Best electronic albums of 2019: mine's a 99! Mooo!

As my top ten favourite 2109 electronic music albums thunder across the internet like a pack of cows chasing an ice cream van, let's take a look at some ambient, classical-ish and pastoral albums that didn't quite make my final list.

Leading this longlist is A Winged Victory for the Sullen: the elegiac ambience of The Undivided Five (Ninja Tune) constantly reached for a perfect fifth chord: extra points for a track-title dig at Jacob Rees-Mogg. I liked what previous Fat Roland champion Clark was doing on his television theme album Kiri Variations (Throttle Records) – all a bit fancy. This year saw the joyous return of Telefon Tel Aviv with Dreams Are Not Enough (Ghostly International). Its track titles were to be read as a poem, but the true meaning came from the ever-expansive production design.

Also in my best-of-the-rest is Nils Frahm's All Melody (Erased Tapes), whose seventh studio album was classic Frahm with added trumpet. Parp! Tim Hecker gave us the rather coy Anoyo (Kranky), a brief ambient sojourn in which he was inspired, not for the first time, by Japanese gagaku music. And Nine Inch Nails keyboardist Allesandro Cortini picked up a guitar for the first time in his solo career and drowned it with spine-tingling analogue fuzziness on Volume Massimo (Mute).

The ever-reliable Bibio went back to bucolic on Ribbons (Warp), with strings so lovely I'd wear them as a vest. The fact that Panda Bear guests on Teebs' lush Anicca (Brainfeeder) tells you exactly what that album sounds like: dreamy and exquisite. And the delicate glitches of Leif's Loom Dream (Whities) made me feel like I was getting razzed on fazoomy on a glacier's edge. Whatever the heck that means.

Bibio: music for a snowy day

All the snow fell from the sky and now everything's white.

But not good white. Not the kind of white you can colour in with a crayon like in a book. This is a cold white made of sky fluff. You just have to look at it and wait for it to turn to slush.

In honour of all the snow everywhere, here's a haunting video by Bibio. It was posted on Christmas Day last year, which definitely was not snowy, and is from their ambient album Phantom Brickworks.

Listenable new video gunk from Warp Records

No explanation needed, really. These are all from the past couple of months, and each chosen because they'll ooze melody right down your lug-tunnels.

Best electronic albums of 2016: big-name also-rans

Here are more people that didn't reach my final list.

If you spot holes in this top 20, that’s because some big names are missing. For example, you won’t find Katy B’s Honey (Rinse Recordings) because my usual listen-holes weren't streaming it. Or how about DJ Shadow’s The Mountain Will Fall (Mass Appeal), absent for an entirely different reason. That reason being: a snoozesome meh.

It was a shame not to include Loop the Loop (DEEK) by Bullion with its slices of scrumptious melody. Same for Bibio’s A Mineral Love (Warp Records) who are sounding more than ever like the BeeGees. I also appreciated The Gamble (R&S Records), an addictive noodly number from nonkeen.

And finally some miscellaneous treats for this particular also-rans section – yep, more of these to come. Have a listen to the retro techno disco of Prins Thomas’s Principe Del Norte (Smalltown Supersound), the playful electro of Letherette’s Last Night On The Planet (Ninja Tune), the post-punky Sport (XL Recordings) by Powell, and the one-off pop oddity that is Nicolas Jaar's Sirens (Other People).

There you go. Something for your noise receptors. More to come as the top 20 contines.





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

Best electronic music of January 2014

I know what's going to happen. I'm publishing this on the last Monday morning of the month, and in about two hours, Thom Yorke will suddenly release a track with Venetian Snares (or something) and it'll be number one by Sunday,

Daaaamn you, Yorkie.

Let's give this a go anyway. It's not quite the end of January 2014, and I'm resigned to missing great stuff out in error, but here is the pick of the best electronic dance music this month.

Also, I'm aware by numbering these in preference, I'm comparing single tracks with albums. Which is a bit like comparing a Dairylea slice with a juggernaut full of chalk, but, er, um, shut up.

The best electronic music of January 2014:

1 - MODERAT - LAST TIME (JON HOPKINS REMIX) (MONKEYTOWN)

Hopkins, who is no stranger to the number one spot on this website, goes slo-mo acid with devastating effect as this track morphs into an epic designed to hypnotise. Tip of the fedora too to Moderat, that Modeselektor and Apparat collaboration that bowled me over with last year's Bad Kingdom (video still pictured above)  Listen.

