Best electronic albums of 2016: nine

9 – Mark Pritchard – Under the Sun (Warp Records)

Mark Pritchard is a phenomenon. Two of the bestest modern ambient albums of all time (76:14 and Remotion), the man behind Shaft's Roobarb & Custard (yep!) and Harmonic 313, and now this stunning breakthrough– his first solo album as actual real-life Mark Pritchard.

As Under The Sun spreads its Boards of Canada and Eno-isms thinly across a neverending horizon, sometimes it seems we’re caught in a trippy Wicker Man alternative reality, all English gardens and ‘70s haze and folk songs. Space flutes. Quivering organs.

Is there anything this man can’t do? Astronauting, maybe. Fine art. Advanced haberdashery. Deep sea oil exploration. Dog surgery. I’m sure he can’t do any of these. Tennis coaching. Atom splitting. The Macarena. Speaking Welsh. Jeez, can Pritchard do ANYTHING? I mean, really.



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

Listen: Mark Pritchard's Under The Sun and what lurks underneath

I've not mentioned Mark Pritchard or Global Communication or Link or Harmonic 313 or Africa Hitech for ages on this website.

Mark Pritchard is all of those people and I really should mention him more. His influence echoes throughout modern ambient and electronic music like a clanging gong that has been sampled, reversed, elongated, looped and drenched in reverb.

Listen above to the arresting title track from his new album Under The Sun, a mesmerising album which is bound to end up in plenty of end-of-year lists.

And come to know that, as ever with Pritchard, it's not the vocals you're following: it's that bassline lurking underneath, and the rhythms that sit at the edge of the melody. Beautiful.

Further Fats: Suspended puppies: an absolutely genuine review of Warp20 Sheffield - includes Harmonic 313's "wet towel"... (2009)

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

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

10 - Telefon Tel Aviv -  Immolate Yourself

This band started 2009 with two momentous events: the death of Charles Cooper and the release of this third studio album. Such tragedy overshadowed a great album full of 1980s analogue confidence - and curtailed what would have been a fascinating future for the pair.

I called Immolate Yourself "insubstantial" back in January, but you have to lie back and let yourself be overtaken by it. One moment it is channelling the ghost of the Pet Shop Boys, while the next moment it could be Brian Eno in a cavern or the Human League on GHB.

It was unashamedly pop: check the new wave joy of Helen Of Troy. Buy it from Bleep or Boomkat.

9 - Lone - Ecstacy And Friends

My computer speakers can't cope with Lone's new album, as I mentioned here just a few weeks ago. Maybe my old cobwebby PC just has a function in it that cannot cope with anyone who grabs Boards Of Canada, rubs them up against Bibio and produces a beats album that gave Hudson Mohawke a run for his money.

This was Nottingham boy Lone's difficult third album: a lush, poly-rhythmic long player that, t'be honest, struggled to be heard amongst all the other rhythm-reapers of 2009. It's difficult to exorcise the washing repetitions of Waves Imagination, or to brush off to smooth, silkiness of the future party track To Be With A Person You Really Dig.

Get some good speakers, then listen to Waves Imagination (Goldies Timeless without the d 'n' b, anyone?) Buy it from Bleep or Boomkat or Piccadilly.

8 - Lukid - Foma

Luke 'Lukid' Blair's sophomore long-player took the foundations laid by Autechre and Eno and blew them wide open. Foma was this year's first essential electronica album, and it sounds even better knowing what albums came after from other artists in 2009.

This is utterly in the vein of classic electronic music (it is the sound of a man playing with his machines into the wee hours of the night). The crunchy wooziness seemed to stretch it out into something new, until the sound was more ambient than a dialling tone. The buzzing anticipation of the first 30 seconds of Slow Hand Slap are better than most albums this year.

Have a listen to Fall Apart, and while you're doing that, buy it from Boomkat or Piccadilly.

7 - 2562 - Unbalance

Dubstep inspired by Detroit techno? This was the unlikely starting-point for 2562, whose Unbalance was a rhythmic, deep follow-up to his much acclaimed 2008 debut Ariel. Of course, dubstep is a tired genre, and this album was in danger of being swept under the dancefloor. Indeed, I didn't even feature it on this here website.

