Archive for the ‘hip hop’ Category

INAUDIBLE’S BEST OF 2015

December 20, 2015

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Here it is, ladies and gentlemen. The long-awaited, seventh annual INAUDIBLE best of 2015 listy list! I hope you enjoy it!

BEST EP’s, SINGLES and 12″s of 2015

(click album cover to sample a track)

Palms Trax - In Gold

Palms Trax – In Gold

Route 8 - This Raw Feeling

Route 8 – This Raw Feeling

 

 

 

 

 

 

Palms Trax and Route 8 are two young producers that have been making huge strides in the techno scene over the last few years thanks to consistently awesome releases on Lobster Theremin, Dekmantel, and Nous Records. Here’s hoping for more of the same in 2016!

Pender Street Steppers

Pender Street Steppers

Jack J - Thirstin'

Jack J – Thirstin’

 

 

 

 

 

 

Vancouver, BC is having a major moment right now and these two Mood Hut heroes are leading the way with their quality spliffed-out stompers that play just as well on the couch as they do on the dance floor. Check ’em, son.

Junktion- Monologue

Junktion – Monologue

Andrés - Believin'

Andrés – Believin’

 

 

 

 

 

 

Junktion is a relative newcomer from the Netherlands, and Andrés is a 20 year veteran from Detroit, but both of them got that deep soulful groove thang on point. These aren’t just club tracks, they’re proper songs to get the party started and keep you in the moment all night…

Art Crime - Obsession

Art Crime – Obsession

Various - Workshop 21

Various – Workshop 21

 

 

 

 

 

 

Although very different, both of these albums pack an emotional wallop. Art Crime makes you wanna lose yourself on a black as pitch dance floor, while Workshop 21 highlights four different artists and four different moods, and in doing so has crafted one of its finest releases. Left of centre house jams!

Green Kingdom - Vapor Sequences

The Green Kingdom

Lnrdcroy - Unthank 008

Lnrdcroy – UNTHANK008

 

 

 

 

 

 

The Green Kingdom never fails to disappoint with his take on hushed dub-tinged ambience, while Lnrdcroy returned with three tracks to remind me why I loved Much Less Normal last year. Yet another young and talented Vancouver artist to keep your ears on…

 

Thundercat

Thundercat – The Beyond/Where The Giants Roam

When I first heard Thundercat’s “Them Changes”, I played it six times in a row. It had an Isley Brothers sample that was infectious as hell and a Steely Dan vibe that I just couldn’t resist. It was summer and the sun was shining through the kitchen window and with each listen I turned up the volume a little more.

Yet, when I finally started to focus on the lyrics I realized that although the song was as bright as that July sun, there was something more sombre under the surface. And to be sure, the album is actually about grief and mourning and an attempt at catharsis for Thundercat. The Beyond/Where The Giants Roam actually sounds more like a post-rock record than funk or soul or hip-hop, but all I can say is that it’s Thundercat’s strongest statement to date…

 

HONORABLE AUDIBLES

Snoop Dogg

Snoop Dog – Bush (Columbia Records)

Does Snoop just keep getting smoother and cooler with age? With the help of Pharrell, I’d say the answer is hells to the yes.

Bush was conceived as a tribute to the funk and R&B of the 1970’s that has always inspired Snoop’s music, yet it is so much more than that – it places Snoop back up on the West Coast pedestal he briefly left for his turn as a Lion. And even though he didn’t sound half bad on his Rasta tip, it’s the G-Funk vibe that’s his real wheelhouse.

Bush is a feel good album from start to finish and shows that Snoop and Pharrell can still drop it like it’s hot.

Snoop Dog: “This City

Deerhunter

Deerhunter – Fading Frontier (4AD Records)

Deerhunter returned this autumn with Fading Frontier, a subdued yet more pleasant album than their 2013 effort Monomania. Yet even though it’s the band’s catchiest album to date, with great hooks and choruses, I feel like it falls short of their earlier releases.

Deerhunter have always outdone themselves with each album, and this feels more like a revisiting of Halcyon Digest rather than a reinventing of. That said, I’ve still listened to it tons of times and find Cox and Pundt’s guitar work fantastic, I was just hoping for a little more…

Deerhunter: “Carrion

Bersarin Quartett

Bersarin Quartett – III (Denovali Records)

Thomas Bücker resurfaced this year with the third album under his Bersarin Quartett guise and offers up another collection of rich neo-classical ambience. Bersarin Quartett’s music is minimal but it’s also really emotive, and he’s a natural at exploring textures, mood, and atmosphere in an abstract way. Yet with III we find him at his most cinematic with some of these tracks actually reminding me a bit of J. Swinscoe himself, albeit at his most quiet.

All three Bersarin Quartett releases are excellent and Bücker’s music should be enjoyed by more listeners. Check it.

Bersarin Quartett: “Ver Flossen Ist Das Gold Der Tage

 

INAUDIBLE’S TOP 11 ALBUMS OF 2015

Flo Po - Elaenia

11. Floating Points – Elaenia (Pluto Records)

In my very first end of year list in 2009, I dubbed Sam Shepherd my “Fave New Artist”. Fast forward seven years, and he’s finally released his full-length debut album, Elaenia. And in many respects a debut it is, as it offers up a much different Flo Po than the house boogie hero I was championing back in 2009.

Shepherd flirted with jazz and orchestral arrangements a few years ago with his Floating Points Ensemble project, but now that vision is truly realized, and with Elaenia we have a full-blown production of mature nu-jazz numbers recorded with a live band.

These tracks go from swirling to quiet to jazzy to funk with synths holding the whole thing together – in fact, it’s not until the last track (where a John McEntire-esque drum beat blasts its way through six minutes) that the album really lights up, building to a wild climax and ending right in the middle of it. It’s a jarring way to end the record, but it leaves this listener wanting to hear where he’ll go next…

Floating Points: “Silhouettes (I, II & III)

 

DJ Richard

10. DJ Richard – Grind (Dial Records)

Judging from earlier releases on his White Material label, I figured Grind was going to be a noisy and scrappy affair, yet DJ Richard’s jump to Dial Records for his first full-length shows him turning down the grit a bit for more melody and the results are excellent. Grind is analogue in feel, melancholy in mood, and rough around the edges, yet it’s still elegant.

DJ Richard’s style is all his own, with tracks like “Nighthawk” and “Bane” being great examples of how he can work stuttering drums and several different synth lines at once, and have the effect be both harsh and enveloping, depending on his listener’s mood. Bottom line: he’s definitely one to watch in the years to come.

DJ Richard: “Vampire Dub

 

Jamie XX

9. Jamie xx – In Colour (Young Turks)

“I go to loud places to search for someone to be quiet with…”

That lyric has been drifting in and out of my head since the beginning of summer, when Jamie xx’s long-awaited solo album In Colour dropped to great acclaim. It’s been pretty much lauded by everyone, and even though it took me a few spins, it was Jamie’s skill at tapping into nostalgia that completely won me over. He’s put out some great jams leading up to this, slowly honing his skills as a first-rate producer, and In Colour is the culmination of the last six years, gathering up elements of everything he’s done – moody ballads, floor-filling bangers, and off-kilter collaborations with vocalists – and jamming them all into a tight bright package.

In some respects, even album cover wise, this record reminds me of Caribou’s Our Love from last year, as it mines the same wistful aural territory. And what’s nice is that it offers a couple tracks that might as well be songs by the xx, with Romy singing on “Loud Places” and “See Saw” which are both excellent, and Oliver staying moody and chill on “Stranger in a Room”. And how can I leave out “I Know There’s Gonna Be (Good Times)”? The smashing yet unlikely collab with Popcaan and Young Thug. That track has gotten me fired up and feeling fine many a time since I first heard it and will continue to do so well into 2016.

In Colour is an album you can play at the height of the party or walking home from work on a Monday evening in the rain, and in both settings it plays out just as smooove.

Big tings still ahead for this bloke!

 

Project Pablo

8. Project Pablo – I Want To Believe (1080p)

Montreal via Vancouver producer, Patrick Holland, makes hazy funky soulful house under the moniker Project Pablo, and like his contemporaries Pender Street Steppers, he stepped up his game in 2015. With the cassette version of “I Want To Believe”, Holland has released a collection of songs that are deep and groovy and filled with an innate sense of fun.

This album was a slow burner and didn’t fully grab me from the start, yet with each successive listen it only continued to sound better and better … and here’s hoping for more of the same in 2016!

Project Pablo: “Movin’ Out

 

Kurt Vile

7. Kurt Vile – b’lieve i’m goin down… (Matador Records)

Philly’s everyman Kurt Vile is at his most Kurt Vilest with his latest long player b’lieve i’m goin down… showcasing a perfect mix of lo-fi rock and roll and Americana. The beauty has always been in the subtlety and strength of his songwriting, yet here he’s toned down the rock just a bit, showing a little more restraint than on Wakin’ on a Pretty Daze. Vile’s lyrics are dark and lonesome and occasionally funny, delivered in a laconic style that’s all his own. He tends to drag out words or syllables providing the perfect counterpart to his skilled finger-plucking or guitar strums.

The album starts off on a high note with the fantastic “Pretty Pimpin”, in which Vile contemplates his existence in front of the bathroom mirror, however, for me it’s the slower more meditative tracks that highlight his finger-plucking skills that are the big winners for me, like “All in a Daze Work”, which shows him at his most patient – just a dude completely lost in the moment of playing his guitar.

What’s a bit different is that there’s a bit more banjo and a lot more piano on display in these tracks, the best example being “Lost My Head There”, which has a great outro with a vibraphone flourish and the occasional “Wooh!” from KV. Not a huge departure here, but that ain’t a bad thing at all…

 

DJ Koze

6. DJ Koze – DJ Kicks (!K7 Records)

I’m pretty sure DJ Koze and I would get along. I’ve always been a fan of his style both as a music producer and label head, so it makes sense that I’d like a DJ Kicks mix of his as well – I just never thought I’d dig it so much.

It’s definitely more for home listening than the club, but it has a steady trajectory to keep your head bobbing. Koze kicks things off with a Dilla-inspired original “I Haven’t Been Everywhere But It’s On My List” before sliding into some great obscure hip hop tracks and then a slowed down mid-section featuring the classic “Tears In The Typing Pool” from Broadcast and a spoken word piece from William Shatner that is oddly powerful. It isn’t until the last five songs where Koze really heats it up and provides a selection of perfectly mixed house numbers, nailing the vibe with penultimate track, “Surrender” by Portable.

What a beautiful song. What a beautiful playlist. DJ Koze just keeps getting better with time. Check this mix please and thank you.

 

Tame Impala

5. Tame Impala – Currents (Interscope Records)

Kevin Parker has come a long way from down under in the last half decade or so since his band Tame Impala started making waves with the still excellent Innerspeaker. No longer is he just that long-haired barefoot Aussie stoner dude who sounds like John Lennon and riffs like Tony Iommi . . . well I guess he still is, but he’s also become a veritable production artist not unlike George Martin.

The first single to be released off of Currents was the 8-minute psych-rock jam “Let it Happen”, and I dug it upon first listen, however, the first time I listened to the album all the way through, I remember thinking “where’s the fuzz, yo?” And so my initial reaction was that it definitely sounded good but I wasn’t totally feeling it.

Fast forward two or three weeks later and cue up four king cans of beer, a joint, and some headphones. I was typing away on my laptop working on a story when “Eventually” came on, and everything immediately clicked – I stopped typing and stared at the screen like a doe-eyed deer about to get hit by a truck. The production! Holy shit! Everything sounded so crisp and alive! How did I miss this before? And of course, once I had heard it like that, I couldn’t unhear it, and I was officially obsessed and listened to the album on repeat for weeks.

The best part of the songs is the little flourishes Parker is so adept at adding, like the chiming synth line at the end of “Eventually” or the soft Fender Rhodes tinkle in “The Less I Know The Better” or the vocal delay in the chorus of “The Moment” that really make the songs stand out. Great album!

 

Cascade

4. William Basinski – Cascade (Temporary Residence)

The prolific William Basinski has made a career out of decaying audio tape – a fitting foil for our accelerated times and the proliferation of all things digital. And by now I think it’s safe to say his name belongs up there next to Eno and Budd as one of the finest ambient artists ever.

It’s been over fifteen years since The Disintegration Loops, and it’s arguably still his finest piece of music to date. I can put that record on at any time and be immediately lost, an hour can go by in the twitch of an eye, or can feel drawn out like the setting sun on the horizon. It’s timeless.

With “Cascade”, Basinski offers up about twenty seconds of piano and loops it for 40 minutes. That’s it. It sounds too simple to be effective, but as the loop repeats itself endlessly it morphs into something more murky and broken as the tape loop slowly decays, and in doing so creates a feeling of calmness and peace in the listener.

This is my top morning album of the year by far. Sometimes I play it twice in a row and have to stop myself from hitting play again.

Scrolling through the comments section on YouTube, two comments stuck out in between the “Beautifuls!” and “Profounds”. The first was: “It’s so odd to think that these works are simply just tape looping and decaying, with textures added over top, but this seemingly simple art form has the power to bring you to tears and think deeply on the past.”

And the second: “I was listening to this for 10 minutes before I even actually noticed I was listening to it and then I was like HOLY SHIT WHAT IS THIS?” My thoughts indeed, my thoughts indeed.

William Basinski: “Cascade

 

Freddie-Gibbs

3. Freddie Gibbs – Shadow of a Doubt (ESGN Records)

Gangsta Gibbs keeps up the hot streak he started by teaming with Madlib last year for the fantastic Pinata and released three records in 2015. Earlier in the year he put out two EP’s, The Tonight Show and the hot as fire Pronto, before releasing the unexpected full-length Shadow of a Doubt in early November. And since it’s dropped, I’ve listened to it at least once a day. I wake up with the hooks and rhymes in my head and can’t seem to get enough.

Unlike DJ Koze, who I honestly think I could be buds with, I’m not sure the same thing would apply with Freddie Gibbs. I imagine him taking one look at me, smirking, and thinking to himself “who’s this phony silver foxin’ ass nigga?” before turning around and never acknowledging me again. He drops the n-word so many times during Shadow of a Doubt, I figure he would have to use it when he saw me, even though I’m whiter than Marshall Mathers.

But if he’d turn around again, I’d tell him the reason why I’m so drawn to his shit is because he’s a storyteller who just so happens to be a rapper who just so happens to sound like no one else in the game right now. On Shadow of a Doubt, all the songs tell some sort of story, either about his drug-dealing past, a pill habit, or the deepened sense of purpose he’s felt since the birth of his daughter in April. So even though I can’t really relate, I can totally relate, you know what I mean?