2 - MOUSE ON MARS - BAKERMAN IS BREAKING BAD (MONKEYTOWN)

Monkeytown acid again! A silly acid bath of a track, by which I mean 'acid bath' in a good way, not in a murderous way. It's dirty and trippy and it's good to have the mice back. Listen.

3 - ACTRESS - GHETTOVILLE (NINJA TUNE) (album)

If this really is Actress' last album, it's a bit of a party pooper. Shuffling and claustrophobic loop variations. He saves the more comfortable upbeat motifs for later. Glorious in its miserablism. Listen.

4 - KAUMWALD - HANTASIVE (OPAL TAPES)

Dark field recordings filtered through the anus of hell, droned into your veins like a syringe of diseased noise. An essential 12" if you like obscure techno. Listen.

5 - SHACKLETON - FREEZING OPENING THAWING (WOE TO THE SCEPTIC HEART)

Detailed, almost mathematical, percussion on this EP from dubstep label pioneer Shackleton. He allows the simple repetition plenty of space to tap little holes into your brain. Listen.

6 - LEE BANNON - ALTERNATE / ENDINGS (NINJA TUNE) (album)

Dense drum 'n' bass album scattered with a warehouse rave sensibility. I suspect this one will grow on me throughout the year. Listen.

7 - BIBIO - THE GREEN (WARP RECORDS)

Bibio's pastoral leanings faded on me a bit over the past few years, but this EP is loaded with beautiful melody. Listen.

8 - FALTYDL - DANGER (NINJA TUNE)

Check that LTJ Bukem sample on the A-side. On the flip side, King Brute is rough and gravelly: it sounds like a purring cat's inside your speakers and it has KNIVES. Listen.

9 - D/R/U/G/S - ECHORAVE

You can't go wrong with a bit of melodic dancefloor techno, and D/R/U/G/S does it better than most on this EP of collected muzoid scraps. Listen.

10 - VARIOUS - BANGFACE: NEO-RACE ARMAGEDDON (BANGFACE) (album)

Bangface scares me. It makes me long for Coldplay and cardigans and Watercolour Challenge. Actually, that's a lie. This is a December release but I've included it here because it is day-glo and stoopid and ace. Nice one, chop one, snorted. Listen.

Best electronica albums of 2011: numbers 10 to 8

Welcome to my annual review of the best electronica albums.

I must start dear reader, with an apology. I got it wrong last year: Luke Abbott's Holkham Drones (Border Community) languished at number three on 2010’s list, but repeated plays makes me think it should have taken the top spot. Oh well. Mount Kimbie ain’t giving their crown back.

So no pressure then. This year’s best electronica list is, if I may say so, utter brillsocks. Every album featured I love to bits, have slept with several times and have moved into a bungalow with. Before we lap up the goodness, let’s see some of the tracks I spat out. After that, we’ll crack on with the top ten.

[This is part one. Click here for part two. Click here for part three. Click here for part four.]

Some also-rans

Walls were darlings of the ambient community in 2010, so they went and ditched the driftiness and took up dance beats instead. Their album Coracle (Kompakt) was closer to techno and therefore closer to my heart, but it wasn’t enough to make the list.

Bibio scored highly in my best electronica review two years ago but 2011’s Mind Bokeh (Warp) seemed confused: their sub-Orson rock song Take Off Your Shirt was, well, like Orson. Meanwhile, Tycho's Dive (Ghostly International) was lovely, Zomby’s Dedication (4AD) didn’t quite do it for me, while I got Dave Monolith’s Welcome (Rephlex) for Christmas and haven’t had time to absorb it yet.

10 - Falty DL - You Stand Uncertain

You Stand Uncertain (Planet Mu) is such a complete world and yet, by all rights, it ought to be a disconnected mess of rave, house, r’n’b and techno samples.

Take Lucky Luciano. It starts with some slow-motion rave riffery, hypes it up with some breakbeat samba and “oooh yeah” vocal samples, throws in some frenetic funky drummer-ness and suddenly we’re in a watery world of 808 State techno followed by some drill’n’bass-lite. The fact that this one track holds together is a miracle, never mind the album as a whole.

