15. Flashmob - Vitalic
(Pias 2009, Vitalic)
Dance and electronica acts across the world are often troubled by albums, while a good first offering or a pair of club bangers may be enough to guarantee sales those looking for true critical credibility and historical relevance are always faced with an up hill battle. After the brilliance of the more revolutionary than it first appeared OK Cowboy, I'm sure many wondered if they'd ever hear from Vitalic again or whether his debut would collect dust in all the trendiest of record collections. Thankfully four years later Vitalic returned to the fold with a second full album, and for once in the shallow world of techno this truly was a "full album". Carefully crafted to achieve emotional highs and lows, and create those perfect fist in the sky moments, unlike fellow legends Daft Punk Flashmob was not filled with gloried samples to be thrown in the mix when played live, this was an album of thirteen meticulously arranged tracks. This wasn'tjust fodder for a live show this was an album that if played in full would create the perfect experience. While Vitalic may have achieved the mighty task of creating a dance LP where you don't find yourself reaching for the skip button every other moment, he needed to do more, he had to supply a plentiful supply of club bangers and euphoric climaxes. Luckily those big fist in the air moments are in plentiful supply, the album opens with the huge riffage See The Sea (Red) which subside divinely teeing you up for the near deafening explosion of pure noise that provided the crescendo for the albums masterful title track. While it's always the power of the noise and the sheer volume of the electro riffing that allows Vitalic to rock our world he still finds space to show of some Daft Punk-eske pop sensibilities on the ironically down beat One By One, and some low key electro fuzz steals the show on See The Sea (Blue). However the albums undoubted highlight comes in the form of the irresistibly groovy and surprisingly hilarious Terminator Benelux it maybe the most convention bass line on offer but it never fails to thrill especially as it drops into the gorgeous Second Lives. All in all Flashmob is an album of wonderfully crafted electro noise and slick grooves perfectly combined to create a fast following and exhilarating experience for it's listeners.
14. Psychic Chasms - Neon Indian
(Lafse 2009, Alan Palomo)
Whenever anyone talks about Neon Indian and Psychic Chasms the whole discourse becomes lost in some overall contrived discussion of the eighties, what it meant to us, how it shaped our child hoods, and basically this retrospective nonsense either ends up with a kind of regretful longing or a uninteresting critical cultural dissection. Afterall anyone over the age of seventeen can point to a Snes, a game boy, and can recite the classic eighties movies, innovations and more importantly aspirations, but all this discussion seems to miss the point. Retrospective day dreams of the past will always stir emotions, they remind us of our childhood, and ultimately either disappoint or enthuse, but really if you can't see beyond the Mac tools and Nintendo day dreams screw writing a review go listen to the Nostalgia Critic or The Angry Video Game Nerd and have some fun save yourself the bother. Because while Neon Indian's reference aren't remotely well hidden, nor are their influences (Ratatat and M83 anyone?) this is an easy album to nit pick. Yet the same could be said of The Horrors and Girls but few sought to criticise those LPs, because they we're wowed by the music, and like those afore mentioned acts Neon Indian never fails to wow. In just half an hour of music they create an album that flows like an artificial dream we're drench in sunlight and the moons glow but it's from some alien source, fresh from the Starship Enterprise's holodeck. Psychic Chasms is an album of light electronic psychedelia that allows you to lay back and take it easy, what it may lack in sublty and artistic nuance it comfortably compensates with a never ending supply chill out grooves and hazy hooks. It also avoids that most deadly of pitfalls for chill out music, it never bores, it has enough jagged effects and ninento bleeps to make sure you're brain stays thoroughly switched on as you loose yourself in a Deadbeat Summer.
13. Album - Girls
(True Panther Sounds 2009, Chet White)
If there's one act above all others that it's chronically uncool to be influenced by in the 21st century it's Elvis Costello, in many ways this is a great tragedy, as Costello's first three albums are sublime exercises in weighty emotional but perfectly crafted pop, but try getting one of you're hall mates at uni to give him a spin, and marvel at the blank expressions on their faces. Girls take it a step further, not only do they have more than a hint of the Costello Album has a strong dose of The Beach Boys and a positive whiff of Paul McCartney, inbetwixt the odd dabble with shoegaze (which miraculous has become the sound of 2009?). However, while these reference points may appear rather lame on paper; on record Album is tremendous with it's neat and subtly arranged musical sweeps it pulls of the remarkable feat of seeming both incredible cosy and refreshing daring at the same time. Album's true strenght lies in it's song writer and lead vocalist Christopher Owens who manages to combine feel good sunshine indie pop with intense internal neurosis. The album is overwhelmed by tragedy and heartbreak and Owens voice carries a surprising resonance. When he allows his inner depression pour out unflitered the result is a track like Laura Marie which manages to outstrip the bare emotional pull of Glasvegas self titled debut, which is no mean feat. Elsewhere Owens smart sharp but never overbearing lyricism combines with the sunshine pop to create a record of irresistible charm. Lust For Life kicks off Album and feels like a mission statement "Oh I Wish I Had A Boyfriend, I Wish I Had A Loving Man In My Life, I Wish I Had A Father, Maybe Then I'd Turn Out Right, Now I'm Just Crazy, I'm Totally Mad, I'm Just Crazy, I'm Fucked In The Head" his scathing depressive sarcasm is beautiful offset by a soft ooh ahh melody and it's this contrast that encapsulates the record as a whole. From then on the album builds to the divine seven minute centrepiece Hellhole Ratrace the albums true work of genius and emotional tipping point. Despite what Glasvegas taught us in 2008 it turns out in 2009 that deepest dispear can sound surprisingly dreamy, and thanks to Girls it turns out that old themes and older references presented in a new light can rock you're world allover again.
