “Good Fortune”; and the dreariness of the somber “Beautiful Feeling”. The final two tracks on the album, “Horses in My Dreams” and “We Float”, avoid this recurring guitar theme, instead opting for a minimalist approach on the melancholic, dreamlike, poetic former, and a piano melody with Madchester-esque drumbeat for the morbidly upbeat closer. In other news, Thom Yorke clearly had a busy year: Radiohead released Kid A, he duetted with Björk for the Oscar nominated “I’ve Seen It All” from Dancer in the Dark, and he appears here with backing vocals on “Beautiful Feeling” as well taking the lead on the unforgettable “This Mess We’re In”. Another stupendous record from Harvey, two from two so far.
Deltron 3030.
Del The Funky Homosapien + Dan the Automator + Kid Koala = Deltron 3030. Quick maths. Hip-hop supergroup Deltron 3030’s self-titled debut album is an operatic rap (raperatic? Hmm. Operaptic? Maybe.) concept album that tells the story of Deltron Zero, a former mech soldier living in an apocalyptic, dystopian world in the year 3030. Through magical rapping ability and prodigious computer skills, Deltron Zero rebels and overthrows the ruling regime of corrupt politicians and powerful corporations, claiming the title of Galactic Rhyme Federation Champion along the way by defeating his enemies through epic rap battles. Though it may sound somewhat childish, the sci-fi adventure of a cyborg blessed with superhuman raps, Del instead uses this scenario to deliver scathing criticisms of capitalism, corporate greed and corruption, as well as racial and social inequality. Masterful production by Dan the Automator, sensational lyricism and delivery by Del the Funky Homosapien are accompanied by a host of high-profile collaborators including pioneering producer Prince Paul and Damon Albarn, who they would later collaborate with again for the Gorillaz debut album. At times humorous and fantastical, at others poignant and sobering, Deltron 3030 is a unique hip-hop record that to makes an instant impression.
Figure 8.
In a similar vein to PJ Harvey, my first experience with the music of Elliott Smith, 1998’s XO, was one of sheer amazement and I, again, commented that I would like another of his albums soon; that was nearly a year ago, so I’ve had to bide my time, but finally he makes a return in Figure 8. The atmosphere of this record doesn’t veer too far from XO: a melancholy permanently hangs overhead through intimate, depressive heartbreak ballads such as “Somebody That I Used to Know” and “Everything Reminds of Her”, as well as in the whining guitar of the music industry critical “Junk Bond Trader” and the painful harmonies and piano melody of “Everything Means Nothing To Me”. The influence of The Beatles on Smith can be heard in the indie pop track “Happiness” that has something a little Sgt. Peppers about it, while “Pretty Mary Kay” has more than a sniff (it’s about ketamine so that’s a decent pun, alright?) of Let It Be, in particular the Hammond organ, prominent drumbeat and distorted guitar remind one of “I Want You (She’s So Heavy)”. Written, produced and largely performed by Smith; Figure 8 was the last album released during his lifetime, and closes with the entirely apt solemn piano piece, “Bye”. A troubled genius, but a genius nonetheless.
Lift Your Skinny Fists Like Antennas to Heaven.
Godspeed You! Black Emperor’s second studio album is an absolute triumph. Primarily instrumental, with the exception of samples used to convey deeper meaning, Lift Your Skinny Fists Like Antennas to Heaven contains four epic tracks that refuse to adhere to traditional song structures, instead opting for soundscapes and atmosphere. The first of these tracks, “Storm”, eases one into the record with a gentle, soothing intro, the instruments build into a crescendo of ecstasy before the mood again transforms into one of anxiety and fear, unpredictable as the title suggest; a deep sense of unease is maintained throughout the next track, “Static”, that combines this feeling with a swelling of melancholy and dread to project a vision of utter terror; “Sleep” captures the essence of nostalgia, creating a dreamlike environment that soon turns nightmarish and manic as one’s subconscious fears become realised; the final track, “Like Antennas to Heaven”, releases the shackles in a shoegazy extravaganza of sound that dares to suggest GY!BE could be the heirs apparent to Pink Floyd. Artistic, majestic brilliance.
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