60 best electronic music albums of 2021: Alessandro Cortini, Andy Stott, Arca, Caro C & Cid Rim

The Top 90 becomes a Top 60. Fat Roland's Best Electronic Music Albums of 2021 presents five more brilliant albums:

Alessandro Cortini – SCURO CHIARO (Mute)

The Nine Inch Nails keyboardist custom built his own synthesiser for this solo album. Quite frankly, that's just showing off. It's a droning, peaceful work in which synth lines follow simple paths before building into something more intense: the micro-rhythmic climax of Corri, the buzzing swarm of Sempre. A pleasing listen, and no doubt benefitting from his recent work with the analogue master Daniel Avery. Custom built? Pffrt. Couldn't just get a Casio from Argos like a normal person, could he?

Andy Stott – Never The Right Time (Modern Love)

Is Andy Stott is rhyming slang for (a) beats so hot, (b) techno hotshot, or (c) Westlife he's not. Answers on a postcard to the usual address. Always innovative, this Manchester-based producer strikes a perfect balance between the ethereal and the electronic. Cocteau Twins wooziness against metronomic percussion. Dusted Autechre-isms against heavenly chords. Ghostly vocals courtesy of Alison Skidmore. And every album cover in black and white to match the industrial brutalism of his music. I like this a lot.

Arca – KICK ii (XL Recordings) 

Bjork’s favourite experimentalist released, like, a billion KICK albums at once. KICK i was last year's lockdown album. And now we have four more (slightly less than a billion, sorry). KICK ii does a kind of sun-bleached reggaeton. KICK iii is full of Spanish vibes. KICK iiii is all ghosts and witchcraft. And KICK iiiii does the hushed ASMR thing that sets my teeth on edge. I'm letting number ii get a place in my list because it's surprisingly accessible considering the contorted audio of her previous work. Also it's got a pretty impressive collaboration with Sia.

Caro C – Electric Mountain (self-released, I think)

Caro's fourth album was inspired by rock climbing – keen-eyed audience members will spot the use of a rock xylophone and carabinas in her live performances. In Electronic Sound, I called this a "cosmic space boogie", and it really is as uplifting as that sounds. "Motivational vocals add a maverick attitude, declaring 'we are magnificent!' and 'you are mighty like mountain'. This is no stock Insta-inspiration: Caro delivers the vocals like melted cheese over a toasted bed of ever-loosening percussion." Definitely worth a peak-- er, I mean, peek.

Cid Rim – Songs of Vienna (LuckyMe)

Previous album Material was lauded for its day-glo instrumentals, so it's a brave move for Cid Rim to switch to a more mainstream direction. Well. Kind of. This mix of gently psychedelic pop and club-friendly floor fillers are funk-lite, full of joyfully weaving synth lines and Animal Collective-happy songsmithery. Cid Rim is still having fun in the studio: tracks like Purgatory have LuckyMe style rhythmic drops, and there's pumping bass a-plenty. As radio friendly as ever: no bad thing.

This is part of a series of the Best Electronic Music Albums of 2021. Read it all here.

Best electronic albums of 2019: special mentions

Soon, we'll get our teeth into the top 20 best electronic music albums of 2019, like a narwhal savaging an unsuspecting squid. But first let's get some special mentions out of the way.

When I compile my list, I have a set of fuzzy rules in my head. To be included, an album must be in the vein of modern, post-Aphex electronic music, but that leaves things pretty wide open. Nothing too poppy, although the list has pop elements. Don't genre-jump into hip hop, although the list will certainly have elements of this too.

I also try not to include compilations, although watch me break this rule almost immediately with the album I've placed at number 20. This does mean there's no space for Burial's Tunes 2011 to 2019 (Hyperdub) nor for Autechre's Warp Tapes 89-93.

I've also been strict about the definition of an album, so I'm sadly not including the return of Andy Stott on the EP It Should Be Us (Modern Love) nor, controversially, am I including Underworld's spectacular and impressive Drift project because there's so much of it, it would have ground this process to a halt.

