... And here it is. The final part. Unlike a lot of websites (some of who started publishing their "end of year" lists in October!), this roll of honor has been prepared after a lot of careful consideration, AND actually at the end of the year too! It's also a bit different to a lot of other 'Best Of 2013' lists in that it has been compiled by one person and is based on the opinions of one person, wheras most music sites have big teams of writers, meaning that their 'Best Of' lists are just an indication of the most popular and most commonly-heard records of the year. I know because I was the one who added up all the scores for God Is In The TV's list, which was aggregated from about 30 writers individual lists. While that's all well and good, the following list is one that offers an undiluted picture of the year's finest long players. A lot of the albums from 50-25 aren't really in any particular order, since many were equally enjoyable. Plus there are some LPs that I didn't have time to full investigate and allow time to grow on me properly. Some of these are in the list and could have maybe been higher (Nick Cave, Midlake, British Sea Power), while there are other great albums that didn't make the list for the same reason. Not based on hype, popularity amongst other critics or commercial success, it's quite simply an honest lowdown on the things that caught my ears the most in 2013... Also, the ratings for these albums are not based on the marks given to them when I originally reviewed them. If that was the case, the latest Ocean Colour Scene album would have probably been in the Top 20. Instead, I have spent the last month or so revisiting all my favorite albums from this year and re-appraising them...Numbers 50-41 are HERE.Numbers 40-31 are HERE.
Numbers 30-21 are HERE.Numbers 20-11 are HERE.
10. Zoo Zero - Zoo ZeroTerms like "drone rock" and avant garde can make some think of boring, tuneless noise with no rhythm or structure. On the contrary, London four piece Zoo Zero are sharp, energetic and exciting while also capable of tripping into weirder, more cosmic places. Their sense of melody and how they utilise it throughout these tracks is what makes them stand out from the rest. “I guess we’re interested in music where noise and weirdness clashes with melody,” says singer/guitarist Tom Pinnock. “It’s way too easy to make some avant-garde, instrumental record – it’s harder to combine the unexpected with actual songs.” They accomplish this mission with a fat-free collection of songs that set stimulating punk energy, post-rock dynamics and droning noise to well crafted, ear-catching tunes, driving rhythms and spacey freak outs. As equally inspired by the likes of XTC and Wire as it is by Sonic Youth and Can, it's complex when it needs to be, without the tiniest hint of pretentiousness.
The awesome 'Fraktion' confirms their arrival by whipping up a storm, as an accelerating motorik beat brings an element of krautrock into the picture, and the tense vocals highlight a somewhat manic quality. The guitars are also key elements; one second they're ringing out harmoniously, the next they're urgently tearing into furious riffs, and by the end they're growling, squealing and crackling in amongst a howl of feedback. The propulsive bass pounds away at a single note for long periods of time, making for a greater impact when it lifts off for the infectious instrumental hook. One of the best songs of 2013 without a doubt. An enjoyable 32 minutes absolutely fly by, and its fat-free length means you will often want to press the play button again after it's finished. It's too unusual to be able to memorise after one or two listens, but brilliantly intriguing enough to make you want to give it plenty more of your listening time. A fine debut from a truly exciting new band. Full review HERE.
Stripping away the last few decades of electro music and building a new alternative from scratch, when sources are restricted, a greater degree of imagination has to be applied. And imagination is a vital ingredient for great music, a fact underlined by the sounds Metamono create. Following on from a couple of excellent EPs, the debut album 'With The Compliments Of Nuclear Physics' is a fascinating and highly rewarding record that spans four sides of vinyl, reflecting four different sides to the sound of these visionary electronic musical scientists. Returning to the creative processes employed by game changers like Stockhausen, Raymond Scott, Joe Meek, Thomas Leer and Robert Rental, Metamono also share the experimental mindset of people like Can (whose Irmin Schmidt is Podmore's father in law) and Cabaret Voltaire as well as the musical instincts of acid house pioneers and early Mute Records artists, while somehow managing to craft a style as fresh and modern as that of Fuck Buttons or even many of the acts on Warp Records. All of this remarkable, often improvised music has been created using their "Instrumentarium", a mass unit of second-hand or hand-built vintage analog synths, ring modulators, phasers, stylophone, theremin, sirens and transistor radio. Much of their equipment has been recycled from old parts from different instruments, making for a healthy amount of "found sounds"
Firstly, this record is not designed to be listened to in one big helping. It's split into four sides because each one should be listened to separately. Much of it is like how we imagined the future would sound years ago, and ironically it's made by instruments from the past, most of them salvaged from the scrap heap. Contemporary ideas show that far from being Luddites or mere retroists, they're not looking to return to the past. Instead they're building something new out of old bits in order to make creative progress for the benefit of electronic music's future. This is why, despite never leaning on many of the less-skilled techniques used in electronic music these days, it never sounds dated and certainly never comes across like some sort of novelty. Part of their manifesto reads "Metamono will restrict and limit the sound sources and techniques available to us in order to liberate the imagination." Mission accomplished. Full review HERE.