He makes his listeners feel his struggle regardless if they’re young kids on the corner in Gary, Indiana, or some white Canadian dude in his mid-thirties bumping Freddie in his kitchen while he and his girlfriend make dinner. They’re ain’t a shadow of a doubt that Freddy Corleone is one of the freshest voices in hip hop in 2015.

Essential tracks: “Fuckin’ Up The Count”, “10 Times” and “Packages

 

To Pimp A Butterfly

2. Kendrick Lamar – To Pimp A Butterfly (Top Dawg)

How do you know if you’ve really made the big time? By getting eleven Grammy nominations for your sophomore record? Or having the President of the United States say that one of your songs is his personal favourite of the year? Or being in the top three of virtually every end of year list being written in 2015 (including even this highly respected blog)?

Yes and oui and si, I’d say.

Kendrick Lamar returned this year trying to outdo the accolades bestowed on his last album good kid, m.A.A.d city, and pretty much blew the roof off of everything with To Pimp A Butterfly. A fusion of old school and new school, funk and soul, R&B and jazz, a swirling collaboration with so many artists from Snoop to Bilal to Fly Lo to Thundercat to Boi-1da, Pharrell, Kamasi Washington, the ghost of 2Pac and more.

At the centre of it all is Kendrick, sounding more determined than ever to highlight what it’s like to be black in 2015 in America. Yet even though he may be on top of his game, it seems like Kendrick still be climbin’, and searching for guidance, trying to figure out where exactly he fits in the world around him, both as music superstar and lil homey from Compton. Unlike Kanye who has called himself “Walt Disney, Shakespeare, Nike and Google”, all in the same breath, there’s a humbleness to Kendrick’s personality that’s refreshing. And while Drake is dancing around, waiting for some girl to call him on his cell phone, Kendrick’s figuring out how to be a better person out in the world and a better rapper in the industry.

During the song “Momma”, Kendrick repeats the line “I know everything”, in between telling us what that everything is: Compton, morality, street shit, wisdom, karma, history, bullshit, highs and lows, loyalty, clothes, hoes, money, generosity, until he goes home and sits at the kitchen table with him Momma and realizes he doesn’t know a goddamn thing.

Earlier on the album, during “Institutionalized”, Kendrick reminds himself of some great advice his Grandma gave him when he was young: “Shit don’t change until you get up and wash yo’ ass, nigga!”

It seems to me like Kendrick knows that real change starts from within and with To Pimp A Butterfly he’s trying his damnedest to promote this idea and act on it and let everyone know that hopefully everything’s gonna be “Alright”.

To Pimp A Butterfly is a challenging listen to be sure but ultimately a very rewarding one.

Kendrick Lamar: “Untitled” (from The Colbert Report)

 

sufjan

1. Sufjan Stevens – Carrie & Lowell (Asthmatic Kitty)

Stripping away the bells and whistles, the orchestration, the back-up singers, the electronics, the gimmicks, and the technicolor spectacle, Sufjan Stevens returned this year with just his guitar, a piano, and his voice, and released Carrie & Lowell, the best album of his career.

We all know the album’s premise by now, it’s titled after his mother and step-dad. In 2012, Sufjan’s mother died of cancer and although their relationship was strained (she left when he was young), she’s still his family, and this album focuses on how Sufjan coped with the aftermath of those early years, and the emptiness his mother’s death left in him.

In the last two years, I’ve had two friends lose a parent, and I’ve watched them struggle to make sense of life without them. They’ve grieved in their own ways, some healthy some not, and because of their losses, I can’t help but think of my own parents and my girlfriend’s parents and the fact that we ain’t getting any younger … and it’s scary and makes me want to press pause or somehow go back in time, because I don’t want it to ever happen. Carrie & Lowell has a similiarly sobering effect, and by looking inside himself, Sufjan is able to really connect with his listeners.

So as soon as I found out he was touring I immediately bought tickets for the show. I’ve seen him before and knew it would be stupid to miss him. Unfortunately, I didn’t look at the date, only to realize later that the show was on the same weekend we were going to be at a wedding in Yosemite National Park. I was surprised at how upset I was about having to miss the show. But Yosemite … damn, what a special place.

On our last morning there, I had to go pick up some things at the bride’s cottage, which was a 45-minute drive through the Yosemite valley. I put on Carrie & Lowell as I drove through the park, the early morning sun glinting off the Half Dome and El Capitan, and every view worthy of Ansel Adams’ camera.

I barely made it through opening track “Death With Dignity” before the tears came. And there was a lot of them. And I couldn’t stop. But they weren’t sad, they were joyous and oddly powerful. Two tracks later in “All Of Me Wants All Of You”, Sufjan sings “Landscape changed my point of view”, and as he said that I cheered. I put my arm out the window and pumped my fist in the air. I laughed through my tears. I realized it was a perfect spring day. I realized how much I loved the people in my life. I looked around at the dense forest and the giant rocks and shivered …

It was the closest thing to a spiritual experience I have ever had, and so that is why Sufjan Stevens tops my list for 2015.

Carrie & Lowell is an album of memories and stories. It’s covered in the dust of a turbulent family life and how one man, one child, learned to deal with it all. It may well be our first insight into the real Sufjan. It’s heavy, but so very beautiful.

Sufjan Stevens: “Blue Bucket of Gold

yosemite

Yes! I made it to the finish line! Thanks for reading! Have a fantastic 2016, my friends!

Love,

ml

INAUDIBLE’S BEST OF 2014

December 11, 2014

radio-knobs

Well, here we go again, friends! Welcome to INAUDIBLE’s sixth annual end of year list! For this edition my list will be a bit streamlined, but you’ll still be sure to find some choice selections.

Click on the album covers and titles to sample a track. Enjoy!

TOP 12 ALBUMS OF THE YEAR

alvvays_album

12. Alvvays – Alvvays (Polyvinyl)

Molly Rankin et al came of age this year with the release of Alvvays’ debut self-titled album. A record that harkens back to the lo-fi East Coast rock of the 90’s (Eric’s Trip, Hardship Post, Thrush Hermit) with a touch of Camera Obscura thrown in for good pop measure.

The best thing about this album is that it’s hooky as all hell, every song has something that makes it special – a catchy guitar lick, a subtle synth flourish, or Rankin’s endearing vocals. Check it.

Sisyphus-Album-Cover

11. Sisyphus – Sisyphus (Asthmatic Kitty)

Sisyphus is the unlikely trio of indie king Sufjan Stevens, rapper Serengeti, and soundsmith Son Lux. They released a handul of singles and an EP last year under the alias S/S/S before fully realizing their aesthetic as Sisyphus. It’s an odd mishmash of each aritst’s talents, and finds Sufjan at his most playful as he sings alongside the irreverent lyricism of Serengeti.

At his best, Serengeti sounds like MF Doom, yet at times I find his non sequitir rhymes seem almost superfluous. The album most effectively showcases Son Lux’s growth as a top-rate producer with an ear for off-kilter melodies and dynamic beats. Sisyphus is not easy to digest, yet after a few spins it reveals itself as an album with a lot to offer its listener.

road

10. Road Hog – D.W.B. (Lustwerk Music)

Road Hog is the alias of house revivalist and all around cool dude Galcher Lustwerk, who made a name for himself last year with his excellent Blowing Up The Workshop mix, as well as the equally smooth Nu Day EP that came out in early 2014, but it’s with his Road Hog moniker where he seems to really nail it.

The theme of D.W.B. is music to listen to while driving, and Lustwerk subtly crafts a propulsive set of tracks that will remind listeners of late 90’s Detroit heroes Theo Parrish, Carl Craig, Theorem, and more. While his music as Galcher Lustwerk uses vocals to anchor his songs, Road Hog is pure instrumental techno that’ll get your ass moving and your head bobbing. So smooove.

yag

9. Yagya – Sleepygirls (Delsin Records)

My ears first heard Icelandic producer Yagya in 2009 when he released his highly influential Rigning LP. I consider this album a highpoint in ambient dub techno, and so I was pleasantly surprised to find he had put out a new album this year entitled Sleepygirls.

Five years on and Yagya’s M.O. hasn’t changed a bit – we still get the buttery smooth yet subdued bass and 4/4 beats of before, but he has also added female vocals singing God knows what in Icelandic, but sounding amazing doing so. Also, the album flows as one continuous hour-long mix, expertly shifting from Deepchord style dub techno to downtempo moments to ethereal ambience, and further reveals Yagya as a master of the genre.

WildBeasts_AlbumArt

8. Wild Beasts – Present Tense (Domino Records)

I dismissed Wild Beasts for years, thinking they were too artsy or that the falsetto vocals were too grating, until I finally actually listened to Smother. That record quickly became my favourite album of 2011 that I didn’t get into until 2012, and ever since then Wild Beasts have held a special spot on my list of revered ‘rock’ bands.

With each album they put out they seem to get a bit more subdued and minimal, while becoming better songwriters in the process, and the case is no different here with Present Tense. It is a much different beast than Smother and Two Dancers – it is spare and elegant where their earlier albums could at times be showy, cocky even.

Present Tense is undoubtedly their quietest and most emotional, and with the addition of prominent synth arrangements, it is also the band’s most electronic. Wild Beasts are one of the more interesting and compelling British bands out there, and they continue to outdo themselves. Check it.

Atlas

7. Real Estate – Atlas (Domino Records)

New Jersey quartet Real Estate returned this year with their third album Atlas, a much tighter and fulfilling record than their 2011 album Days. It’s an album that displays what a difference a few more years on tour can do when it comes to becoming a more dynamic band. The tempo of the album remains pretty much the same throughout, all the songs languidly jive to the same introspective clip, but this creates a tranquil, hypnotic effect one can use to let thoughts drift about the halcyon days of youth.

The tracks on Atlas are no great departure from the band’s earlier sound, but they’ve filled out their melodies even further, and have somehow really managed to tap into a sensation of nostalgia, which is definitely part of the album’s success.

Their live show at Il Motore (RIP) in Montreal in support of this record was much better than their tour for Days, which was mostly due to Matt Mondanile’s showmanship on guitar – at times it seemed his Ducktails “sound” was definitely bleeding into the Real Estate set, but that just made the show more vibrant. Keep it coming, boys.

Andy-Stott-Faith-In-Strangers

6. Andy Stott – Faith in Strangers (Modern Love)

I’ve loved Andy Stott since Merciless came out in 2006, and still consider that collection of tracks to be some of the best techno out there, even if it was slightly derivative. Yet, when Stott began experimenting with murky dub and jungle I started to tune out a bit. With 2012’s Luxury Problems, I liked the direction he was moving towards and the addition of vocals from Alison Skidmore, but the record failed to truly captivate me … but the wait is over for that, because with Faith in Strangers Stott has captured my complete attention. It is the most fully formed and wholly unique record in his discography, weaving between moments of cavernous beats and spooky ambience, and an uneasy balance of beauty and menace, which is just a lot of dumb words to try to describe something that needs to be heard to be experienced.

Violence” is arguably the best electronic song of the year. It feels old and new, dark and foreboding, and airy and light all at the same time. Let’s hope Stott continues on this upward trajectory, and for the love of God is he ever going to play MUTEK in Montreal? C’mon, book the guy already!

Syro

5. Aphex Twin – SYRO (Warp Records)

Holy shit! New Aphex Twin everybody! The Grand Puba of electronica returned this year with a release under his AFX moniker and has appeased the masses (for now). What else can I really say? There’s some amazing tracks on this album and I am very interested to see what Richard D. James will do next as he seems to be in an uncharacteristic “I wanna share!” mood as of late. Let’s hope it lasts.

My one qualm about the excellent SYRO is that the tracks are old. There’s nothing brand new here, but it’s definitely enough to tide us over until real new Aphex Twin drops in the next year or two. Keep sharing, sir!

leon

4. Leon Vynehall – Music For The Uninvited (3024 Records)

I was drawn to Brighton producer Leon Vynehall’s Music For The Uninvited from the first seconds of the Zelda inspired “Inside the Deku Tree”, with its punctuated string arrangement that threatens to blossom into life but tantalizingly doesn’t. It’s an effort in restraint that pays off big time as the next three tracks kick up to dance floor tempo and beyond, effectively displaying some of the finest house bangers of the year. “Be Brave, Clench Fists” hinges on an even sweeter orchestral loop than “Deku” and builds warm synths and a nice 4/4 beat around it to great success, while later tracks “Christ Air” and “St. Sinclair” close the album on a more introspective note.

Vynehall is definitely a producer to keep your ears on, and Music For The Uninvited is some of the most eclectic and rewarding electronic music you will hear this year.

gibbs

3. Freddie Gibbs and Madlib – Piñata (Madlib Invazion)

Freddie Gibbs and Madlib have both been in the hip hop scene for way more than a minute now, and although they seem to come from different sides of the rap game (Madlib operating on the jazz-funk side of things, with Gibbs working the straight-up thug angle) their unlikely collaboration is a fresh set of smooth beats and tight rhymes.

Gibbs’ sharp lyricism and technically precise flow on each track compliment the soulful and extravagant production from Madlib. People were waiting to see how these two would compliment each other, and the result is arguably just as good as the now classic Madvillian.

Gibbs has always sounded great as a featured guest on other rapper’s albums, but here he steps up to the spotlight and is able to maintain and sustain for Piñata’s seventeen tracks. Guests like Danny Brown, Raekwon, Scarface, and Earl Sweatshirt all help make this record one that all fans of hip hop can dig. Ya dig?

caribou-our-love

2. Caribou – Our Love (Merge Records)

Dan Snaith has never been content to lock down a sound or remain in any one genre for very long. In his decade long career as Manitoba/Caribou/Daphni we’ve seen him shift from pastoral electronica to psychedelic pop to krautrock to house music and the dance floor. In a lot of ways, Snaith’s musical trajectory is very similar to Kieran Hebden’s Four Tet project, as both of these artists have slowly moved from cerebral IDM to more visceral and straight forward dance music that still remains somewhat off-kilter.

The strength of Our Love is how Snaith is able to make us feel the emotions he wants us to feel like love and wonder and nostalgia and even bliss. Sounds cheesy right? But his songwriting is so self-assured and personal here, he makes it easy for his listeners to happily float off on his vibe and occasionally wanna get up and dance too. Great stuff!

Run-the-Jewels-RTJ2

1. Killer Mike and El-P – Run The Jewels 2 (Mass Appeal Records)

Run them jewels fast, run them run them jewels fast, fuck the slo-mo!