And finally, I have a new rule: if I don't like it, I won't mention it. In previous years, I thought it was important to be comprehensive and I included in my longlist albums that I wasn't interested in but were important enough to mention. As if I this site was some kind of electronic music almanac rather than just a daft writer in his underpants mashing a keyboard with his fists. Why recommend something I'm not bothered about?

So from now on, if I'm not keen on it, it doesn't get a mention. Sorry, Tycho. Sorry, DJ Shadow.

Scroll the full best-of-2019 list here (as and when it appears).

Also-rans: techno tryers making all the right noises

Still awake?

Not all techno can make it into my final list: it’s the taking part that counts, right? Here are some more also-rans as we count down the best electronic music of 2016.

Maybe I should have given more time to the sonic harsh-tronics of Andy Stott’s Too Many Voices (Modern Love), him being a former chart-topper round these parts. There was also some storming techno from A Made Up Sound’s A Made Up Sound (A Made Up Sound) – band, album and label nicely uniform there. Thug Entrancer moved from footwork to acid on the likeable Arcology (Software), and JK Flesh moved my bowels with the dirty jackhammer techno of Rise Above (Electric Deluxe).

One of my most listened albums of this year was Death In Vegas’s 1997 album Dead Elvis. Which is a shame because it overshadowed his comeback album Transmission (Drone). It didn’t quite transmit enough for me.

I enjoyed the paddy techno of Roman Flügel’s All The Right Noises (Dial Records). Prolific Icelander Bjarki put out three techno collections on the Trip Label: too much for me to absorb for this list. And I liked Abstract Division’s dancefloor-ripping Contemporary Spaces (Dynamic Reflection). This was technically an EP but it felt very much album-esque. An excuse I will use again, controversially, later on in this album countdown…





Scroll all of the best 2016 electronic albums by clicking here.

Listen: Andy Stott's New Romantic (which doesn't have Too Many Voices (see what I did there))

Ah, the desolate sound of drizzly Manchester.

Shut up, it's quite nice here.

Anyhoo, here's a local artist by the name of Andy Stott, who you may remember from having the best electronic album of 2012. His latest long-player on Manchester's Modern Love is Too Many Voices, and here's a distorted slice of beatery cut called New Romantic - with exactly the right number of voices. Have a listen.

I'm going to stop writing #choon at the end of these short pieces because it looks a bit nobbish. Just click on the "new music" tag below or the big green box at the top of the page. IF YOU CAN SEE IT THROUGH ALL THE DRIZZLE.

Best electronica albums of 2012: number one

What was the best electronica album of 2012? Stephen Hawking's Olympics follow-up where he sang the War of the Worlds soundtrack with Swedish House Mafia? Something the Mayans cooked up with a tub of LSD and a rack of 303s? Or is it something I'm about to spew out of my blog gob? I think you know the answer.

Firstly, let's get stuck into a final selection of also-rans.

[Read other parts of the top ten here: numbers 10-8; numbers 7-5; numbers 4-2. Click here for the whole lot.]

Also-rans

Some of this year's best electronic moments weren't in album form. Burial and Four Tet's haunting reunion for example. The Underworld and Orbital moments at the aforementioned Olympics. Anything Chvrches did.

Back to the albums. I excluded Plug's Back On Time (Ninja Tune) from the running because it's an archive collection. Still love him though. Very much in the running was Gonjasufi's MU.ZZ.LE (Warp), which spent a lot of its time firmly lodged in my brainworm's little ears and would have been in the top ten if there hadn't been so much competition.

Albums that didn't grab me so much but are still worth your time are Shed's powerful The Killer (50 Weapons), the sprightly disco of Lindstrøm's Smalhans (Feedelity) and the beautifully organic Voices From The Lake (Prologue) from Voices From The Lake.

The lie

Time for the number one album of 2012. Except it's not a number one. It's a joint number one. Two halves, if you will. This renders this entire top ten numerically nonsensical, but I tore my wig out with this year's choices and there isn't a single one of these 11 albums I can omit from this listing. Ten? Pah. Everything is a lie. This is the whole Bobby Ewing in the shower thing again. Stop reading, switch off your computer and get some fresh air.

Still here? Okay then. Here are the number one albums of 2012. They're both Manchester artists. I assure you, this is a co-incidence...