Dhariwal and Romijn's voices and guitars correspond beautifully on the bleak swoon of 'Sans Soleil', an essential moment of shoegazing magic that precedes the LP's colossal centrepiece 'Burn Me Clean'. With a heavy sense of a shamanic ritual taking place, to call it "dark" would be a major understatement: it's absolutely fucking apocalyptic. It's also a powerful example of how exploration can create something truly magical, and each one of its 12 minutes and 58 seconds are vital. This is the sort of thing that the term "mind blowing" was invented for. It takes its time to go exactly where it needs to, and uses its space to make each note resonate with maximum impact. The careful structure, impeccable precision and patient timing of the piece allows the intensity and mood to build into one of overwhelming devastation, as squealing, earth-shattering guitars come roaring out of the darkness. 'Ghost Mountain' is a truly immersive piece of work that captures the mind and takes it on an extraordinary trip. By fine tuning their ideas, the band have unlocked a sound of their own and made a memorable record that has moved them into a higher league. Full review HERE.
It's the 30th Fall studio album overall, the first since 2011's aggressive, sometimes messy'Ersatz GB' and it begins in a brighter, cleaner but no less exciting manner with the brief 'No Respects (Intro)', where the sound has clearly taken a turn towards surf-rock. It has no vocals and the style is completely at odds with the previous album, yet you could probably guess that it was The Fall. By the time the raucous'Sir William Wray' bursts in there's no mistaking who this is, as a heavily distorted Smith vocal snarls through the speakers accompanied by a kick-ass riff, noisy synths, intertwining guitars, boisterous "hey!"s and the propulsive punch of the rhythm section. Quite clearly, the band sound tighter and more confident than they did on the last LP. It's hard as nails, yet none of this LP seems to be in the same thrashy, metal vein as 'Ersatz GB', instead we are presented with clearer production and a style that is livelier and more melodic in places. It revisits The Fall's past brilliantly while continuing to push things forward in an uncompromising and challenging fashion. In terms of Fall albums it's not quite a classic, but certainly one of the strongest of the last decade or so, and easily the equal of 2010's acclaimed 'Your Future Our Clutter'. Forever destined to divide opinion, if you don't like The Fall, it will make you dislike them even more. If you are a fan, chances are 'Re-Mit' will not disappoint. Full review HERE.
Then in January, on the day that Bowie turned 66 years old, the world was stunned at the instant arrival of a new single and the announcement of a brand new album. How did the world's biggest star manage to record an LP in complete secrecy over two years, without rumours getting out and news being leaked on the internet? In an age of instant and easily accessible information, this true icon had pulled off a masterstroke. The musicians involved in the record were all made to sign non-disclosure agreements, and even producer Tony Visconti had to keep his mouth shut whenever asked about Bowie's activities. This comeback album was secretly recorded, sensationally announced, and has been heralded by a storm of hype whipped up by the music press, clamouring to welcome back this unquestionable legend. But is it really the "seismic" work that Bowie needed to come out of retirement to give to the world? It's more adventurous than the three previous albums he made since the 90's, but his ideas sound more fully formed and carefully thought out this time round. In fact this could very well be his most diverse collection of songs. Sometimes you have to look below the surface to understand the genius of this record, and trying to get your head around the lyrics is like venturing into a mental minefield. Perhaps being out of action for so long and watching the world of popular "entertainment" descend into vacuous blandness might have awoken something in him that had been sleeping for a long time. Perhaps before 2004 he was too concerned with constantly moving forward and making the next record to possibly take a break. Too busy to take a look back at his entire life, career, and his musical journey through the decades. After taking the time out and making sense of his past, he's also aware that the weight of his history is always going to be on people's minds whenever he releases new music. But this album's revisiting of his past is not about nostalgia, it's about placing references to previous works in the fresh context of new songs.
He doesn't ever sound like a "museum piece" over the course of these 14 tracks, in fact he sounds more hungry and more relevant than he has done for decades. To say it's a pleasure to have him back would be an understatement. Full review HERE.
Bullets opens the album, building from downbeat Northern misery and a tune that hints at The Doors' 'People Are Strange', before swinging into a Tom Waits-like burlesque stomp. With its dusty night time moods the (almost) title track 'Let Them All In' is a laid back grower, while the magnificent 'Hold Back The Night' is a perfect example of how I Am Kloot have progressed over the years. After the resigned, brooding bitterness grows more powerful with each verse, it's soon pushed up to dramatic levels with the arrival of a sweeping string section that wouldn't sound out of place in a Bond film. 'Forgive Me These Reminders' closes the record on a bittersweet, heartfelt note, a charming low key moment so beautiful it could make a grown man cry. Fitting together wonderfully, Let It All In sees John Bramwellmoving in to a higher league in terms of songwriting, a strong and consistent album that provides I Am Kloot with their definitive work. Full review HERE.
