Will you please, please just shut up?
Some people need to learn less is more. One of those people is Tim Exile (photo: Stephen Pariah), whose new album Listening Tree is out in a week or two.
Exile, when he was just known as Exile, had a fearful reputation as a god of techno. Debut album Pro Agonist raged with killer snares and beat-pummelling Squarepusher-ness.
Fast forward to 2009, and Tim Exile's Listening Tree is crammed with bizarre rants about spiders webs (When Every Day's A Number) and one-way streets (Bad Dust). The "dreams of a lifetime wrapped in plastic" line on Carouselle is pure Mighty Boosh.
Squish the fussy vocals underfoot, and Listening Tree is beautiful, intricate, thrilling and theatrical. I just wish he would tone it down. The analogue ferocity is here, but it's on a leash and it's wearing those annoying white glasses worn by people like Sam Sparro.
Another album now. And just to show I'm over my grouchiness I displayed on Sunday, let me be sparkly and fairy-like for a moment.
Röyksopp's Junior is a magical world of glittering synthesisers and heavenly vocals. It chuckles where other albums growl, and soars o'er melody and harmony where other albums grate and scrape.
The album is as middle-of-the-road as you'd expect from the Bergen boys, and it is all yay-and-light where Exile is boo-and-dark. But the production is as pristine as Exile's in its own way: it sweeps you up on a giddy, unscary rollercoaster especially designed for princesses.
For example, the sawing synth line on third track Vision One is the most delightful thing I've heard for ages. I could just do without the Air-style cutesy vocals. Which, of course, brings me back to the theme of this post...