I’m less keen when it gets too far down the garage path and I could do without the female vocal tracks: they feel too much like a bid for radio play. You Stand Uncertain works better in the abstract as repeated melodies work their way into your brain and hang around for the rest of the record, or when a new opposing theme drifts into the music as if uninvited and the whole records hangs beautifully in the delicate, titular uncertainty.

9 - Machinedrum - Room(s)

If Travis Stewart was an actual machine, he’d be a bit rusty around the wingnuts because he’s been in service now for ten years as Machinedrum, Sepalcure, Tstewart and Syndrone.

A brief flirtation with Glasgow’s Lucky Me record label oiled his creativity as he left behind his glitchy past in favour of more upfront electro. Room(s) (Planet Mu) is the full-flexing realisation of that change: swirling vocals and complex breakbeats abound.

In fact, that’s pretty much the motif of Room(s). Busy rave rhythms agitate echoing soul vocals, such as the “for real” refrain of Now U Know Tha Deal 4 Real, the auto tuned U Don’t Survive or the people wailing at the choppy synths in The Statue. A highlight is the additively repetitive She Died There. And with a lot of the tracks coming in at the four or five minute mark, Mr Drum knows how to structure things so that nothing outstays its welcome. Pitchfork wrote off this album as “devoid of its creators voice” – they couldn’t be more wrong.

8 - Kuedo - Severant

Three Planet Mu albums in a row: crikes.

I never thought a Carly Simon sample would end up in my annual album reviews, but it’s happened thanks to the fifth track on Kuedo’s debut album which sees the famous “la de dah de dah” refrain from the ‘80s songstress go to battle with a helicopter or at the very least, a synthesiser that dearly wants to be a helicopter. Next up, Burial doing Coming Around Again on a hovercraft?

Kuedo is a new name around these parts, but most will recognise him as remixer and producer Jamie Vex’d out of, um Vex’d. There is not much comparison, however. While Vex’d The Duo snarled and growled like some crazed darkstep killing monster, and Jamie Vex’d The Soloist sounded like Ninja Tune down a k-hole, the new Kuedo project has a different flavour.  Severant (Planet Mu) sounds like a Vangelis remix album. It is a landscape of yearning 1980s chord sequences (Truth Flood), cinematic analogue ambience (Salt Lake Cuts) and delicate melancholia (Visioning Shared Tomorrows). This album will pluck your heart strings until they shimmer.

[This is part one. Click here for part two. Click here for part three. Click here for part four.]

More crunch than Timbaland's cornflakes: Daedelus and Starkey album reviews

Daedelus 

The blurb from the label about Righteous Fists Of Harmony, an important new album from Daedelus, is hogwash, waffling about modernity and the end of an era and containing alliterations that would even make me blanche ("bygone battle", ""contemporary conundrum", "doomed to be destroyed by our ingenious inventions").

Thank goodness the album itself is technically much better. But despite Righteous Fists Of Harmony being the Brainfeeder label's first massive release, the liberal appropriation of disperate styles doesn't work.

On one album (it's a mini-album, really - more of an EP), we have sea-dog folk, Spanish guitar, claustrophobic psychedelia, soundtrack sweetness and pleasing loungecore thanks to the vocals of Laura Darlington, who also appears this year's much more successful Flying Lotus album.

What bugs me though is how dated it sounds when Flying Lotus has appropriated jazz to staggering lengths (note the free drumming on Daedelus' Tidal Waves, then compare it to Cosmogramma) while folk guitar techno has been nailed with stellar success on last year's Bibio album.

Daedelus should strip things down a bit: keep it simple, like the Ninja Tune video for Stampede Me, which does some really lovely things with red, green and blue.

Starkey 

Over to the world of crunkstep now, and Starkey's Ear Drums And Black Holes album has more crunch than Timbaland's cornflakes. It's an essential buy for Joker and Rustie fans and is already one of my Planet Mu highlights of the year.

Pick any track on Ear Drums and its more likely than not to sound epic, like it's the 'big single'. So hark ye the loping, grand chords of 11th Hour, the elastic band playfulness of Multidial or the synthesised orchestral fills of OK Luv.

The stark truth of Starkey is he isn't doing anything new, but America needs people like him to keep them oscillating in this strange, ghetto-crunk sub-genre that's genuinely giving a new meaning to the clubber's term "bangin'".