Building off the hype and momentum of their debut collaboration as Run The Jewels, El-P and Killer Mike returned this year and dropped an even tighter and more enjoyable set of songs with Run The Jewels 2. Their debut was number four on my Best of 2013 list, and just like last year I had this album on repeat while jogging and exercising, trying my damnedest to learn Killer Mike’s tongue-twisting rhymes and bopping along to El-P’s post-apocalyptic production which is even more percussive, abrasive, and dynamic than before.

RTJ2 is straight-up fight music and the best part is El and Mike make it seem completely effortless. The rhymes and beats come second nature to two artists who’ve been in the game for twenty years and are finally both getting the musical cred they deserve with the Run The Jewels project. And as with their debut, it’s clear they havin’ hella fun making this music.

I hate the fact that P-fork also picked this album as their number one, but at least they selected an album that challenges its listeners both sonically and thematically. As seems to be the case quite often for my number one pick, I’ve chosen Run The Jewels 2 as my favourite album of 2014, because it looks way forward to the future but also has its feet firmly planted in the past. It tapped into my mind and my gut and made me FEEL, goddammit. It’s old skoool fuckin’ with new skoool and its done with class, tact, intelligence, style, and vulgar bravado! Way to go Jamie and Mike. Ch-check it!

Yes! We made it to the mafuckin’ end!

HONORABLE AUDIBLES

There’s always more great music that I just don’t have the time to write about, but please click on the album covers to sample a track of some of my other 2014 faves!

Palms Trax - Equation EP

Palms Trax – Equation EP

Art Crime - Never Look Back

Art Crime – Never Look Back

Cloudface - Untitled

Cloudface – Untitled

Route 8 - Dry Thoughts EP

Route 8 – Dry Thoughts EP

Kassem Mosse - Workshop 19

Kassem Mosse – Workshop 19

Jack J - Looking Forward To You

Jack J – Looking Forward To You

Terekke - Terekke EP

Terekke – Terekke EP

Little Dragon - Nabuma Rubberband

Little Dragon

Lnrdcroy - Much Less Normal

Lnrdcroy – Much Less Normal

Lawrence - A Day in the Life

Lawrence – A Day in the Life

Fave Video of the Year

bobby-womack

    R.I.P. Bobby Womack (1944-2014)

VISIT THE ARCHIVES

INAUDIBLE’S BEST OF 2013
INAUDIBLE’S BEST OF 2012
INAUDIBLE’S BEST OF 2011
INAUDIBLE’S BEST OF 2010
INAUDIBLE’S BEST OF 2009

Big love to all of you for 2015 and beyond!

xo ml.

INAUDIBLE’S BEST OF 2013

January 13, 2014

Welcome to INAUDIBLE’s 5th annual end of year list!

tape

Five years! Wow, it seems incredible that INAUDIBLE has been around for half a decade! In five years of doing nothing to promote this site it has received over 50,000 views, which I think is pretty damn cool, so cheers to everyone who has visited. And while I may not post as frequently as I did in the first few years, I still get a great satisfaction writing this blog for its three faithful readers and will continue to do so in the coming year.

2013 was a pretty huge year for music. There were so many great records released across all genres. My criteria this year was simple: which albums did I listen to the most and keep going back to even after I felt like I’d exhausted them, and as always, which albums made me FEEL things deep down in my heart and gut. So without further ado, let’s get on with this shit!

TOP 23 ALBUMS OF 2013

Unknown-Mortal-Orchestra-II

23. Unknown Mortal Orchestra – II (Jagjaguwar)

Still riding the buzz from their 2011 self-titled debut, Ruban Nielson and company returned this year as Unknown Mortal Orchestra avec l’aptly titled II. Melding classic rock, 60’s psych, pop, and soul, Neilson has written a refreshingly lo-fi rock record devoid of ego or pretension. Like fellow throw backers Tame Impala, UMO are crafting some of the best “new classic rock” I have ever heard. Yet, where Tame Impala rely on their distortion pedals, UMO ride the reverb and even mess with tremolo, giving their guitars more of an early Jethro Tull meets The Byrds sound. That’s not to say they don’t rock out on occasion, but it’s a decidedly more murky affair, thanks to Nielson bouncing the tracks through several tape recorders in post-production trying to degrade or “un-focus” the sound.

Early single “So Good at Being in Trouble” showed the band at their most soulful, a playful track with a catchy hook and even catchier chorus, but it’s later tracks like “Monki” and “Faded in the Morning” that show off Neilson’s songwriting to its full potential. One could argue that II is not a groundbreaking record since just about everything sounds familiar, but Unknown Mortal Orchestra have crafted a tight, enjoyable sophomore album that sets them apart from their peers, and at the same time, gives a sly nod to their musical ancestors.

until-in-excess-imperceptible-ufo

22. The Besnard Lakes – Until in Excess, Imperceptible UFO

Montreal’s The Besnard Lakes returned this year with their fourth full-length album, Until in Excess, Imperceptible UFO showcasing all that has made them revered by their fans for over a decade – amazing guitar work, driving bass lines, rock steady drums, and Jace Lacek’s preternatural voice. Rich White’s guitar solos in “46 Satires” and “People of the Sticks” harken back to the glory days of 90’s grunge while still managing to sound fresh and new, while Olga Goreas’ bass lines chug along in tandem with the rhythm section. Some critics were mildly disappointed with this record, arguing it lacked a bit from their last two albums, but after many listens I believe this album shows their continued maturity as songwriters, as seen in the song “The Specter”.

I saw them play twice this year in Montreal, and as always their live shows are incredible (and often sound even better than their albums). The Besnard Lakes are indeed still the Roaring Night, and Until in Excess, Imperceptible UFO is an underrated rock ‘n roll record that deserves way more recognition.

Autre-Ne-Veut-Anxiety-608x608

21. Autre Ne Veut – Anxiety (Mexican Summer)

I don’t think I could actually be friends with Arthur Ashin aka Autre Ne Veut but I sure like his weird hybrid of R&B future pop filtered through a Oneohtrix Point Never synthesizer.

Why couldn’t I be friends with him? Because dude seems a bit on the intense side – he seems like a man of extremes, where he’d either be the funniest guy at the party, doing blow and dancing and laughing and being witty and intelligent and awesome all at once OR just be a sad dark sack of shit. And I have a feeling he leans towards the latter extreme more than the fun one.

But on Anxiety, Ashin wears his emotions on his sleeve, seemingly giving so much of himself away with his over-singing, and getting so into his music, I think I’d feel embarassed for him if it didn’t work so goddamn well. “Counting” and “Play by Play” were already hits long before Anxiety came out, so it’s not surprising that they’re the album’s opening tracks, starting it off on the right note. The next two tracks are also highlights, with “Ego Free Sex Free” being a sort of mantra for the whole album, backdropped by a synth that sounds like it comes from an old Timbaland song. It’s a great track, and followed by the smooth comedown interlude “A Lie”.

After that, the next three tracks are a bit forgettable, featuring cheesy guitar work, and some intense uber-crooning that just doesn’t work for me (in fact, it kinda makes my skin crawl). However, the last two tracks are just as strong as the first two, but instead of being jams, they’re ballads, and Ashin ekes just the right amount of emotion out of himself and his listeners with “I Wanna Dance With Somebody” and “World War” that he can be forgiven for the cathartic over-sharing in the album’s gratuitous middle section. Overall, Anxiety is a decent album with some very awesome songs on it, and even though “Counting” is now featured in a Victoria’s Secret commercial, I am still interested to see what he does next.

local natives

20. Local Natives – Hummingbird (Frenchkiss)

L.A. scenesters Local Natives returned this year with Hummingbird, the follow up to their smash hit debut Gorilla Manor, and gave fans a more mature and powerful set of songs. Yet, even though the songwriting is more complex and the vocal arrangements stronger and the rhythm section fuller than on their debut, there still feels like something’s missing here. Some critics have said they lost the playfulness that made Gorilla Manor so instantly accessible and enjoyable. If their debut tried to capture the feeling of 20-something lightheartedness, Hummingbird demands we go further. The halcyon days have gone by, the honeymoon stage is over, it isn’t always a sunny day, breakups actually hurt a lot, and loved ones are going to pass away – and all of this is evident in their new set of songs.

Once I got over my initial disappointment, the new songs began to wash over me, and I remember thinking to myself while listening to “Mt. Washington” on the way to work one grey morning, that this was the perfect break-up album, and that if I was nineteen with a broken heart I would wallow in this album, and listen to it over and over and over, and love how goddamn sad it made me feel. And in the end, it would help me get over that girl, and see through to the sunlight on the other side.

And to be sure, this album did make me cry, having to hide my face on the bus to work, and keep looking out that window, as I fought the emotions building up. (Hey, I’m a sap in the morn, aight?). There’s a line in “Three Months” where Kelcey Ayer is singing about his mother who recently died and he says: “I’ve got to go on now / having thought this wasn’t your last year”, and that shit just gets me every time. Penultimate track “Colombia” also deals with the passing of his mother and in that song he asks: “If you never felt all of my love / I pray now you do. Am I giving enough? Am I loving enough?” and the raw emotion in his voice is enough to break anyone in two or three. The album closes with the more upbeat “Bowery”, with tinkles of Rhodes and some great guitar work, and laments about the end of a relationship…

I think Local Natives had to write an album like this to get out all the emotions left behind from their youth. My friend Mike has dubbed them indie rock’s boy band, and it’s an apt assessment as girls flock to their shows and sing along to every track. In 2014 the boys will embark on a massive stadium tour with Kings of Leon. They’ll play the crap out of all their songs and be ready to kick it up a notch for their third album, and I’ll be one of the first fans to grab it.

boman

19. Axel Boman – Family Vacation (Studio Barnhus)

Stockholm native Axel Boman had a breakthrough with his Holy Love EP in 2010, where the song “Purple Drank” became a hit in the house music scene. It wasn’t until autumn of this year that I was turned on to the young producer, but I’m glad I was, because Boman makes listening and dancing to house music a joyous experience. It’s good vibes all the time – the edges are never tinged with darkness or a minimal aesthetic, it’s just warm and soulful 4/4 beats. And I find it refreshing. One could say Axel Boman is similiar to Brazilian producer Gui Boratto, who’s philosophy on his 2005 album Chromophobia seemed to be: keep ’em smiling and keep ’em groovin’, and that’s exactly what he and Boman do, yet where Boratto veers off into more heavy hitting techno, Boman likes to be more playful and experimental.

Like DJ Koze, Boman is a bit eclectic in his tastes and on Family Vacation he mixes his 4/4 beats with Afrobeat, jazz, reggae, soul, disco, and deep house. Sure, he can still play it straight like the best of them (take the amazing deep house banger “Hello” as a prime example), but he likes to mix it up, he soon veers off into the warm comedown of “Barcelona”, and later onto the reggae-tinged “Animal Lovers”. Boman seems to still be ironing out his sound, content to jump from one groove to the next and is having a ton of fun doing it.

Expect big things from this young producer. With any luck he’ll be at this year’s MUTEK, so I can see him try his hand at capturing his playful aesthetic live in the club.

jai-paul

18. Jai Paul – Jai Paul (not-released)

London producer and man of mystery, Jai Paul, created quite a buzz two years ago with the Drake and Beyoncé approved track “BTSU”, a fractious R&B cut built on split-second notes, dynamic phasing, a sci-fi bridge and a barely there falsetto. This year he re-emerged from the internet ether with the similarly constructed, and equally awesome single “Jasmine”, and then an unfinished version of his debut record was put up on a fake Bandcamp site, purchased by many, and then taken down within 24 hours. Apparently, Jai Paul’s laptop had been stolen, and some joker put it out there on the beautiful internet for the world to hear before many of the samples had been cleared – and thank God s/he did, because the raw, unfinished tracks of varying bitrates and tinny beats make it one of the most dynamic (almost) releases of the year.

This is the new lo-fi. In Jai Paul’s case, his unique production traits include stuttering sounds, like they’ve been cut and pasted repeatedly, and a dynamic range that’s all over the map. If you want a familiar jumping off point, his cover of Jennifer Paige’s 90’s radio smash “Crush” morphs the innocently cheesy tune into a futuristic funk jam. Although, I feel bad that Jai Paul didn’t get to put out the album on his own terms, it’s one of the best musical mistakes of 2013. Check it.

disclosure

17. Disclosure – Settle (PMR/Island Records)

The Brothers Lawrence arrived on the scene this year, fresh-faced and ready to become UK dance music’s newest hype makers, and by year’s end you could say they’ve done just that. Howard and Guy seem ridiculously young at just 21 and 18, especially considering how fully realized and tight their debut album Settle is. It’s easy to forget that this new generation of electronic musicians have grown up with the technology and kids start intuitively making loops or matching beats just as early as the kids from my generation picked up their first guitars.

And to be sure, Disclosure have released one hell of a fine house record, incorporating bass music and a bit of dubstep, grime and disco and filtering it all through a pop lens. The pop angle seems clear when you see the album is loaded with guest vocalists on just about every track from Jessie Ware on “Confess to Me” to AlunaGeorge on the infectious “White Noise”.

I realized how quickly they blasted to the top of the pops when I saw them play live this year at Osheaga and watched the crowd sing along to every track as if they were house classics and not just songs that had dropped a few months prior. And they’re coming back to Montreal in January and have already sold out that show as well. The boys know how to put together one hell of a dance party so it’s no wonder tons of people wanna go to their shows and get down.

Tracks like “Latch”, “You & Me” and “January” show the brothers at their tightest when working with vocalists and crafting a great and totally danceable pop song. In fact, there really isn’t a throwaway track on Settle, it’s a dance party from beginning to end. Expect much more from these young producers in the coming years…

recondite

16. Recondite – Hinterland (Ghostly International)

Lorenz Brunner aka Recondite follows up last year’s brilliant On Acid with Hinterland, his first full-length on Ghostly. Inspired by the part of Lower Bavaria where he spent his childhood, the album is as icy and desolate as the landscape its title evokes. This is late night music, but designed for an evening spent at home, instead of in the club.

I did not hear On Acid until this year, and was blown away by how Brunner was able to eke so much emotion out of a 303. I then began listening to all of his dance-floor ready Plangent EP’s, and soon after claimed that he was my fave new techno artist of the year. So you can imagine I was stoked that yet another album of all new material was coming out to coincide with the coming winter, but sadly, I feel Hinterland is a bit of a disappointment, because instead of innovating and furthering the amazing sounds he’d created with On Acid and his EP’s, Hinterland plays as a straightforward techno record with no real bangers and it feels like there’s less emotion coming through this new set of tracks.