But listen! The pounding Flashback was a nuclear missile aimed squarely at your feet, while the reverberating saw bass of Like A Dream or the snapping loops on Yes/No reminded you this was music for the head too. How could you ignore it? 2562's Unbalance was a triumph.

Have some trippy Love In Outer Space. Buy Unbalance from Bleep or Boomkat or Piccadilly.

6 - Harmonic 313 - When Machines Exceed Human Intelligence

More than most on this list, Harmonic 313 succeeded in carving out a very particular furrow this year. By the time When Machines Exceed Human Intelligence came out at the start of the year, Harmonic 313's solid techno sound was already recognisable.

Don't get distracted by the Speak and Spell novelty value: there is true feeling here. I rather pretentiously described Harmonic 313 as a "siren song of a cyborg" calling from some distant shore. It's not. It's just great subwoofer-friendly dance techno (check the bass on Cyclotron!) churned out by one of the best ambient producers of the past 20 years

Quandrant 3 is quite lovely and brilliant. Once you've listened to that, purchase the LP from Bleep or Boomkat or Piccadilly.

The top five will be on this site from tomorrow...

Not quite in the top ten (part one)

I never claim this blog to be comprehensive, even though it is subtitled 'From AFX to Yokota'. So here is what missed the list for no reason other than, well, I didn't put it on the list.

I didn't include Grizzly Bear's Veckatimest, even though I loved Two Weeks. It just wasn't electronic enough for this top ten run-down (same for the wonderful Animal Collective long-player Merriweather Post Pavilion). Other albums just passed me by, so there's a severe lack of Zomby's Nintendo-nudging One Foot Ahead Of The Other, nor is there Jon Hopkin's compelling Insides album.

I kinda got bored with Venetian Snares, so that's why Filth isn't featured. And this is an album top ten, so what a shame I couldn't mention some great tracks from 2009: Burial's expansive Fostercare, Kode 9's excellent Black Sun (well done, Hyperdub, for a great year), or a definite classic, Mount Kimbie's Maybes.

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

Suspended puppies: an absolutely genuine review of Warp20 Sheffield

What kind of skrunk-flapped piffoon would profess to run a blog on electronica then not bother to go to the most important electronica night in the history of the bleepiverse?

At the weekend, Warp Records celebrated its 20th anniversary with an absolute doozer of night. Warp20 Sheffield (logo pictured) featured smash-n-bassmaster Squarepusher and a hatful of classic Warp artists.

Because I couldn't go (and my diary clash really was unavoidable, like trying to walk past a pedestrian who's swallowed a house), I'm going to have to make up a fictitious review. Here goes...

Harmonic 313 came on before anyone had arrived; he was only playing to one man and an ill horse. To be honest, this took the pizzazz out of his set, and all he did was whip his keyboards with a wet towel. A disappointment all round.

Hudson Mohawke didn't begin his set because Kanye West stormed on stage and told everyone how he loved Beyonce. HudMo was later spotted crying in the corner sobbing his way through the lyrics of Single Ladies. Instead, Nightmares On Wax filled in with a unique set of tracks alternating between bland soundtrack chill-out and gabba nosebleed techno.

It is difficult to describe Squarepusher's set without using the following words:

- slap;
- krunk;
- Ogden Nash;
- visible beard growth;
- suspended puppies;
- Middle East peace process;
- Celine.

Then came Clark, who took his cue from old Top Of The Pops and performed all his song titles literally. So Totems Flare had him setting fire to things dressed as a Native American and he wore a bear suit for Ted. He went too far with that operation he did on an audience member during Empty The Bones Of You, but at least it was different.

After Andrew Weatherall's DJ set, which was mainly him shouting "does anyone remember me, I used to be important", it was time for Forgemasters.

Everyone who knows about the history of Warp Records will know about Forgemasters. They invented music back in the caves of 70,000 BC and if their music ever stops being played, the Earth will die.