Top ten best electronica albums of 2009: part two of three

This is part two.   
For part one, click here. 
For part three, click here. 

5 - DâM-FunK - Toeachizown

80s boogie anyone? See if you can guess why I never featured this album on my blog before: he was a Warren G session musician, his album is full of smooth chord changes and all-out soul, and he runs nights in California called Funkmosphere (!).

So why number five? It's an electronic album that gets under your skin. The insistent boss drum, the spiralling synth themes, the genius tweaking of a filter here, the acid flare-up there. It's got a simple funk veneer, but scrape that away and you have an album of staggering inventiveness, bustling with analogue synths and vintage drum machines.

Quality *and* quantity... and it's a debut album. Listen to this YouTube sampler.  Buy the album from Bleep or Boomkat or Piccadilly.

4 - Hudson Mohawke - Butter

Turntablist-turned-aquacrunker Hudson Mohawke had one of the most anticipated releases of the year when Butter came out in October. But even though I said it would be "massive than a horse explosion", it seems the preceding Polyfolk Dance EP got more plaudits in 2009.

Butter was a dizzying mix of the low-fi and the futuristic, taking something as old fashioned as turntablism and making it sound synthetic, forced but accessible. Was it rave? Was it hip hop? Was that Prince?! No-one knows, but there was no doubt this was the defining sound of electronica in 2009.

Wrap your ears around ZOo00OOm. Buy the album from Bleep or Boomkat or Piccadilly.

3 - Dan Deacon - Bromst

Bromst was Dan Deacon's umpteenth album but only his second professionally released on Carpark Records. It's probably not bleepy enough for this blog, but it didn't stop me calling Bromst a cacophonous bliss in April.

I might have overstated the brilliance of the album back then, but hark ye at the frantic arpeggios of Red F, the stamping over Susumu Yokota's legacy with the woodwind backing in Paddling Ghost, and the hypnotic, shimmering Surprise Stefani. It's a perfect companion to that Animal Collective album you've no doubt got.

Simply glorious. Listen to Paddling Ghost. Buy it from Bleep or Boomkat or Piccadilly.

2 - Bibio - Ambivalence Avenue

Pull up a campfire and marvel at this stunning debut for Warp Records. Bibio's summery rustic guitars could have sat firmly in the folktronica camp, something I'm not a huge fan of, but instead it ran hurtling around the borders of techno and produced the mind-blowing Ambivalence Avenue.

If you don't buy this, you are stupid, You should know that, because I told you in June. The pop psychedelia of Jealous Of Roses or the delightfully catchy refrain of Haikuesque (When She Laughs) was enough for a great album, but then you get the Prefuse 73-friendly beats of Fire Ant or the kick drum of Sugarette punching holes in your record decks.

I cannot praise this album enough: it has been a very good friend to me since the summer. Listen to Fire Ant. Buy it from Bleep or Boomkat or Piccadilly.

Not quite in the top ten (part two)

Why I chose a top ten rather than a top 97, I don't know. But it does mean that some musickers didn't reach the dizzying heights of my top ten, despite deserving plaudits.

Moderat, the hugely impressive collaboration between Apparat and Modeselektor, didn't quite punch me in the face enough. Neither did Prodigy's Invaders Must Die, which blew the speakers but not my mind. And Jega's Variance, with all its Aphexisms, wasn't quite enough either. The spacey IDM of Nosaj Thing's Drift is definitely worth a look in too, despite being missed off.

This is only an album top ten, so the following artists missed out on a technicality: Floating Points produced some gorgeous EPs, while Bullion's Young Heartache EP took Hudson Mohawke's cut-up style to a new level - and what a shame not to include the eminently loveable track Until There is No End by Lorn.

This is part two.   
For part one, click here.
For part three, click here. 

N-n-n-n-n-n-brand new LPs from the Slott and the Lone

Edit: Lone's album is mentioned in my top ten electronica albums of 2009. 

N-n-n-n-n-n-finally, Mike Slott has coughed up a debut mini-album. It's called Lucky 9teen and if I was going to mark it out of ten, I'd give it n-n-n-n-n-n-twenty six.

Opening with hymnal chords and excitable cheering, the record spins us through broken hip hip that digresses through muddy puddles of jazz and beguiling troughs of 80s synthorama.