Still, there’s lots to love on Hinterland. Tracks like “Riant” and “Absondence” are highlights, reminiscient of Pawel and Lawrence on Dial Records, and overall the album is deep and textured and really dark. I’ve listened to it many times and it keeps getting better with every spin, and as the deep freeze begins its icy texture becomes that much more relevant. Check it.

MayerHawthorne

15. Mayer Hawthorne – Where Does This Door Go (Republic)

Neo-soul revivalist, Mayer Hawthorne, returned this year with Where Does This Door Go and changed up his game a bit – instead of writing and producing the songs himself, he invited a bunch of producers to come in and let them run free. The result is a much more varied sound, and a bit of a distance from the throwback stylings of his two earlier records. Instead of Marvin Gaye and The Delfonics, we see Hawthorne channeling Hall and Oates and Steely Dan and having a lot of fun doing it.

Of-the-moment guest musicians like Jessie Ware and Kendrick Lamar and Pharrell, all sound great on this record and may help Hawthorne extend his already large fan base, yet it’s telling that the best song on the album is the title track – the only time in which Hawthorne gives into his Motown leanings with an absolutely pitch perfect soul ditty.

Still, Where Does This Door Go is an album that plays out smooth from start to finish, from early hit “The Innocent” until the last track “All Better”, which shows Hawthorne trying his hand at a Paul McCartney ballad and succeeding without sounding corny, in fact, he comes off sounding more authentic than ever. Where Does This Door Go is a great album showing Hawthorne growing as a singer and a songwriter. Where will he go next?

kanye-west-yeezus

14. Kanye West – Yeezus (Roc-A-Fella/Def Jam)

Oh Yeezy, what can I say? This album is awesome, only problem is your insufferable ego overshadows all that’s good about. Yeezus would have been way higher on my list if ‘Ye woulda just shut the fuck up and let the music speak for him, instead of yammin’ on and on about how he’s a “creative genius”, and the best musician in the biz today, or how Kim is “more influential than Michelle Obama” or how he’s like “Walt Disney”. Seriously, shut the fuck up.

Things started off pretty well with the projections of “New Slaves” on 66 buildings in 25 different cities around the world, which I thought was some clever promotion. But by year’s end he dropped that video for “Bound 2” – and what a buncha tripe that was – Franco and Rogen’s spoof was inarguably the better version.

If Kanye would’ve released his album and said this was a hell of a collaboration between myself and 50 other people and thanked each and every one of them for helping him make the album the gritty gem that it is I would have cheered, but instead he simply goes off about how amazing he is, and I think that’s bullshit (we won’t even talk about what this record would have sounded like if Rick Rubin didn’t step in at the last minute and give it a major tweak).

Grievances aside, yeah, I dig this record – jogged to it probably more than any other, rapping out his ridiculous, monomaniacal, and misogynistic rhymes in step with my shoes on the pavement – and I fucking love the production. From the minimal grime of “New Slaves” to the pulsing “Hold My Liquor” and powerful highlight “Blood on the Leaves”, West has pieced together a great record, falling just short of 2010’s epic My Beautiful Dark Twisted Fantasy.

And of course, I’ll listen to his next record, and hope for a misstep, but knowing his track record I’ll probably be disappointed. Hurry up with my damn croissant, indeed.

lusine

13. Lusine – The Waiting Room (Ghostly International)

Jeff McIlwain aka Lusine is a true unsung legend in the world of electronica, and has been perfecting his visceral, melodic strain of electronic music for over a decade now. Unlike some of his contemporaries, Lusine has never been in the forefront of the scene, has never played huge venues or been super hyped about on music blogs, yet he is revered by those in the know, and this year he returned with The Waiting Room.

The first thing I noticed about this album was its production value – you can have it cranked to full and it still sounds so crisp and bright, with not a touch of distortion in the bass or beat. Tracks like “Lucky” and “On Telegraph” demonstrate his knack for tight songwriting, and seem to be exactly what Luke Abbott is currently striving to sound like. Although, McIlwain doesn’t break any new ground with The Waiting Room, the album does an excellent job of straddling the divide between electronica and pop music. The production is smooth and has been tediously tinkered and tweaked with, and in the end, is on my list because it epitomizes that type of melodic techno I like to listen to no matter what mood I happen to be in.

kurt vile

12. Kurt Vile – Wakin’ on a Pretty Daze (Matador)

Philly’s everyman, Kurt Vile followed up his breakout 2011 record Smoke Ring For My Halo, with Wakin’ on a Pretty Daze, an even stronger collection of songs, offering up the best of Americana, reminiscent of Tom Petty, Bob Dylan, The Rolling Stones, and lo-fi rock and roll. The beauty has always been in the subtlety and strength of his songwriting, yet here he’s kicked up the rock just a bit, showing a little less restraint than in his earlier recordings. Vile’s lyrics are dark and lonesome, yet occasionally funny, delivered in a laconic style that’s all his own. He tends to drag out words or syllables providing the perfect counterpart to his skilled finger-plucking or guitar strums.

Ten-minute opener, “Wakin on a Pretty Day” pretty much sums the entire album up. It’s perhaps Vile’s strongest song to date, showcasing all that he does well, he latches onto a few small gestures, riffs, and phrases, and gives ample space for your own thoughts to give the song concrete meaning. Tracks like “Girl Called Alex” and “Pure Pain” show Vile adeptly being playful and emotional at the same time. The entire album is buoyed by a pervasive lightness, it ambles along easily, sneers at you, shrugs, and yearns all in equal measure. The refrains and hooks will keep you coming back to the album time and again, and with each listen Vile seems to pull you a bit deeper into his slightly slanted yet inherently enchanted world.

See a pic of yours truly standing in front of Steve Power’s album cover mural in Philadelphia here.

THE 20/20 EXPERIENCE

11. Justin Timberlake – The 20/20 Experience (RCA Records)

JT returned after a long musical hiatus and released two albums in 2013. Only one of them makes this list and it’s his first effort, the exciting soul-flecked The 20/20 Experience, which features some of the best dance moments of the year for me. Early single “Suit & Tie” put the funk front and centre, revealing Timberlake and Timbaland successfully looking backwards for their inspiration rather than forwards. And the throwback sound throughout the album absolutely works as the duo showcase soul, R&B, funk, motown, and of course the influence of MJ circa Off The Wall.

The rest of the album plays out a bit differently but is no less danceable. My favourite track is “Strawberry Bubblegum”, an 8-minute number that splits itself in two – the first half being a late-night groove that makes you wanna dance and the second half a bossanova slow jam that sounds so much like Jamiroquai he should be getting royalties. And even though the lyrics are as clichéd as they come: “If you’ll be my strawberry bubblegum, I’ll be your blueberry lollipop”, it’s all about the feeling Timberlake is able to eke out of it, and he comes off sounding authentic and true throughout.

Other hits are “Don’t Hold The Wall” and “Let The Groove In”, which sounds wildly familiar to Michael Jackson’s “Wanna Be Startin’ Somethin”, especially the “mamase mamasa mamakusa” part, but hell if “Let The Groove In” ain’t a jam of a song that is just as infectious as the one that inspired it. I cannot help but dance when I hear it, especially during the song’s coda: “All night long / just let the groove get in…” And again, let me repeat myself, it’s cheesy, clichéd, hackneyed, overdone, but somehow in Timberlake and Timbaland’s hands, it’s a bona fide hit.

Timberlake’s second installment of The 20/20 Experience paled in comparison, and actually made me like the first record a little less. Contractual obligations be damned, Part 2 is the alternate reality version of the first disc – the version his haters wanted him to put out, so it kinda sucks, since the first album worked so damn well.

Ten years ago I did all that I could to stay clear of radio friendly music and now my end of year list is full of the shit! But at the end of the day, Justin Timberlake knows how to craft compelling songs and for that I applaud him, but like Kanye, too much of him is NOT a good thing. Still, I’ll be ready for his next album, which probably won’t drop until 2020.

bluehawaii

10. Blue Hawaii – Untogether (Arbutus)

Montrealers Raphaelle Standell-Preston and Alexander Cowan formed Blue Hawaii back in 2010 when they were a young couple travelling through Central America – the result was their Blooming Summer EP, a poppy and much more sun-kissed affair than their sombre debut full-length Untogether. Called such, because the couple are no longer a couple, and made the album while being apart. Romantic differences aside, they still managed to keep their relationship alive through the music. And it’s good they did, because the duo’s full-length is a chilly and minimal affair, showcasing Raph’s vocal chops and Cowan’s growing skills as a producer.

Blue Hawaii share a lot in common with other acts that call and have called Montreal home over the last half-decade: Purity Ring, Braids (of which Raph plays guitar), Doldrums, Majical Cloudz, and of course last year’s it-girl, Claire Boucher. Most of them are connected through the Arbutus label and cut their teeth together playing the Montreal scene but have all expanded beyond la belle ville, setting their musical aspirations higher and further. And Blue Hawaii seem to be the next group in line to really make it, as they’ve already played mainstage at SXSW, have been hyped about courtesy of Pfork, and are currently recording a new album to capitalize on the exposure.

Untogether reveals a duo quietly emerging and still experimenting and developing their sound. The first five songs on the album flow together seamlessly, starting off slow with ethereal opener “Follow”, hooking us with earworm and hit track “Try To Be” and then teasing out the slow build of “In Two” and “In Two II” which morphs into an awesome 4/4 stomp, but not before Cowan does a great job of cutting and splicing Raph’s vocals and building the tension before the rhythmic release. The second half of the song features some excellent subterranean bass rumbles and would definitely be the dance floor starter of their live show.

The rest of the record is more of a slow burn as the tempo never kicks back in as powerfully as it does in “In Two II”, but instead features headier moments that one can enjoy best from a seated position, perhaps with a glass of wine and a puff puff pass or two. Closing track “The Other Day” is the most straightforward song on the album, featuring two or three vocal loops and a quivering synth. It’s a simple yet moving closer and shows the range this young duo are capable of, yet only hints at how far they’re able to push it. More please.

green kingdom

9. The Green Kingdom – Dustloops: Memory Fragments (SEM)

Michael Cottone has been consistently making music under The Green Kingdom moniker since 2006, and with each release he further refines his brand of introspective ambient bliss. Cottone skillfully uses digitally enhanced acoustic guitar, strings, and a myriad of samples and field recordings to create his compositions.

Within his arrangements, melody and space work in tandem in an attempt to manifest what Cottone has called an “optimistic nostalgia” for the listener – an aural experience that can provide a momentary reprieve from the frenetic, fast-paced world that surrounds us. And indeed his music is perfect for contemplative mornings and quiet evenings, where the vibe is to slow down and to reflect.

But with Dustloops, Cottone has gone even further, amped his ambience up a notch with the addition of 4/4 beats and a bit more of an electronic edge to his overall sound, and it results in his finest and most rhythmic work to date.

Tracks like “ambin5” and “Night Clatter” are reminiscent of Gas, while “On Golden Swamp” is downright sexy with its sleazy slap bass and smoove synth line – the song even has a sample of an owl hooting in it for Chrissake. How awesome is that? With twinkling loops, soft currents of static, great samples and fragmented melodies Dustloops: Memory Fragments is an album to bathe early mornings and frosted evenings in. Check it.

danny-brown-old

8. Danny Brown – Old (Fool’s Gold)

I’ve always had a bit of a tough time with Danny Brown. I love him but sometimes I have a hard time handling his voice. Sample “Handstand” as an example. So often on his debut XXX, this high-pitched, abrasive voice was his delivery of choice, but on sophomore album Old we see him scaling back a bit, and rapping in a deeper (dare I say, more natural) voice with a relaxed flow, and for me this is when Danny Brown shines. Sample the nod to OutKast “The Return” as an example.

The record is split into halves. The first section is the more laid back, lean sippin’, smooth flow Danny Brown, while the second half is the party record, the molly popping, blunt smoking B-side to the arguably more mature Danny Brown on the A-side. Guests like Purity Ring, Freddie Gibbs, Charli XCX, and A$AP Rocky are all most welcome, as they accentuate the tracks and compliment DB. The production is a highlight, coming from diverse producers like A-Trak, Rustie, Skywlkr, and Paul White and covering all sorts of sub-genres from bass music to trap to Dilla beats to throwback jams.

It’s true, I have trouble listening to Old all the way through, but damn if I haven’t had his tracks noodling through my head as soon as I wake up in the morning for the past four months. Lines like: “If I dip you dip if I dip you dip I dip” from the appropriately titled “Dip” and “Slow days fast days gettin’ paper anyways” from “Dubstep” seem to be my most popular recurring ear worms.

Old is a definitive leap forward for Danny Brown, and I have the same hope that he has for himself on the stirring album closer smooth jam “Float On”, where he sounds like Devin the Dude and says he prays he can get old so he can “see my influence in this genre of music”, because I think the older Danny gets, the better he’s gonna get. Namsayin?

Great track: “Red 2 Go

dj koze

7. DJ Koze – Amygdala (Pampa)

Wrapped in probably the worst cover art of the year, DJ Koze returned this year with the refreshing Amygdala, his first album in close to a decade. I was just falling in love with the Kompakt schaffel when I first heard Kosi Comes Around in 2004, a collection of 4/4 techno tracks. But if there’s anything I remember from my first listens to DJ Koze was that he was kinda weird, and a bit psychedelic, and instead of being dark and moody and minimal like sooo many German producers of the early 2000’s, DJ Koze seemed boisterous and happy.

And a decade later those characteristics are still intact, and what’s more, Koze reveals a knack a crafting what can almost be classified as pop songs, only through his warped lens. What makes Amygdala stand out is how every track has something that makes it special: an unusual yet welcomed noise, an unexpected tempo shift, an exciting bit of bass work, great guest vocals from Matthew Dear, Caribou, Milosh, Ada, and Apparat, and crisp production throughout.

Take “Magical Boy” as an example. It has Matthew Dear doing his distinctive drawn-out vocals, a wood-block snare, a nifty bass line, crooning horns, female vocal accompaniment, and this odd metallic twang that sounds like someone playing with a spring door stopper. Or the following track “Das Wort”, which features some vocals in German courtesy of Dirk von Lowtzow, what sounds like the bass line to “Angel” by Massive Attack, an airy piano scale, some extra funk bass thrown in for good measure, and near the song’s close, an ode to Marvin Gaye. Every song is different in execution, and every song has just that little eclectic twist that transports it higher.