So it was a delightful surprise when they closed Sheffield's Warp20 with a gushing rendition of Somewhere Over The Rainbow. Everyone simpered; it was lovely.

Shame it was spoilt by Clark who, now horrifically drunk, stumbled onto the stage as Tinman and crashed sideways into their keyboards. That really upset Hudson Mohawke, who forgot the lyrics to Independent Women. Bastard.

Chop off your hands and replace them with lazers for Detroit: 313 words about Harmonic 313

Edit: This album is mentioned in my top ten electronica albums of 2009.  (And no, this paragraph *doesn't* count.)

Here are 313 words about Harmonic 313 on the occasion of the release of his first album When Machines Exceed Human Intelligence. And yes, this paragraph goes toward the word count.

When Warp Records are spreading their tentacles into strange and wonderful genres, Harmonic 313 is the root of the tree trunk keeping the label rooted to its past. I could replace 'tentacles' for 'branches', but I like mixed metaphors.

313 is the dialling code of Detroit, a clear reference of intent when you consider this sounds like the daughter of motor city band Drexciya.  But this is not Put Your Hands Up For Detroit. This is Chop Off Your Hands And Replace Them With Lazers For Detroit.

This is the siren song of a cyborg calling from the distant shores of the future. It's the disturbance you get on the edges of hip hop; the fuzzy lines at the side of your vision.

A Speak and Spell machine is the gimmick, but in the android hands of Harmonic 313, it becomes something more sinister.  The desolation rips through me, like someone has whipped the bottom end of my spine and sent a shockwave up into my cold, cold brain.

When Machines Exceed Human Intelligence works better when things are kept simple. Like mashed potato. So we don't need the rapping that appears in small doses. Like mashed potato. I hate mashed potato with raps. Hey, Vanilla Ice, get out of my mash. That's what I'd say.

This absurdly cadillac-themed Harmonic 313 tribute on Hipsterwave amused me no end. It seemed non-sequitur. I have been getting friends to post non-sequitur comments on this Aphex video (edit: some bugger deleted them) - please join in.

Where was I?  Oh yes, 313 words.  Just enough remaining to say Harmonic 313's When Machines Exceed Human Intelligence can be bought from Piccadilly, Boomkat or Bleep.

A throat-pawing, arm-wrestling, mallet-bashing preview of 2009 (part one)

The reverberating acid begins as a hum, the kind of hum that settles on your tummy, but it rises and rises with ferocity, up your chest, until a miffed guitar riff paws at your thoat.

And a robot voice announces: "WE ARE THE PRODIGY."

And so to 2009, and no prizes for guessing electronic music's most anticipated release of this year.

Three storming albums (Experience, Jilted Generation, Fat Of The Land). Then there was the Album-Five-Years-Ago-That-No-One-Really-Remembers-Coz-Everyone-Still-Blithers-On-About-Smack-My-Bitch-Up-Which-Is-12-Years-Old-Yes-I-Know-Get-Over-It. I don't think that was the exact title.

Anyhoo, watch out for the Prodigy's new LP, Invaders Must Die, in March.

Allow that, my sweet reader, to be an introduction to my preview of some other albums that will caress our earlobes in 2009.

My guide is in no way comprehensive, nor is it even accurate. I have probably missed a number of major titles, and quite frankly 99% of sales in '09 will be X-Factor related, so it's all an exercise in futility.

January.

The remnants of Add N To X have teamed up with space rockers Fuxa for a looping joy of a single Add N To Fu(x)a. I hope it's a taste of more to come from this pair.

Following his well-received album Just A Souvenir, Squarepusher will release an EP of "dancefloor psychedelia" called Numbers Lucent. If the Square one isn't nominated for the next Mercury Music Prize, I'll eat my slipmats.

The shoe-collecting Telefon Tel Aviv will flop out their first full-length offering for five years. When Immolate Yourself hits, it could be one of the best discs of the year.

February.

The Eft will waft its way from Samandtheplants, while Susumu Yokota - whose hypnotic The Boy And The Tree album was used liberally on Sunday's Top Gear Vietnam special - will explore a more vocal sound for his new Mother LP.