12. Two Suns - Bat For Lashes
(Parlophone 2009, David Korsten)
With so much blinding noise populating the list so far it feels almost heavenly to hear Natasha Kahn tender and chilling voice power seductively through my head phones. Two Suns opens with a track by the name of Glass listening to it now, on it's own merits this one track makes me regret not placing this sweeping and soulful album atop my list. Riding on a thuding drum line and some ethereal sweeps Glass builds a tumultuous strength, while Kahn's voice grows in stature it never threatens to blare or scream, yet the unmistakable emotional pull has more power than the loudest cry or the sweetest croon could ever hope to achieve. This power; a mix of tribal rhythm, feminine fragility meets strength and a taste of the surreal elements of nature captured in the best folk music; are all masterfully displayed by the albums artwork, it tells you all you need to know about this record, a perfect blend of imagery and musicality.
Natasha Kahn's influences aren't particular well hidden, references to all of the most power leading ladies of the past twenty years are present, a smidge of Bjork, a dab of Tori Amos, and breath of PJ Harvey, are layered alongside a touch of Scott Walker, to create the most beautiful album of the year, and while at times Two Suns may not feel remarkably fresh, it always feels staggeringly affecting. The arrangements are constantly beautiful, and the peaks take on a near spiritual dimensional raising the sheer emotional pull of Kahn's voice to levels that seemed unattainable on the inconsistent Fur And Gold. The imagery of the sun and moon are strong across the entire album, it has a natural, sensual pull to it, it feels earthy and dreamy, human and yet mystical at the same time without ever threatening to feel forced. It seems tragic that Florence And The Machine continue to soar towards super stardom while Two Suns and Natasha Kahn continue to shy away from mainstream attention, thankfully something tells me this lady won't be going any away anytime soon.
11. Humbug - Arctic Monkeys
(Domino 2009, Josh Holme & James Ford)
Oh boy oh boy those Arctic Monkeys boys sure do know how to deflate expectation, but perhaps in 2009 they took it a step too far, what should of been one of the years most anticipated albums arrived with more of a whimper than a bang, a series of low key online broadcast provided the hype, and unless you were paying particular attention, I wouldn't be surprised if you missed out on Humbug's release all together. This low key no glitz no glamour approach seemed to suit the Monkeys down to the ground, as they offered up an album that was destined to alienate much of their core fanbase. This I suspect is what they wanted, less bums in seats but a more discerning more loyal set of fans, less pressure to live up to, less expectation and more artistic anticipation of their next offering. Humbug may have appeared a mild attempted at commercial suicide, after all while this felt a million miles from Whatever People Say... the song writing remained too strong to even consider Humbug a failure.
Those who stuck around saw the earthy friday night thrills of Whatever replaced by a deeper more accomplished sound, Humbug was a rich album that brooded, grooved and most importantly it took it's time. There was no rush, no urgency, tracks like Crying Lightening and Potion Approaching were allow to linger an develop, the climaxes were no longer a series of lightning fast punch lines in their stead were lush groove laden sweeps. This was music that was impossible to mosh to but music that you could wrap your soul around. Alex Turner's lyricism became rich, heartfelt and moving, rather than capturing the moment he was conjuring up great imagery. The album would be carried by three tracks whose power remain undeniable, and all three were sweeping open ended ballads, the next evolutionary step from the gorgeous 505. Secret Door, Jeweller's Hand and the mind blowing Cornerstone were the Monkey's new emotional core, rather than jumping up and down and yelping "You Know Nothing" Monkey's fans found themselves swaying hand on heart and crooning "She Swan Out Of Tonight Phantasm" and "I Smelt You're Sent On The Seatbelt, And Kept My Short Cuts To Myself". So they may have lost a few thousand fans, but Humbug shows the tell tale signs that Alex Turner has the potential to become a true time out of mind, a once in a lifetime songwriter, and I for one cannot wait for their forth offering.
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