The amygdala are nuclei located within the temporal lobes of the brain and perform a major role in processing emotional reactions in humans. And DJ Koze has attempted to do just that, create an emotional reaction in his listener and damn if he doesn’t succeed. Amygdala is a highly underrated album worthy of giving a few spins at the start of a fun Friday night.

Awesome tracks: “Homesick” ft. Ada and “Nices Wölkchen

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6. Machinedrum – Vapor City (Ninja Tune)

Travis Stewart aka Machinedrum returned this year with the follow up to Room(s), with the excellent Vapor City, a tight collection of bass heavy, hypnotic, drum ‘n bass tinged bangers. Machinedrum has made it something of a trademark throughout his career to snatch up the slickest sounds and deepest sub frequencies from across the electronic scene, styles like juke, jungle, deep house, and techno, and fuse them into his own elegant hybrid, and create a sound all his own.

Apparently, Vapor City was inspired by a recurring dream Stewart’s been having over the last few years of a strange city. Each track on the album is a representation of a district within the “Vapor City”, and each track flows smoothly into the next.

Album opener, “Gunshotta” is one of the year’s most exciting musical moments for me. Featuring filtered rave stabs, pattering hi-hats, blips of soulful vocals and a raspy ragga sample before the song’s big drop, Stewart has created a murky, frenzied club hit. Seeing him play this song live was incredible. He built the track to an intensity that had the crowd pretty much going bonkers, and by the time the song reached its climax, empty cups and bottles were flying overhead, some dude was crowd surfing, and a mosh pit started up in front of me. Machinedrum’s live show was a definite highlight of the year, as he (with the help of a live drummer) not only perfectly recreated his album but took it to new sonic heights. Before I saw his live show I liked the album but after, I loved it.

Tracks like “Center Your Love” with its soft drum patterns, BoC loop, and guitar show Stewart can do downtempo just as well as up, and “Eyesdontlie” showcases those deep bass frequencies he loves to exploit. Vapor City is an album that takes multiple listens to really seep in, but once it does it is an immersive listening experience and proof that Stewart is at the top of his game.

RTJ

5. Killer Mike & El-P – Run the Jewels (Fool’s Gold)

“Killer Mike and El-P, fuck boys, the combination ain’t healthy!”

I first heard of El-P when his Def Jux label blew up in 2002 courtesy of Aesop Rock’s Daylight, Cannibal Ox’s The Cold Vein, and El-P’s own Fantastic Damage. On his debut, the beats were jarring, the production was abrasive, his lyrics were paranoid, and the whole thing felt completely frenetic. El-P eschewed all that I thought hip hop was and could be when he released Fantastic Damage, and even though I didn’t like all of it, I knew it was important because it radiated a sense of urgency in the still fresh post-9/11 world. Anti-cap, anti-corp, doomsday beckoning, conspiracy theorizing – it was almost too much for me to process at the time, it was scary and profound. I was hooked.

I’ll never forget seeing him at The Blind Pig in Ann Arbor with Mr. Lif and RJD2 in the fall of 2002. El-P got on stage and before he started his set, he said something like: “All y’all need to know, every word out of our president’s mouth is a lie. Fuck George W. Bush, cuz he’s out to ruin us!” and it was explosive for me to hear someone speak so candidly, especially at the ripe age of 23 when I was taking classes on social justice and seeing things through a new hyper-critical post 9/11 lens. My girlfriend at the time felt the same, and perhaps propelled by the joint we smoked, and the packed and sweaty crowd, and the Red Bull-vodka she chugged upon arriving, El-P’s statement was the the final link in the “I’m gonna faint” chain, and down she went. Boom. Out cold. Amazing.

I first heard Killer Mike on “Snappin & Trappin” from OutKast’s Stankonia and was impressed by his raw delivery – his style was not unlike Big Boi, but there was real anger underneath his flow – Killer Mike was out to kill the mic, and it showed. Fast forward a decade plus some (damn I’m getting old), and Run the Jewels comes out of nowhere, released as a free download, a gift, so I grabbed it and put it on and was immediately reminded why I fell in love with both of these artists in the first place, and was amazed at how well they jived together. A new super duo is born: Killer Mike and El-P.

El-P doubles as both producer and rapper and even though his flow and delivery has greatly improved since Fantastic Damage, it’s Killer Mike’s verses that steal the show. His boisterous, street-wise rhymes launch the album towards its lyrical climax on his verse in “No Come Down”, an old-skoool bit of storytelling that comes off as genuinely spontaneous and smooth. “Job Well Done” is also another Killer Mike highlight with his amazing line about Mike Tyson. Mike is truly a rapper’s rapper – prone to making his listeners say “Dayum!” upon hearing him spit his verses for the first time.

But don’t get me wrong, El-P shines on this record too. His production is gritty and his rhymes are dope, he just doesn’t take as many stylistic risks as Mike. And unlike Fantastic Damage and last year’s Cancer For Cure, there’s no overt political message on Run the Jewels. This record is more of a victory lap for the two musicians, filled with shit-talk, thoughtful rhymes, tight production, and it has a sense of humour too (see: the resurrection of Prince Paul’s Chest Rockwell on “Twin Hype Back” for proof). Run the Jewels is a celebration of two rappers who have been in the game for almost twenty years and both are still as relevant as ever. Ch-check it.

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4. CFCF – Outside (Paper Bag Records)

Montreal musician Mike Silver aka CFCF had a busy 2013. In the summer he released his Music for Objects EP, which saw him continuing the fine trend he’d adopted on his beautiful 2012 Exercises EP. With these two records, Silver was working mainly with loops of piano or keyboard, and was influenced by the work of composers like Steve Reich and Philip Glass. These two short players are decidely cinematic and showcase Silver’s keen ear for simple melodies. He is able to consistently eke out emotion in his compositions, knowing that he only has to hit the right note once in a song to make his listeners feel the meditative vibe.

His second release of the year, the long player Outside, came out in the fall and revealed Silver switching gears, and trying his multi-faceted hand at 80’s soft rock. Silver finds inspiration from Phil Collins, Peter Gabriel, Toto, and Brian Eno, yet the biggest change is that almost every track features Silver on vocals. His voice is mixed so far ahead of everything else in the mix it’s clear that he wanted them to be the focal point of these songs. For what it’s worth, he’s not exactly a technically gifted singer, but his plaintive vocals work well, because they help emphasize the feelings he’s trying to convey.

The first few times I listened to this album it fell flat to my ears. I liked the overall 80’s feel to it, but I felt like maybe Silver was taking himself too seriously, however, with repeated listens Silver’s hypnotic grip began to strengthen, and overshadow his cheesier impulses. And of course, it was on a morning bus ride to work when Outside finally sunk in. The album’s middle section beginning with “Find” (in which I haven’t heard a guitar solo so cool in a long time), continuing with “This Breath”, and leading into “Feeling, Holding” is the album’s strongest suite of songs, each working that Peter Gabriel new-age vibe perfectly, with the Toto bass line and Phil Collins’ percussion of “Feeling, Holding” bringing it to its climax.

Other highlights are a great cover of Bonnie Prince Billy’s “Strange Form of Life” and penultimate track “The Crossing”, which again has him working that Toto vibe to great effect and is arguably the album’s best track. Silver is a musician who is not afraid to take risks and one who refuses to be pigeon-holed to any one genre or sub-genre. With each release, he seems to get a little closer to reaching his full potential, and with Outside, it’s clear he’s almost there.

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3. Mount Kimbie – Cold Spring Fault Less Youth (Warp Records)

In 2010, Mount Kimbie established themselves as world-class electronic tinkerers with their debut full-length, Crooks & Lovers. It was a jumbled yet highly efficient fusion of bass, indie rock, R&B, and dubstep, and the album didn’t really sound like anything else at the time. This helped Mount Kimbie strike a chord in the electronic scene, but it was clear that Dom Maker and Kai Campos were still experimenting with what they really wanted to sound like. Three years later, and they release Cold Spring Fault Less Youth courtesy of Warp Records, and although the duo are still experimenting, it seems they’re much closer to achieving their aural vision.

It wasn’t until I saw their live show this year before I noticed the real leaps and bounds their sound has taken since the first time I saw them in 2010. Three years ago they were just two young blokes on stage, twiddling knobs, dropping mean bass, and flirting with a touch of live instrumentation – a guitar lick in one track, a snare drum in another – but Mount Kimbie’s show this year in support of Cold Spring saw them transform into a full-fledged band with a live drummer, and some amazing stage presence.

At times during their set they sounded like Joy Division, at others like Tortoise, and on the other side of the spectrum, at times they sounded like Aphex Twin. What a difference a few years and a couple tours make. This is also evident with the songs on Cold Spring, in which their electronic and analogue components meld seamlessly together. “Break Well”, is one such example, when an extended passage of murky ambience breaks apart in its final minutes to reveal a wholly un-electronic guitar and bass groove. And it totally works.

Made to Stray” and “So Many Times, So Many Ways” are highlights, the first being a hip-swivelling dance track, while the latter has a bit of a Tortoise vibe to it with its strong bass line and crisp drum loops. Critics are divided over the two tracks that feature the gravel-voiced kid, King Krule, but I like his weird and at times spastic delivery, especially on “You Took Your Time”. Most of the other tracks feature vocals from both Dom and Kai, and their skills as vocalists have also taken a leap since Crooks. The duo are so much more comfortable in their own skin on this record and it shows, even if it comes off as nonchalance.

Mount Kimbie still have some growing to do, but if the musical advances they’ve made over the last three years are any indication, by the time their next album is prepped, I think they’ll be ready to knock it out of the park. Great stuff.

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2. Forest Swords – Engravings (Tri Angle Records)

The musical recipe that UK producer Matthew Barnes uses in his one-man project Forest Swords is simple enough – pick some sparse rhythms and sounds, loop them at a slowed clip, and then add layers of texture and volume as each piece slowly gathers momentum. On Engravings, Barnes creates dense and mesmerizing atmospheres that truly defy classification. There’s been numerous times where I’ve been listening to this album and have wondered just what the hell I could possibly call his style? Sure, it evokes techno, dub, drone, rock, and maybe even R&B, but it also sounds like the soundtrack to a really bad (and by bad I mean good) horror film. In short, his compositions seem to be in a category all their own.

I played this album most often when I was writing at night, a sombre and hypnotic companion to my own creative pursuits. And what’s funny is, it took me the longest time to notice what an important role the guitar plays in all of his songs. It’s as if my brain didn’t register its prevalence. Upon first listens, these songs just sound like a bunch of disparate elements – dubby bass, sparse percussion, distant voices, blurry samples. But eventually, a bold guitar (and at times piano too) crafts a melody that sticks in your head rather than drifting away with all the echo and atmosphere. And the more you listen, the catchier these weird songs become.

I doubt Barnes ever thought his listeners would be walking around humming his songs, yet as odd as they are, they’re surprisingly hooky, thanks to the old guitar. Forest Swords music is labelled as “electronic”, but it’s far more organic than you’d think. It’s kinda hard to tell what is sampled and what is of his own making, and Barnes does a great job of blurring that line with his decayed production. Listen to the forlorn vocals and guitar lick of “An Hour” or the moody, almost metal sounding “The Plumes”, which has a small ray of light courtesy of a piano tinkle halfway through. Listen to the lonely dub of “The Weight of Gold” or the album’s stunning closer, “Friend, You Will Never Learn”, and try to classify this stuff.

Or do what I did, and just say fuck it, I like it, and simply listen. Engravings is an album that offers something new every time you spin it. Depending on your mood it can be winter bleak or shine with a radiant optimism, and with it, Barnes has quietly proven himself to be one of the most exciting musicians of any genre. Check it.

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1. Boards of Canada – Tomorrow’s Harvest (Warp Records)

Every year when I begin these end of year lists, I never know which album I’m going to end up selecting as the big winner. It’s as if the list is alive, and the more I listen to the music I want to put on the list, the more the order changes, albums end up moving up and down, and I keep finding new reasons to love them. But after I compiled my rough list in early December, it quickly became evident to me that there was a clear-cut winner this year. Boards of Canada. The brothers return after an eight-year hiatus and put out Tomorrow’s Harvest, a better album than I could have ever presumed, and their darkest and moodiest record to date . . . maybe even their strongest.

It’s a popular trend these days for bands that have broken up or stopped recording to regroup and put out new music or go on tours and relive the glory days, and the results vary. In many cases, the bands put out a new album and it’s good, maybe even really good, but it lacks a verve or timeliness, or doesn’t have the same energy, or worse, they just don’t sound as awesome as they used to. So it’s refreshing then when a group does return after a lengthy quiet spell and reveal themselves at the top of their game and as relevant as ever.

The pace at which Boards work always has been glacial, yet after 2005’s airy The Campfire Headphase, many fans wondered what the duo really had left to say. Boards of Canada created a whole style of music, a style of music that has been aped and imitated since Hi Scores came out in ’96 (fuck, we getting old, boys!). So it was a fair assumption then to wonder if Boards of Canada would still matter in 2013. Haha. Guess what? They really, really do.

I’ve been a fan of Boards of Canada for many a moon now, and like their long-time label mates Aphex Twin and Autechre, it’s best to never take them for granted. Where Campfire offered a set of songs that was like listening to Boards through rose-coloured lenses, Tomorrow’s Harvest strips away the lightness and embraces the dark, returning thematically to the emotions they conjured up on Geogaddi. It’s a bleak affair, but the listening experience is enlightening. Early track “Reach For The Dead” eschews the nostalgic feel they adopted on Campfire for a colder aesthetic and builds into a tense rhythm that offers no relief.

Jacquard Causeway” is a good example of how well they can create mood with very little. It’s a song hinged to the same lick of synth and simple percussion, yet its emotion is developed on the periphery with layers of synth loops slowly building on top of one another, creating a moody track unlike any they’ve ever released before. It’s undoubtedly a Boards of Canada song, but its Steve Reich-like execution feels different, and that’s good.

But it’s not until the second half where Tomorrow’s Harvest really gets cooking. “Split Your Infinities”, with its harried synth and murky vocals, show why Boards are a cut above all their imitators – the track is down right scary. There are a few somewhat lighter moments in between like the soft “Sundown”, but the final three songs of the album offer the duo’s strongest and darkest suite of music to date beginning with the brilliant “New Seeds”, which leads into the hypnotic “Come to Dust” and ends with the backwards tape loop corrosion of “Semena Mertvych”. Wow.

Tomorrow’s Harvest is my favourite album of 2013, because it looked forward but also had its feet firmly planted in the past. It tapped into the deepest part of my heart and my gut and made me FEEL, goddammit. Boards of Canada melded the old with the new, the darkness with the light, the good feelings with the not so good, and make me think they’ll still be capable of surprising me again in the future…

Yes! I made it to the end!