Not to be outdone by the Prodigy, Massive Attack will attempt a monumental return with the provisionally-titled Weather Underground. The double-album of "gothic soul" is pretty much shrouded in hushness, but it is rumoured by the rumour mill that Tom Waits will feature. That's even cooler than Hot Chip's single with Robert Wyatt a couple of months back.

If the Prodigy and Massive Attack had an arm wrestle, who would win? Please discuss.

Finally for February, there's Harmonic 313's When Machines Exceed Human Intelligence, but I've already covered this so I ought to hush my mouth.

Next?

In the second half of my preview, I will cover March, then skip the rest of the year really quickly as though I don't care. I do care, but you try getting accurate release information six months in advance.

I'll also reveal the artist I'm positively frothing at the mouth over for 2009. A clue? He's a genre-buster from Glasgow and he uses the word "shite" a lot.

Brass band players, coming over here, taking over our dancefloors

The Daily Mail is an august institution that, in 2008, has had an important and positive effect on modern culture.

I'm not talking about its constant chiding of anyone it considers as non-British, or indeed its fawning over old fashioned values where we could hang misfits and still leave the door open.

No, I'm talking about one of my favourite gigs of the year where the Matthew Herbert Big Band (Matthew pictured) sampled themselves tearing the Daily Mail into strips, before bursting the racist rags into the air in a delightful, synchronised confetti show.

Their album There's Me And There's You is a political mix of brassish oomp-ery and jittery sampling, although Eska's sassy jazz vocals are worth hearing live than through your headphones.

Also out recently was Last Step's 1961, the second album under this signature for Venetian Snares' Aaron Funk. It's a massive, brightly coloured bag of broken Roland 303s, 606s, 808s and any other shiny palindromic music box you care to mention.

If you rate Luke Vibert and Squarepusher (who dazzled at last week's Warehouse Project, but that's for another post), or if you pine for old Aphex Twin, you should have this album in your collection. Just be prepared for sporadic ruptions of cheesy pop and TV adverts.

More straight down the line is Harmonic 313's Dirtbox single, which is a darker bad-boy slice of his usual gasping slow-motion Detroit techno

When his album hits in a couple of months, it will sit proudly alongside his classic album of nearly 15 years ago, the ambient beast that is 76:14.

Ah, yes, 15 years ago. When you could leave your door open, shoot whomever walked onto your property, and Princess Diana wouldn't get suicide-bombed by social workers. Those were the days.

Oh to be torn up by wolves and fed, bit by bit, through an old lawnmower

While I'm busy with radio things, there are a few gramophone releases you and I ought to catch up on.

AGF's fourth album Words Are Missing is a dizzying array of shattered sound and industrial ambience. The harmonies come from vocals torn up by wolves and fed through a lawnmower. The fragments that remain are alluring but ever-so-slightly unsettling.

Harmonic 313 is a side project from Mark Pritchard, better known as one half of Global Communication. His EP1 is a triumphal throwback to the early days of techno, when it was all about Detroit. So yes, it sounds all a bit Juan Atkins without the smoothness, but it works for me.

A whole manbag packed full of Thom Yorke remixes have been released in the last couple of months. Meddling with the lazy-eyed Oxford boy's music are Burial (unfairly labelled as a 2step Massive Attack), Four Tet, Christian Vogel and Newport Pagnell's DJ Surgeon.

The utterly ironic thing about electronica remixes of Radiohead's frontman is that, whatever you do, you just end up making it sound more like Radiohead. Which is a good thing, and you should sniff them down in record shops now.

Finally, Clark is breathing fire again on his new offering, Turning Dragon. He has put all niceties to one side, has walked into the Women's Institute (electronica sub-committee) meeting, and machine-gunned everyone to death with bad-tempered percussion and ADD-level techno.

Listening to his album is like trying to nail gun exploding fireworks inside the Crystal Maze dome. It's hyper, blunder-bus propeller-injected fun and is a real treat from start to finish. Have a listen to Volcan Veins from that very album.

DEEPER FRIED FAT: CLARK'S TED