He's produced more than a handful of tracks with Hudson Mohawke in the past, although if Mohawke's music is patchwork slacks reeking of doobie smoke, Slott's sound is a bit more suited and booted and sporting a sparkly bow tie.

Listen to Mike Slott's Lucky 9teen at Boomkat. Keep an eye on the Slott: he's not just making new electronica: with the likes of Dabrye and Rustie, he's busy inventing it. N-n-n-n-n-n-good work.

While I'm musing about broken beats (do people still say that these days?), let me point you towards Lone's Ecstacy And Friends. Lone is Nottingham's Matt Cutler and a label-mate of Lukid. He has ripped a few pages from Bibio's sun-bleached book and produced an album of such melodic heat, it will leave your skin cripsy and sizzling like an inattentive beach bather.

I'll warn you now though: the kick drum hits so hard, your crap computer speakers will wither wretchedly. Catch snippets of Lone's Ecstacy And Friends here.

Top of the bleeps: what's hot and banging bad-style right now

Topping the downloads list on electronic music's answer to the Arndale Centre, Bleep dot com, is Clark's Totems Flare album. I've got it cranked to the gills as I type; it's a brilliant analogue wig out designed as much for the tootsies as for the cranial glue.

The second most downloaded album is a debut LP from Bibio. Ambivalence Avenue has been covered here before: click the Bibio link at the bottom of this article. Bleep says it's like a lost 70s folk record.

Here is the rest of the top ten on Bleep:

3. Clark - Growls Garden (track). Marvin The Paranoid Android malfunctions at an 80's disco.

4. Tim Exile - Listening Tree. Another debut album and probably Warp Records' only gabba opus.

5. The Black Dog - Further Vexation. I'm pimping their previous album Radio Scarecrow a lot right now, but this record is darker, frownier and more techno.

6. Battles - Mirrored. An old one but a classic, described by Pitchfork with this trio of scintillating sentences: "Marc Bolan is dead. But Battles can rebuild him. They have the technology."

7. Diamond Watch Wrists - Ice Capped At Both Ends. This is Prefuse 73 stretching out his legs and playing footsie with a percussionist. 

8. Floating Points - J & W Beat. Best described as bubbly 2-step. Yes. Bubbly.

9. Bizzy B - Retrospective. A look back at the best of the master of the Amen break. No Bizzy B, no Venetian Snares.

10. Moritz Von Oswald Trio (pictured, photo from Stink Finger) - Vertical Ascent. I don't know too much about this, although I think it's got something to do with AGF.

Damn, this Clark album I'm listening to is good. It's like old Aphex Twin a million years into the future. Meanwhile, the top ten on Bleep has already changed while I've been typing this. Please scrub out this post. You'll find a permanent marker pen under your chair.

Someone call an Ambivilance: Bibio thrills as a radio star

Edit: This album is mentioned in my top ten electronica albums of 2009. 

If you don't buy the new Bibio album, you are stupid and you deserve to be pushed off a cliff by someone disappointing like Cash In The Attic's John Cameron.

The LP Ambivilance Avenue stretches two meaty legs across the decades, from sepia-smeared yesteryear summer pop, to future-bastard electronica that would make Justice control-alt-delete.

A little bit of me - the fascist bit of me that stomps on hamsters and sets fire to people in Father Christmas suits - shivers with disgust at the folky leanings of Bibio. But I'm a grown man now, and I am learning to accept that I can't always have it my way.

However, the bit of Bibio that is techno / IDM makes me want to caress him, have his children, buy a caravan with him, divorce him, split my CD collection with him, not talk to him for fourteen years, and following his plastic surgery to become the world's first human / camel freak, then sleep with him unknowingly in a one-night stand blinded by drunkenness and a half-watched DVD of The Story Of The Weeping Camel.

This kind of shizzle is the sort of shizzle that should be all over the radio. Even if you don't like Bibio (and you should), if you give a stinking damn about well-produced music, you should give Ambivilance Avenue a listen. In fact, if you have ears, you should be listening to this album right now.

No, actually, even if you don't have ears, you should give Bibio a listen. Even if you were run over by an angry tractor driver, and all you have left is a spleen, half an eyeball and the inside of your left knee, you should damn well give Bibio a listen.

Let the music speak for itself at Warp Records. Mind that cliff, now.