HONORABLE AUDIBLES

Fuck, I just don’t have the time to do a Top 40 list, but these albums are also fantastic and worthy of praise and your ears! So click on an album to sample a track.

Andrew Ashong - Flowers

Andrew Ashong – Flowers

Autechre - Exai

Autechre – Exai

Beach Fossils - Clash The Truth

Beach Fossils 

Bibio - Silver Wilkinson

Bibio – Silver

Darkside - Psychic

Darkside 

Drake - Nothing Was The Same

Drake 

Deerhunter - Monomania

Deerhunter – Monomania

Foals - Holy Fire

Foals – Holy Fire

Isolée - Allowance

Isolée – Allowance

Hooded Fang - Gravez

Hooded Fang 

Nosaj Thing - Home

Nosaj Thing – Home

Pan American - Cloud Room

Pan American – Cloud Room

Omar S - Thank You...

Omar S – Thank You…

Son Lux - Lanterns

Son Lux – Lanterns

Suuns - Images du Futur

Suuns – Images 

TM404 - TM404

TM404 – TM404

 

 

The Song of the Summer of the Century

To steal a line from the great Stephen Colbert, Daft Punk’s “Get Lucky” really may be the song of the summer of the century. Me and my baby shook our booties to this guilty pleasure of a song with reckless abandon more times than I can count. It has a timeless quality and its vibe is all about feeling good. Wanna dance, Katou?

R.I.P. Lou Reed (1942 - 2013)

R.I.P. Lou Reed (1942 – 2013)

VISIT THE ARCHIVES

INAUDIBLE’S BEST OF 2012
INAUDIBLE’S BEST OF 2011
INAUDIBLE’S BEST OF 2010
INAUDIBLE’S BEST OF 2009

Best wishes for 2014 and onward! Cheers to good muzik, friends, many laughs, and brief moments of (un)clarity.

Thanks for reading! Love, ml.

BUCK 65 – Secret House

August 15, 2013

buck 65

Here is an old review I wrote in 2007 for All Music that was never published, and after randomly listening to this record today for the first time in years, I decided it’s totally worth representing here. A great record by an under-rated Canadian hip hop icon. Check it!

Buck 65 – Secret House Against The World (2005)

Stinkin’ Rich Terfry aka The Centaur aka Buck 65 returns with a new full-length that expands on the chilled-out folktronic hip-hop of 2003’s Talkin’ Honky Blues. Longtime fans will find it an even further departure from the turntable-oriented MCing that endeared Buck to his listeners in the first place, however, sonically speaking the production on Secret House Against The World is arguably his finest output to date. Melodies abound – strings, piano, vibes, banjo, guitar, and the lush backing vocals of Parisian vocalist Claire Berest are all used adeptly throughout. Recorded in studio with help from Tortoise, Gonzales, fellow Nova Scotian Charles Austin, and a handful of others, Secret House sounds natural and organic, like real human beings making music together.

Lyrically, Buck is beginning to veer away from the non-sequitur stylings of Aesop Rock and the experimentalism of his contemporaries releasing records on Anticon and Definitive Jux. Instead, Buck continues to refuse to be pigeonholed or tied down to any one genre. Sounding more like a synthesis of Johnny Cash, Charles Bukowski and Tom Waits, Buck 65 does what he’s always done best – he tells stories. And to be sure, the most compelling songs on Secret House are narratively driven. “The Floor” tells the tale of a young boy with a drunk father and sick mother over the backdrop of quiet piano and vibraphone and ends with a moody orchestral swell as a fitting climax. In “Drunk Without Driving” Buck raps from the perspective of a down-and-out traveling salesman having an affair with a married woman: “And this is terrible, gorgeous and sinister / The pillow still smells like the secrets of my visitor / No one needs to know about this kind of thing / Blood on my back from the attack of her diamond ring”. You can actually see the crummy hotel room – haze of cigarette smoke, bottle of Jack on the bedside table, TV flashing in the background – almost like something out of a Raymond Carver story.

There’s a sadness that runs through this album, the mood and tone of slower tracks like “Surrender to Strangeness” and “Blood of a Young Wolf” play out like the alt-country of Califone or Wilco, and sound pretty good doing it. Faster tracks like “Blanc-Bec” and “Kennedy Killed The Hat” will be the one’s that stick out at live shows and after first listens, but it will be the introspective, story-driven (dare I say Leonard Cohenesque) tracks that the avid listener will want to return to again and again.

OSHEAGA Festival 2013, Day 3

August 13, 2013

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4 August 2013

Music lovers came in droves on Day 3 of the eighth edition of OSHEAGA, ramming Parc Jean-Drapeau to its capacity and connecting over the smooth rhymes of Kendrick Lamar and the fitful strumming of Mumford and Sons – and the vibe was positive and fun throughout. This remains one of the best things about going to a big outdoor festival, the feeling of camaraderie and harmony that flows through the crowd, the sense that we are witnessing a small slab of musical history together and loving every minute of it.

The worst part is the moment of panic when you realize you are crammed in the crowd so much tighter than sardines, and sure while being right at the front of the stage is awesome, it’s also a little bit terrifying … and where the hell is that beer guy with the seven dollar Coors Light for fuck’s sake!?

The other worst part is pissing – especially if you’re a girl – the lineups were ridiculous, the stalls horrific. For the dudes they had these three-way stand-up urinal thingy’s this year which made it almost as easy as pissing in the bush, but by Sunday they were full up and starting to spill over – fackin’ nasty, but hey let’s get back to the music shall we?

We arrived just in time for a fifteen minute downpour right before Big Boi’s set, but thankfully the skies remained clear after that. Here are the shows I checked out on Day 3 of the 8th installment of Osheaga…

Big-Boi

BIG BOI

To say I was excited to see Big Boi is an understatement. Outkast was and still is my favourite hip hop group of all time. I’ve written about my love for them before and will continue to write about my love for them here, but…

So an injured Big Boi hobbled on stage with crutches and a leg brace and sat down on a majestic throne and began blasting out a medley of hits from the Outkast discography and I was stoked. But his vocals were muddied, apparently due to the fact that a speaker blew somewhere. Yet, as Big Boi ventured into his solo stuff, I began to wonder if maybe he might be lip-syncing. In fact, I am convinced he was lip-syncing. During the songs they had videos playing instead of a live feed of the show, he didn’t take a sip of water the entire set, and he pristinely blasted through his tongue-twisting rhymes as if they were…pre-recorded.

It wasn’t until the last track, “In The A”, that I believe he was actually rapping – the sound was louder and you could actually hear Big Boi rhyming instead of his vocals being lost in the mix. Overall, I was happy I had the chance to see a hip-hop legend, but it was in no way an amazing performance. Perhaps because he was injured he felt it was either he do a bit of lip-syncing or cancel the show…who knows. All I know is, I wanted more bump and thrill from the hip-hop veteran, but instead I would get that from the next performer, the young Kendrick Lamar.

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KENDRICK LAMAR

The crowd began filling up immediately after Big Boi’s set, even though Kendrick would not be on for another hour. The anticipation was high as was much of the crowd. It was an interesting mix of aging scenesters, twenty-something hipsters, and teens with their parents, all excited to catch Kendrick’s vibe on his first trip to Montreal. And he did not disappoint. Alone on stage except for his DJ, the 26 year-old Compton rapper proved he was worth the hype, coming off as a young Nas on stage, super serious, yet super earnest.

The crowd was rapt, and he let us take care of all the hooks and refrains for him as if he’s been in the game for way longer than a minute. He played tracks from his early mixtapes, his first record Session 80, and of course, the best cuts from good kid, m.A.A.d. city, which was number two on my BEST of 2012 list. Unlike Big Boi, Kendrick’s voice was loud and raw – you could tell he’d been on a tour for a while, because his voice was ragged from overuse.

Overall, the young rapper had a commanding presence, his DJ’s low-end bass was incredibly deeeep, and he showed us why we all fell in love with him in the first place.

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NEW ORDER

Fans young and old crowded around the main stage to watch the current incarnation of synth-rock pioneers New Order, as they played hit after hit after hit from their extensive catalogue. Featuring three members of the original line-up, the new wave legends proved they still had the same flair as they did twenty years ago. “Bizarre Love Triangle” sounded amazing, as did “Ceremony”, “Age of Consent”, and “Ecstacy”. Unfortunately, after three hours of standing, me and my crew needed some downtime and a bathroom break, so the first few tracks of their set were enjoyed only peripherally, but we moved in closer about half way through.

New Order ended the show with a few tracks from their Joy Division days. They played “Atmosphere,” “Shadowplay,” and “Love Will Tear Us Apart”, which they rocked out to great success. It was fantastic to see this band play live because there’s a pretty good chance I’ll never get to see them again. As soon as they were done we darted out of the crowd and raced towards the Piknik Electronik Stage with the hopes of catching the end of Disclosure’s set…

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DISCLOSURE

We made it in time to see the last fifteen minutes of Guy and Howard Lawrence’s first show in Montreal and were immediately transported into a hype dance party. My tired legs found the groove and we jumped and danced as hard as we could for the rest of their set. We arrived as they were playing “F For You” and the beats were crisp and the bass incredibly smooove. After the song ended they welcomed Jessie Ware to the stage to sing her track “Confess To Me” off of their debut album Settle, and the addition of real vocals heightened their performance by about ten degrees. The crowd ate it up. The young duo finished with hit track “Latch” and we danced our way through the crowd to the Green Stage to see the final show of the night, Hot Chip.

hot chip

HOT CHIP

Skipping Mumford and Sons entirely and bidding farewell to an amazing Osheaga 2013 with an impromptu glow stick party courtesy of Hot Chip was a great decision. I couldn’t care less about Mumford and Sons and many other people felt the same way as they chose to end the festival with the London electro-pop darlings instead. The crowd was full of energy as was Hot Chip who played an assortment of their best dance cuts: “Over and Over”, “Boy From School”, “Ready For The Floor”, “How Do You Do?”, “Flutes”, and more. The only problem was the set was too short, they didn’t get a chance to slow it down at all, and although yes we came to have one last dance before the festival was over, it would’ve been nice to hear a few of their slower tracks. Still, it was the perfect way to end an excellent OSHEAGA.

Don’t miss it next year! Cheers.

crew

Nosaj Thing – Home

January 13, 2013

home

Los Angeles producer Jason Chung aka Nosaj Thing returns this year with Home, the long-awaited follow up to his critically acclaimed debut Drift. A lot has happened since Drift came out in 2009 – Chung has toured extensively, playing in every major city in North America and abroad numerous times, he’s developed an excellent visual component to his live shows, he’s done remixes for the xx, Philip Glass, Portishead, Fly Lo, Kendrick Lamar and more – and now he’s finally had some much deserved downtime returning ‘home’ to record his latest record. And while it may not soar to the sonic heights of his debut, Home is a quiet yet immediately absorbing album reminiscent of early Morr Music artists like Arovane, Christian Kleine, and Lali Puna. This gives it a timeless feel, because even though it feels very much a part of the now, it also feels like it could have come out a decade ago. We’ve reached the moment in electronic music where sounds and styles are really coming full circle, and this is evident throughout Chung’s new record.

Fans may feel a bit let down upon first listen, as it is more introspective than his debut, but once they give it a spin on headphones they’ll realize it is a superbly immersive affair that flows into a smooth cohesive whole. Chung has also brought along a couple friends this time to add some vocals – Toro y Moi guests on the slowly sizzling “Try” and Blonde Redhead’s Kazu Makino captivates on the excellent “Eclipse/Blue”. I think the title of the album is fitting, as Chung has said it was a much more personal endeavour for him, and this is evident from the first few moments of the opening track. The beats are more subdued, the bass doesn’t wobble as much, the synths more subtle, but the overall effect is impressive in its clarity of vision.

Home is one for quiet nights, solitary walks and morning commutes, best enjoyed on headphones. It’s a slow burner of an album that has moments of real beauty and emotion, and it won this listener over real quick. Check it.

INAUDIBLE’S BEST OF 2012

December 24, 2012

INAUDIBLE is thrilled to present his 4th annual end of year listy list!

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Holy shit, here we are again! As the year quickly comes to a close, I gaze out my window and watch the first winter storm of the season hit Montreal. Wistfully, I shuffle through the year in my mind, flashing back to a busy but amazing spring and the golden days of summer – of bike rides and park hangs, tennis matches and hot knives, cold beers on rooftops and falling in love. So nice. And with these memories comes snippets of sound, the summer jams I played way too loud and way too late and pissed off the neighbours. The songs that soundtracked my days and nights. With autumn came the return of the grind, the job that gets in the way of the work I really want to do, but keeps me young in the process. But there was also those crisp evening jogs, with music always pushing me, propelling me to run farther and faster. So good. And now l’hiver returns, encouraging ambient and electronic swirls and quiet guitars to join me on my weekly slog to work.

Life changes, music remains. All that to say, without further ado, let us go then, you and I…

TOP 15 ALBUMS OF 2012

beach house

15. Beach House – Bloom (Sub Pop Records)

Baltimore duo, Beach House make me feel like an adult. And for the six people who read this blog, you may have noticed over the last four years that this whole “adult thing” is something I’ve slowly been stepping into … lento, lentement, I’ve been testing the waters, and shedding away the ideals of youth I’d been stubbornly latching onto and have instead begun to embrace life as a real-live adult, and no other band plays a better soundtrack to this than Beach House.

Having a dinner party with friends who have children and own homes and drink wine instead of can beer? Play ’em some Beach House! Parents stopping by to meet your new boyfriend or girlfriend? Pop on some Bloom! I actually gave a copy of this album to my dentist to put on while he’s drilling holes deep into some unfortunate’s maw, and guess what? The good doctor loves this shit. “Nice stuff that Beach House. It really grew on me,” he said with a grin, right before he jammed the cold needle into my jaw.