 1a - Andy Stott - Luxury Problems (Modern Love)

If Andy Stott had a more interesting name, he’d be Thrumming Basslord Of The Universal Spheres or Mr Monged Out In The Corner Of Sankeys Soap Chewing Himself A New Ulcer. But no, he’s called Andy and he’s operated well under this reviewer’s radar with two albums on Modern Love and a couple of deep-as-hell dub techno EPs in 2011.

It seems for this third album Luxury Problems (Modern Love), he stuck a microphone under the nose of his piano teacher – or possibly nicked her singing-into-hairbrushes tapes - and littered his record with sampled loops. Snippets of phrases are ever-present: always catchy, always heavenly, often rotating in mad gibberish.

But then there's all the stuff lower down. Opening track Numb starts off all very nicely with her layered vocals, but when the track breaks down at the two minute mark into sinister voice cymbals followed by a bass drum with such gravity it would rip the sun from the clouds, this becomes something quite astonishing. Mid-tempo snares and industrial scrapes punch through much of the haze, but this is never far from a terrifying underground thunder (listen to the rising terror of Expecting). The power. The sheer power.

It's a dub techno album that's more versatile than you think, from Lost and Found's angry rumbles and the pure sub bass of Hatch The Plan, to the comparatively brisk house of title track Luxury Problems and the junglism of Up The Box. Stott is in no rush and has the confidence to keep his ideas in check, only opening them up to the listener at exactly the right time. Luxury Problems is measured, like a movie with perfect pacing. The result is addictive.

Like many of the best albums this year, it's not just techno. It's ambient, it's industrial, it's somehow reaching beyond the chalk lines that demarcate EDM/IDM sub-cultures. It's an immersing soundtrack that speaks of the stark Manchester mills and alleys in which this album was no-doubt made. Buy it. Stream it. Be awed and afraid. If you've got Luxury Problems, I feel good for you, son.

1b - Lone - Galaxy Garden (R&S)

Can I review Lone's Galaxy Garden (R&S) without using the much-trodden metaphors in other reviews of strange underwater worlds and video games, each one suggested by the music's contrasts of rich fluidity and punchy simplicity? The day-glo album cover itself suggests a hyper Mario submarine adventure full of bubbles, bleeps and electric octopuses.

Lone is no stranger to this here blog. In 2009, I included Ecstacy and Friends in my albums of the year, rather bluntly calling it Goldie's Timeless without the d'n'b. In 2010, he missed out but still lured me with his lusciousness. And now, here he is at number one. Galaxy Garden is his first album for R&S, a classic Belgian techno label that has more recently become home to James Blake, Juan Atkins and Delphic, and it deserves to be listened to as a classic.

Layers and layers of super magic sparkle dust are sprinkled across the silky smooth instrumentation on this album. Elastic rave chords and acid muzak are washed in filtered chords on The Animal Pattern, while the sweet and delicate Raindance delivers choppy techno and soaking wet snares. There are waterfalls, steel drums and tabla. It couldn't be more lush if you lay naked in the dew grass in a shower of bubbles. Wait. That sounds weird. Let's move on.

Beyond the futuristic fat pads and multi-coloured vibrancy of Galaxy Garden, we also have an album of old influences. Lone has mainlined not only into the glassy hyper-charged world of Rustie, perhaps its most immediate modern comparison, but in places there is Underworld, Kevin Saunderson, early Warp and Tresor. Most notably, the gorgeous glow of tracks New Colour and Dream Girl/Sky Surfer stands as a tribute to the kings of smooth, 808 State. In-your-face gorgeous.

I had this album on 'random' recently. There was a moment as Cthulhu faded away - the fifth track on the album but late on in my listening - where I took off my headphones, pulled out a chair from the corner of the room and let the memory of the tracks echo around my head. It sounded like I was listening to my own past. All the techno I had ever loved was here. That, my friends, is some endorsement.

[Read other parts of the top ten here: numbers 10-8; numbers 7-5; numbers 4-2. Click here for the whole lot.]

Further Fats: other amazing lists on Fat Roland On Electronica.