But what we don't get is a group simply relying on a sound similar to that of their best work to try and win back what they once had. Sometimes a band can end up making a poor record and mistakenly believe that it's good because it's in the same style as their most celebrated work. The Oasis album 'Heathen Chemistry' is a prime example. But thankfully Suede haven't fallen into that trap. These songs just remind the listener of the old stuff because it's packed with just as much heart, guts and epic bursts of emotion. It's the sound of a group who have somehow rediscovered the magic. Brett Anderson's vocals are positively awe-inspiring, and it's a fine way to return. 'For The Strangers' produces one of many fine choruses, all underlined with magnificent soaring guitar lines. Upon hearing this particular track for the first time, I couldn't help but smile. It was like the last 17 years never happened. The massively infectious 'Hit Me' delivers electrifying glam riffs, a simple and hugely addictive chorus and an epic "la la la la la" refrain will no doubt have audiences punching the air and singing at the top of their lungs. They sound like they've reignited that spark and rediscovered what they once thought was lost forever. Overall it's not quite up there with the truly perfect'Coming Up', but its best moments provide us with something we thought we'd never hear again: Suede producing some new classics and proving that their glories aren't all in the past. Full review HERE.
Introduced by a frightening German android, the opening 'Leder' leads into 'Reaper''s punishing disco textures, where bellowing synths, a pounding 4/4 beat and tribal percussion form the basis for a dramatic piece evolving into powerful, industrial post-rock. 'The Servant' delivers awesome suspense, frazzled analog synths and fucked-up trumpets that sound like swarms of wasps, while the mighty thump and mechanical menace of 'Black Strategy' shoots brain-frying sounds through your eardrums, frightening yet mesmerising with its hallucinogenic power and entrancing Moroder-esque synths. Just when you think it can't get any bigger, it does just that and continues to do so throughout every astounding minute, with the brass elevating it to new atmospheric levels. Sounding like fists being hammered against walls, the brutal 'All Human Is Error' reverberates with hypnotic power and deep bass, thriving on the thrilling sensation of noise traveling from ear to ear. Halfway through the closing 'Responder', the mood grows heavier as it threatens to erupt so forcefully, you're scared of what it might do to your ears. As its apocalyptic robo-march climaxes, it serves as the perfect ending to an astonishing album, but 'Master' is more than just an album. It's an experience.Do yourself a favour and do this record justice by playing it through a good pair of headphones, and then you will be able to feel the full power of the Master. People complain about the lack of unique, original music these days. There's no shortage of that here. Enjoy. Full review HERE.
'Understated' is an apt title for an album by a man like Edwyn Collins, for his influence is exactly that. People often talk about how bands like The Smiths and The Stone Rosesinspired generations of indie groups, butOrange Juice were also very much pivotal in their own way. Collins was the singer of this group, and after their split embarked on a solo career that produced a number of incredible albums. But in 2005 his life was shattered after suffering multiple brain haemorrhages, a trauma that many people don't bounce back from. It was a relief that he survived the tragedy, and just knowing that he was still with us was a blessing. While the man may have lived to see another day, many people assumed that we would probably never hear the musician again. But Edwyn Collins doesn't give up that easily. And here we are eight years later listening to his new album, his second since his return to doing what he loves most. Edwyn's recovery has been partly been the result of his sheer determination to carry on making brilliant music, something which helped him rebuild his life, and in many ways his thoughts.
For 2010's 'Losing Sleep', a range of high profile collaborated were enlisted to help their hero get back on track after the major setback he suffered, and after re-acquainting himself with music again, this latest album sees him take center stage. It's perhaps his most personal record as well, several tracks reflecting on the events of his life in a most powerful and open way. It won't be long until you're singing along to the choruses, or maybe you won't be singing along because you'll want to concentrate on the power of that voice.Opener 'Dilemna' kicks things off with smart horns and a simple yet massively infectious tune, while the strutting 'Baby Jean' tells of how his art has kept him going. The lively 'Carry On, Carry On' is a joyful piece of Motown-infused soul that doesn't take for granted the simple pleasures in life, and elsewhere songs like the poignant, bruised 'Down The Line' push his vocal abilities to the limit. "Just understand I've lost some ground"he sings, highlighting the fact that he's not trying to hide anything from the listener. While some tracks openly deal with his struggle, others look back to his youth and his early days as a musician, in fact the humbly touching '31 Years' does both. But not once does he sound like a man playing for sympathy or feeling sorry for himself, as the truly buoyant northern soul stomper 'Too Bad (That's Sad)' demonstrates, a classic break up song put to the most uplifting of musical settings.
Listen to the album in full HEREAnd then buy a copy HERE