This is no way to discredit the music found on Bloom, because it showcases the duo’s finest songwriting to date. The leaps and bounds they made from Devotion to Teen Dream are now solid strides. They make being a grown-up look easy. The whole record flows smooth from appetizer to dessert, but it’s also an album that can accompany you just as nicely during a nightcap with a loved one and the snuggling that happens after…

Top Tracks: “Lazuli” and “Other People

Dirty Projectors

14. Dirty Projectors – Swing Lo Magellan (Domino Records)

I first saw Dirty Projectors play in 2009 when they opened for TV on the Radio. At the time, Bitte Orca had just been released and the indie world was a-buzz with grandiose statements about how incredible they were. The show was in Toronto’s worst venue (The Sound Academy) and I was only able to enjoy their set in a cursory way, because I was waiting for friends to show up and could not venture close to the stage. And somehow along the way after that, they ended up getting lumped in with a long list of bands that everyone says are awesome and I just haven’t listened to them: Animal Collective, Vampire Weekend, The Shins et al. Bands that seem too academic or cerebral, in the sense that they play with their minds first instead of their guts. I don’t doubt these bands aren’t great, they just didn’t appeal to my musical sensibilities at the time…

Anyway, fast forward to this summer, and my friend Mateusz is blasting “About to Die” in my kitchen on a sunny morning during Osheaga weekend and it clicked. I was swept into Dave Longstreth’s eccentric compositions, with their subtle evocation of White Album-era production. Swing Lo Magellan is all sorts of things: quirky, technical, gentle, sparse, and oddly moving. Critics have said that this is arguably the band’s most “listenable” record to date, and if so, I hope they continue in this vein rather than attempt to further complicate their sound, and as I said, play with their gut.

Top tracks: “Gun Has No Trigger” and “Dance For You

lotus plaza

13. Lotus Plaza – Spooky Action at a Distance (Kranky Records)

The other guitarist in Deerhunter, ya know, the shy guy who gets engulfed by the larger than life Bradford Cox? The one who just stands there and quietly rocks out? Well, his name’s Lockett Pundt, and he modestly stepped into the spotlight this year, releasing the excellent Spooky Action at a Distance under his Lotus Plaza moniker. It’s a shoegazey affair full of reverb and distortion, recalling 90’s indie bands like Superchunk, Treble Charger, and Dinosaur Jr.

It takes a few listens for the album to grow on you but once it does it reveals itself as a record that plays out beautifully from start to finish. It’s interesting to note that Spooky Action works in the same way an ambient album does, you can put it on and not hear it at all or listen carefully and get swept into every lick and hook. But I think it’s a record that needs to be listened to in its entirety, I don’t feel the songs pack the same emotional punch when listened to one at a time or out of sequence. That said, the album can feel a bit samey at times, but thankfully, that’s why we have Deerhunter.

Top tracks: “Strangers” and “Jet Out Of The Tundra

azealia banks
12. Azealia Banks – Fantasea (self-released)

Blame this one on summer time – a guilty pleasure without question, but hell if it ain’t got some amazing production courtesy of Diplo, Hudson Mohawke, Araabmuzik, Ikonika, Machinedrum, and more. Around this time last year, Azealia Banks appeared out of the blogosphere with her now ubiquitous song “212”. It was an absolute earworm that showed off her talents as a singer and rapper. This year’s been a busy one for the young artist, she’s put out her 1991 EP, as well as Fantasea, and shows no sign of slowing down, as her full-length debut is set to drop in February.

As with all the new young ‘hip’ artists that explode overnight, I took Banks’ for what I thought she was, a young musician in a long line of young musicians lucky enough to have her 1,500,000 views of fame before fizzling out. But her damn name just kept popping up everywhere, and so when even my cousin Chris (a man of discerning tastes) was spouting her praises, I started putting Fantasea on while jogging, and within a few listens I was pumping my fist in the air and singing along with her. Fantasea is scattered, varied, and uneven, but there’s a lot of hands in the soup at this point, and Banks is still trying different things and figuring out her style…and while she’s figuring things out she’s having a hell of a fun time doing it. Tracks like “Luxury”, “Nathan” and “Fierce”, show her moving from deep house to disco to crunk as if it ain’t no thang. And as I mentioned earlier, she’s been fortunate to work with some of the most innovative producers out there, and so at this point the question that remains is if she is the by-product of amazing producers or the real star? Only time will tell and I’ll be listening along the way.

Purity-Ring-Shrines

11. Purity Ring – Shrines (4AD)

The first of three Canadian entries on my list this year is the fast-rising duo from Edmonton, Purity Ring and their debut album, Shrines. Mixing the sensibilities of the Knife, Holy Other, Bjork, Burial, and labelmate Grimes, the young band have created a dark and moody collection of songs, with the help of processed vocals, synths, gloomy bass, and gritty yet expansive production. The lyrics throughout the record focus on the body and its organic nature, reminding us of our mortality while making us simultaneously contemplate our next move. Shrines came out in the summer but is better suited to the grey days of winter, and you can be sure it will be one I’ll be returning to during the wintry months ahead…

Top Tracks: “Lofticries” and “Crawlersout

Wild-Nothing-Nocturne

10. Wild Nothing – Nocturne (Captured Tracks)

Jack Tatum returned this year as Wild Nothing with his sophomore release Nocturne and makes good on his promise to amp up all that was endearing about his excellent debut Gemini. But to be honest, I was worried. After seeing his band play a dismal live show in Toronto in 2010, I was ready to cast them aside and get my 80’s/90’s fix elsewhere (Twin Shadow, Beach Fossils, Diiv, Wild Beasts). But, because I loved Gemini and the Golden Haze EP so much, I decided I had to give Nocturne a try. After my first listen I was underwhelmed, I felt the direction he had moved in was flat and the songwriting wasn’t as dynamic, but after a few more spins I realized my first impression was wrong, the songs were better written, gorgeously recorded, he’d upgraded to a live drummer, and incorporated some great strings. In short, Nocturne is a more complete album than Gemini, the songs have more meat on their bones, and don’t have to rely solely on reverb to get their point across.

Opening song “Shadow” revels in Tatum’s upgrade, with lustrous strings in between verses and a nod your head beat that makes me smile every time I hear it. “Only Heather”, “Paradise” and “The Blue Dress” all show Tatum as not just an excellent guitarist but a damn fine bass player as well. Perhaps Wild Nothing works best as a studio project and that’s fine with me, because in the end, Nocturne has proven to be one of the most consistently satisfying albums of the year for me.

cfcf

9. CFCF – Exercises (Paper Bag Records)

Montreal producer Michael Silver aka CFCF returned this year with the stunning Exercises EP on Paper Bag Records. Silver has been on a bit of a run lately dropping the fantastic Night Bus mixes in 2011, in which he reinterpreted Aaliyah, Biggie, Fever Ray, Autechre and more for the wee hours of the night. But with Exercises, we see the steady maturation of Silver’s talent as a producer. The album is made up of eight keyboard based tracks that are subtle and subdued, working on loops and licks of sound that consistently surprise. Silver is able to eke out emotion, knowing that he only has to hit the right note once in a song to make his listeners feel the meditative vibe.

Silver has an ear for simple melody, letting tones and swirls of synth gently build on top of each other, and this is one reason why this album is so successful. The other is its shining star, the amazing middle point track “September”. It’s a cover of the David Sylvian track of the same name and the only song with vocals on the album. Silver’s voice sounds strong and assured, the synths mesh together perfectly, and the song packs quite an emotional punch. The first time I heard it I was on the bus in the morning and it was chilly but the sun was shining and Silver’s voice surprised me at first, reminding me a bit of Arthur Russell, and the subtle build of the production was just perfect with the hand clap beats, farting bass line, and synth stabs sounding so nice…that you can guess what happened: I got that pang, my eyes went a little watery, I had to turn my face to the window for a moment and take a breath. I had to let that tingly feeling wash over me, let it quietly remind me of all that’s good and true and possible in my life. C’est la définition of good music, my friends. I’ve since listened to it many times and can say it’s one of my favourite songs of the year, and being followed by the equally gorgeous piano based song “December” doesn’t hurt either. Every track is a winner.

Exercises is CFCF’s finest work to date and shows he is definitely an artist worth getting excited about.

holy other - held

8. Holy Other – Held (Tri Angle Records)

Tri Angle recording artist Holy Other released his full-length debut Held this year, and it sees him further expanding on the moody gloom of his earlier With U EP. This is a dark, dark record, one that can throw listeners for a loop upon first playthrough. On the surface it is so bleak and forlorn it seems the perfect soundtrack for the end of days we’ve been waiting for oh so eagerly…

I have a student in one of my classes who is obsessed with the apocalypse and death. 13 years old and he might as well have “memento mori” tattooed on his forearm. During a History lesson, he will shout out, “Why are we learning this? We’re all going to die soon anyways!” Or during my spiel on pollution and green living in Geography class, he’ll pipe in, “We might as well all just kill ourselves now!” I’ve had to kick him out of class a few times, mainly because it annoys me that his dark thoughts influence the other kids too. One quasi-suicidal teen in each class is more than enough thank you very much. He’s just so blasé about it all too, as if he knows his life is nothing but a short joke and he’s sitting around waiting for the punchline. Fuck he pisses me off. So, I have been trying to open his eyes to the bigger picture, trying to get him to jump over to the optimistic side of the fence, and at least see things from another perspective.

Same thing could be said for Holy Other’s Held – once I started looking at it as uplifting rather than somber, I heard it in a whole new way. Once my ears latched on to this perspective, “Love Some1” turned into perhaps the most effective love/break-up song of the year, with its haunting climactic chant “Love someone/me me me”. Title track “Held” is also a powerful and intimate cry for what we all want most, to be held, to be loved, and the subterranean vocal plea: “Hold me, ahh, love me” may sound twee within the context of this write-up, but is extremely compelling within the track. It has a way-slowed down R&B feel at the end, as if he’s drifting off to sleep happily wrapped in his loved one’s arms…

Holy Other taps into that sad, lonely, existential part of you, much in the same way that Burial does. And sometimes it’s nice to walk in the rain, to wallow a little, and with Holy Other as the soundtrack feeling moody never felt so good.

modern driveway

7. Luke Abbott – Modern Driveway EP (Notown Records)

Norfolk based electronic musician, Luke Abbott, released two EP’s this year, Modern Driveway in the spring, and Object is a Navigator at the beginning of December. While both reveal his refined ear for analogue craftmanship, it’s with Modern Driveway where Abbott has truly tapped into something sweet. The title track opens the album with a slow build of insistent chord stabs and a subtle 808 line that softly swells underneath the arpeggio synths like something out of halcyon mid-90′s Detroit. Abbott ekes so much emotion out of this track, it’s hard to believe he’s able to outdo himself a few tracks later, yet that’s exactly what he does with penultimate track “Carrage”. It’s a beautiful and bubbly stomper with the requisite ‘pull the beat out of the mix and drop it back in mid-point’, and although I’ve heard this technique more than countless times, Abbott does it so well here, you’ll want to play the song again and again. Interspersed between the stunners are two subdued pieces, more align with the material on his earlier record, Holkham Drones. Overall, this is one of the finest electronic releases of the year, one that begs for repeat listens, and a sure-fire sign that Luke Abbott is about to blow up big time.

tame impala

6. Tame Impala – Lonerism (Modular Records)

Tame Impala returned with sophomore album Lonerism, twelve more tracks of that great psychedelic rock I fell in love with on Innerspeaker. Grabbing the listener by the neck right from the start, “Be Above It” transforms into a terrific Pink Floyd-esque mechanical drone, and with its mix of the retro and the experimental, Tame Impala are making some of the most authentic sounding “new classic rock” I’ve ever heard. This unique throwback sound is one of the things the band does so well, and I think it’s safe to say that few other bands today sound like them at all. A little further on in the album, songs like “Apocalypse Dreams” and “Why Won’t They Talk To Me” really allow frontman Kevin Parker’s songwriting abilities to shine through.

I saw Tame Impala play this summer at Osheaga and they put on a great show, trying out “Apocalypse Dreams” and the awesome “Elephant” to the delight of the crowd. Wafts of weed floated in the air for the duration of the show, and I completely zoned out in the vibe. Still, I think they’re a band better suited to an indoor venue, and so I’m looking forward to seeing them again on their tour this spring. Lonerism contains hit after hit, but in listening to only a few of the songs on the album you’d be missing out – this is one case where the whole is clearly greater than the sum of its parts. The album flows together seamlessly, with each song picking up on, and adding to, subtle parts of previous tracks. Tame Impala take Pink Floyd, Zeppelin, Sabbath, and The Beatles, mash ’em all together and create an amazingly authentic 60’s/70’s sound that I could listen to all day. Great stuff.

grimes

5. Grimes – Visions (4AD/Arbutus)

Claire Boucher aka Grimes is 2012’s “it-girl”. Visions came out early in the year and helped catapult Boucher from local weirdo/hero to international star. Visions is a hypnotic album that expertly meshes pop sensibilities with electronica in entrancing ways. Her two big hits “Oblivion” and “Genesis” are still just as fun and immersive to listen to as they were when they first hit the interwebs a year ago. Grimes’ production brings to mind early Aphex Twin and other old Warp artists, and her voice floats in her strange falsetto above the mix, often unintelligible but no less bewitching.

Seeing her live show at The Cabaret du Mile End in Montreal was very impressive as I saw a young artist emerging before my eyes. Grimes was particularly cute and awkward on stage, seeming a bit nervous, continually asking the sound guy to “turn down the lights” and “turn up the music”. And once the lights went down and the sound went up she seemed much more in her element, letting her inhibitions go and her voice soar. And for the most part, she totally had the vocal chops live, although I did notice some voice loops assisting her once in awhile, most notably during the high parts of “Be a Body”. Production wise I was very impressed as the songs took on a grittier, darker vibe than they have on the album. The bass thumped hard, the snare pops rattled, and the synths coalesced into an analogue swirl of sound.

Later tracks on the album like “Nightmusic” and “Symphonia IX” although unassuming are arguably the strongest and most hypnotic with their subtle 4/4 beats and warm analogue production. Grimes seems to be at the forefront of a whole new wave of young electronic musicians pushing the boundaries of genre and technology. I expect big things from her in the future and think her sound will only get stronger, louder, and more particular the longer she keeps making it. Awesome album.

Cloud Nothings

4. Cloud Nothings – Attack on Memory (Carpark Records)

It was on a cold day in early January when I first listened to Cloud Nothing’s debut record Attack on Memory. Before opening track “No Future/No Past” was even a minute in I was already hooked. It was like I was sixteen again, I could feel the angst and tension in Dylan Baldi’s voice, and the aggression hidden just below the surface of the band’s tight rhythm section. It made me excited to be alive, in the same way bands like Eric’s Trip or Tool or June of 44 did back in the day. That exemplary teen angst powerfully comes to a head in the refrain of the 8-minute blast of “Wasted Days”, when he screams “I thought I would be more than this!” over and over until his voice is ragged. Afterwards, they lighten the mood for the next two songs, before returning with the Drive Like Jehu-esque “Separation” and “No Sentiment”, reminding me of amazing bands like A Minor Forest, Paul Newman, and North of America with their chugging bass lines, angular guitar licks, and kick ass drums. Cloud Nothings bring to mind so many bands from the past, yet they never sound too much like one or the other, which has resulted in them paving out an indie-rock sound all their own. They are a young band quickly coming into their own and one to watch out for in the next few years.

Here’s something I’ve been pissed off about for six months now: I had tickets for their show at Casa del Popolo but missed it. It was a Friday night and me and my friend Mike were drinking a beer at his place, watching the Raptors lose on the telly, thinking if we get there by 10 we’ll be totally fine. So we get there at 10 and it was already over, they were packing up their gear, and drinking a well-deserved beer. Son of a whore, I am still pissed about this! And of course their set was awesome, loud, super-tight, there was a mosh pit the entire show, and apparently due to technical difficulties during the last song, rhythm guitarist Joe Boyer put down his guitar and dove in the mosh pit. Come back to Montreal soon guys, I’m waiting…

Grizzly-Bear-Shields

3. Grizzly Bear – Shields (Warp Records)

Grizzly Bear’s Veckatimest was the crown jewel of INAUDIBLE’s very first BEST OF LIST in 2009. That album was so thrilling to me with regards to its production and each song’s dynamic and diverse composition. I had not listened to their earlier albums, so Veckatimest was my point of departure and it left me convinced they were one of, if not the best, young band making “indie-rock” in our present day. The reason for this was because I really enjoyed how within their music they seemed to be constantly looking back yet ever looking forwards; not afraid to sound a bit like their influences, while at the same time, ambitiously driven to lock down their own style. With Shields Grizzly Bear have done just that – they have sonically carved out their niche, gained a whole new legion of fans, and released my favourite “rock” record of the year.

Seeing their live show this year solidified my belief in their talent, as they effortlessly played their challenging compositions, switching instruments mid-song when needed, and delivering strong and near pitch-perfect vocal performances throughout. The band emitted an air of subtle class on stage, void of rock star pretension, letting the music speak for them, which I found very refreshing.

Unlike Veckatimest’s instantly infectious “Two Weeks”, Shields has no clear-cut single – the album calls for careful listening, and takes some time for it to reveal itself completely, but once it does it will reward your ears and mind again and again. Tracks like “Yet Again”, “Speak in Rounds”, “What’s Wrong” and “Gun-Shy” are all different stylistically, but each song showcases the band’s varied writing strengths. The album closes with “Sun in Your Eyes”, an eight-minute opus that has hints of theatre and prog and is arguably the band’s best example to date of their overall sound. Shields is a challenging album but one that showcases everything that is great about modern rock and roll. So good. More gentleman, more.

kendrick-lamar-good-kid-maad-city

2. Kendrick Lamar – good kid, m.A.A.d. city (Interscope Records)

Oh yeah, we gettin’ down to the wire now! Coming in at a strong second for the year is Kendrick Lamar’s good kid, m.A.A.d city. Ever since my Mom confiscated my Straight Outta Compton cassette tape when I was 12, hip hop has held a coveted place in my musical makeup. It was a view into a whole other culture for me, and the first time I paid close attention to the lyrics in music.

My Mom realized how angry I was with her for taking my rap music away from me, so she replaced my N.W.A. and 2 Live Crew tapes with the PG rated “He’s The DJ, I’m the Rapper” by DJ Jazzy Jeff and The Fresh Prince, while my Dad was trying to get me into Zeppelin and The Beatles. But still I would go to my friend Justin Smith’s house, because his Mom let us listen to all the gangsta rap he wanted, plus let us watch R-rated horror movies and eat an endless pile of junk food. Eventually, once I started playing guitar, those classic rock discs my Dad kept pushing on me would take over my musical tastes, which would then lead to metal and indie and post-rock. But then, in first year of university I heard Aquemini by Outkast and it was one of the most amazing albums I’d ever heard of any genre. This was the start of my rap renaissance, as I got into Def Jux artists like Aesop Rock and El-P, old skoool heros like Tribe and Nas, new skoool stars like MF Doom, and even Kanye West. Since then I’ve never stopped listening to rap, but it’s definitely been a minute since a hip-hop record has excited me as much as good kid, m.A.A.d city. And what a record it is! It deserves all the attention it’s been getting, because it’s a truly original, compelling rap record, unafraid to risk taking a moral stand, with the confidence to successfully execute Lamar’s ambitions.

The narrative thread is familiar: black kid growing up in the projects has dreams of making it as a rapper, yet is pulled in directions he doesn’t want – crime, drugs, gangs, etc. – and after his friend is killed in a shoot out he decides to no longer get caught up in the game, and effectively pave his own way in the world. Yet even if the story is familiar, the delivery is not. Interspersed with amazing voicemails from his Mom and conversations with his homeboys, we see Kendrick as son, as well as, as a young kid growing up out there in the “m.A.A.d city”. Musically, the album is obviously indebted to Outkast (see “The Art of Peer Pressure”), but has such a strong sense of place that it deftly sidesteps the derivative. Kendrick uses many influences but he deploys them strategically, unexpectedly, which helps the record already feel like the classic it surely will become.

2013 will be an enormous year for Kendrick Lamar. Let’s hope he can hang on to the vibe he’s got going right now, because good kid, m.A.A.d city is the year’s most powerful record both lyrically and musically. Ya bish, ya bish!

Top tracks: “Money Trees” and “Swimming Pools (Drank)

fourtet-pink

1. Four Tet – Pink (Text Records)

In a way this can be considered more of a lifetime achievement award, as Kieran Hebden’s has been an innovator in the world of electronic music for over a decade now. That said, Pink is still the most exciting electronic album of the year for me. Under his Four Tet stage name, Hebden has released groundbreaking albums that span electronica’s sub-genres from leftfield to post-rock to IDM, yet over the last few years Hebden has had his ears set not to the sky but to the ground, namely the dance floor, after he started DJing at the Plastic People Club in 2009. The next year he released the superlative There Is Love in You, which saw him writing more dance-oriented tracks like the excellent “Love Cry”. His Fabric mix followed in 2011, and now with Pink, a collection of 12-inch singles, we find him writing some of the best techno music of the year.

Hebden has eschewed the quirk and abstract he is known for and applied a more clinical approach to get booties shaking and fists pumping and the results are spectacular. This is not to say that he’s lost any of his playfulness, these songs still maintain an inherent organic quality even though they follow the techno formula, mainly because Hebden always throws in a little something extra – chimes, synths, vibes, bass wobbles, piano, skittering vocals, and more. Compositionally, he seems to have been inspired by artists like Omar S, Burial, and Pantha du Prince, easily pushing songs into the 8-minute mark. Stand out track “Pyramid” uses a great bass line and repetitive vocal lick: “I remember when you walked away” to amazing effect, this track is a late-night banger, one that urges you to get up and dance. But, it’s dark too and has a great Steve Reich breakdown in the middle before the house beat and funky bass return to keep you shakin’. Opening track “Locked” starts off the album with nothing but minimal, interlocking drum loops for well over a minute, before a characteristically beatific melody emerges, and spirals around those shuffling drums, phasing in and out of focus accented with occasional deep bass wobbles. Elsewhere, “Ocoras” and “Jupiters” reveal Hebden’s knack for rhythm and groove, and the sprawling “Peace For Earth” momentarily eases away from the dancefloor with a komische-y, near beatless ten minutes, before throwing us back on the floor again for awesome closer “Pinnacles”.

Critics have sort of harped on Hebden saying he’s made great strides into club territory but still hasn’t quite fleshed out his style as a dancefloor artist. And while Pink technically shouldn’t be considered a proper follow-up to There Is Love in You, I think even as a singles compilation it suggests that Four Tet is still capable of going deeper and expanding higher than almost anyone else out there. Great stuff!

Yes! I made it to the fucking end!

 
HONORABLE AUDIBLES (click album to sample a track)

Andres - New For U

Andrés – New For U

Bersarin Quartett- II

Bersarin Quartett- II

Crystal Castles - III

Crystal Castles – III

Floating Points - Shadows

Floating Points – Shadows

Green Kingdom - Egress

Green Kingdom – Egress

Loscil - Sketches From New Brighton

Loscil – Sketches From New Brighton

Luke Hess - Keep On

Luke Hess – Keep On

Smallpeople - Salty Days

Smallpeople – Salty Days

Strië - Õhtul

Strië – Õhtul

Sufjan Stevens - Silver & Gold

Sufjan Stevens – Silver & Gold

Tanlines - Mixed Emotions

Tanlines – Mixed Emotions

The Sea and Cake - Runner

The Sea and Cake – Runner

Twin Shadow - Confess

Twin Shadow – Confess

the xx - Coexist

the xx – Coexist

 

jason noble

R.I.P. Jason Noble (1971 – 2012)

INAUDIBLE’S BEST OF 2011
INAUDIBLE’S BEST OF 2010
INAUDIBLE’S BEST OF 2009

Best wishes for 2013 and onward! Cheers to good muzik, friends, many laughs, and brief moments of (un)clarity.

love,

ml

5-10-15-20

October 13, 2012

Welcome to INAUDIBLE’s third installment of 5-10-15-20 in which we blatantly lift a feature from Pitchfork and use it to ask fantastic people about their torrid and varied musical love affairs at five year intervals of their lives thus far. This third edition features Montreal based music pundit Michael Ellis having visceral auditory flashbacks of the albums and artists that helped shape him into the man he is today.

AGE 5

Some of my first memories of being on this big gay earth are connected with family vacations to Rice Lake. I looked it up recently and I can’t figure out why my parents would drive all the way there with four sons fighting and shouting the entire time. We hauled balls down the ‘Highway to Forever’ in our Chrysler K-car and I always had to sit in the front between Mom and Dad. Being too small to peer over the dash, all I ever saw was the digital clock and tape deck. Before my parents fell for Billy Ray’s “Achy Breaky Heart”, they listened to cooler shit. Mostly Motown. They also listened to American Fool by John Cougar. So the summer my oldest brother chucked my snowtrooper G.I. Joe figure into the lake, promising it would come back with the tide (it didn’t), was also the summer I really listened to music for the first time. I guess you could say it hurt so good.

AGE 10

How can this exist?

This song smells like raked and rotting leaves. I found a German guy on Discogs selling an unopened LP and considered buying it.

AGE 15

My friend Glenn used to live a latch-key existence. His mom would gather the wash, claiming she was going to the laundromat, and then disappear for weeks at a time. While this lady was undeniably a piece of shit, her absence gave my friends free reign of the house. It was our club house. Glenn had a little brother he basically had to take responsibility for, making sure he was watered and fed. Being 16 or 17, and understandably not very mature, he let all kinds of shit go down in that place so long as he got something out of the deal. Stolen wares stored in his basement? Sure, but you had to buy him some Little Caesars. Having someone come over to grab a lil bag of weed? Fine, but he always got some of the money.

One day I was glazed and watching some kids play Twisted Metal 2 on a stolen Playstation, when between the couch cushions, I found a flyer for an upcoming show in Detroit – The Wu Tang Clan. We mostly listened to Eazy-E and N.W.A. like so many dumb kids, but the image on the promo was just so different than all that. The sheer insanity of nine members, all drawn in cartoon on blue photocopied paper, with these fang-grills. FANG-GRILLS! I didn’t even need to hear them rapping about Spiderman and kung-fu and goddamned Richard Dawson, I already knew I loved it.

I’m pretty white.

AGE 20

Fuck you Richie Hawtin. We peaked at the same time. It’s just that I was on acid listening to Consumed and knew I would eventually come down. But you seem like you never got over it. Concept 1, Decks, EFX, & 909, Consumed. What a run.

AGE 25

I was leaving home and ending a long lasting relationship and “Shine a Light,” “I’ll Believe in Anything,” and all the rest resounded with me. After moving to Montreal, I saw them with my tallest friend at Metropolis and fuck if it wasn’t devastating. I’m still not entirely sure what Spencer Krug is singing about in “I’ll Believe In Anything”, but at the time I felt that same desperation.

AGE 30

Grados and hash.

Ed: Thanks Mike!

If you’d like, read the first and second installments too. Cheers.

Major Lazer – Get Free (ft. Amber)

September 22, 2012

For quite awhile now I’ve considered Diplo to be one of the most stand up dudes in the electronic scene – a versatile and prolific producer, always at the very forefront of new trends in electronic and bass music. With latest single “Get Free”, his work with Switch and company as Major Lazer, he’s switched gears a bit from the infectious in-your-face bounce and bass heavy tracks to a more soothing mellow vibe.

Amber Coffman of the Dirty Projectors elevates the song with longing vocals making this one of the most stunning tracks of 2012. I doubt the rest of the new Major Lazer album will sound like this, but as a one-off single it just doesn’t get any better. Best song of the year. Hands down. Video is amazing too. Check ’em.

Mayer Hawthorne at Corona Theatre

May 27, 2012

26 May 2012

Mayer Hawthorne and The County played to a full house at The Corona Theatre in Montreal last night and did not disappoint, bringing their Motown swagger and good times great oldies vibe. Hawthorne was decked out in a red tux (in solidarity with la CLASSE?) and Air Jordans and showcased songs from his latest album How Do You Do? and his breakout record A Strange Arrangement.

The Hawth does such an amazing job of getting the crowd involved with singalongs, call-and-response exchanges, and choreographed hand motions, that it’s impossible not to get caught up in the music. Critics call him a “throwback” artist, which some say is a schtick or comes off as phony, but I find it genuine and authentic – rather than simply copying singers of old, Hawthorne’s music can be seen as an homage, using Motown and soul as inspiration for reviving the craft of live performance. Perhaps the fact that he grew up in the Detroit area adds credence to his music, but the bottom line is that Hawthorne wants to put on a “show” and truly entertain, and entertain us he did. He had a J-Dilla interlude and a Hall & Oates breakdown for Christ’s sake! He let us take photos of him holding a bouquet of flowers and took a picture of us for his Twitter account, and then politely asked everyone to put our cameras away and “pretend” we were at a show enjoying it in “real time”. We danced non stop, I spilt beer on some girl and her chum wanted to beat me up for a split second before remembering he was in a happy place. The vibes were too good for anyone to stay mad for long.

Mayer Hawthorne is a gentleman and the ladies clearly love him. His set was tight, he hit all of his notes with ease and his backing band was perfect. My only critique is the same one I made when I first saw him in Toronto in 2009 – he needs horns and two large black ladies doing back up vocals! Other than that, a helluva live show and a great weekend. Peace.

*photo by Jacquelyn Taylor*