However, in a year in which I personally failed to keep up with many things – developments, any number of fast-flying cutting edges, review promises – I can still offer a set of personal snapshots. I can’t tell you what was best, in terms of music – but I can tell you what I heard and saw, and how it affected me.
Embarrassingly, few of the recordings and events covered below actually made it into the blog on time as reviews. Many of them haven’t even made it in now. You can expect to see me working proper 2014 reviews into the blog during 2015, adding some belated tassels to the kite’s tail. For now, though, I hope that these retrospective mentions make up for my lack of effectiveness at the time; and there are so many playable tracks and videos embedded down there that it looks like a Tumblr account, or a drunken quilt. Enjoy.
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So… my 2014 as listener and attender, then…
Time-poor and money-poor in London, with heavy family commitments, I had to watch gig after gig slip by. In many respects the year has been defined by what I didn’t get to see. I missed Prince’s secret gig at the Electric Ballroom; I missed Steven Wilson, St Vincent, the Loose Tubes reunion and The Wolfhounds; I missed Henry Fool, Imogen Heap‘s Reverb, the Crimson ProjeKCt and the London Jazz Festival. I missed that shaky, defiant Henry Cow reunion at the Lyndsey Cooper memorial concert in November. I missed all of the TuesdaysPost gigs and the Drill Festival in Brighton. I missed #TORYCORE’s visceral jazz-doom-metal rage assault on the cruelties of government policy, a short bus ride away at the Camden People’s Theatre. Perhaps mostly painfully, I missed all of Kate Bush‘s ‘Before the Dawn’ shows. I missed the bands that I should have seen, and I probably missed the bands that you caught; and who knows how many classical concerts I didn’t even know about?
When I did have the money for a concert, it was generally one which was off at the sides, but disproportionately rewarding. For instance – in a side room at the glossied-up Roundhouse, sandwiched in between Stars in Battledress and Arch Garrison (more on whom later), I saw Prescott. An unholy and hugely enjoyable alliance of Rhodri Marsden (currently with Scritti Politti, previously everywhere), onetime Stump bassist Kev Hopper and South London experimental drummer Frank Byng, they played a rolling, feinting game of improv-rock handball, like a post-punk take on Miles Davis groove gumbo.
On another evening I hung out underground in Dalston down at the Servant Jazz Quarters, dodging stuffed weasels. Slicked in purple light, I watched cuddly misanthrope Benjamin Shaw lay into Prince George, his girlfriend, his job, himself and most of the world, and then – from out of his cloud of slaggings – give his chuckling audience the doe-eyes to make sure that we still loved him. Also on the bill, Jack Hayter and son whittled us keen, humane songs out of musical driftwood, and the Superman Revenge Squad turned detailed geek-angst into pin-sharp bedsit art.
In October, I had reason to thank the five-quid standing ticket tradition at the Proms. Having joining a shuffling ticket queue that snaked from the Albert Hall past the Royal College of Music and practically to Queen’s Gate, I got into the concert by the skin of my teeth (the very last ticket) in time to see the Leipzig Gewandhaus Orchestra deliver a performance of Beethoven’s Ninth which was so good that it made people in the audience literally scream with joy. Getting to hear Friedrich Cerha’s ‘Paraphrase’ (an eerie and nebulous deconstruction of the Ninth’s opening) as a companion piece was a delightfully sour cherry on the cake.
Out of sheer necessity, most of my journeys out into live music were via free gigs – generally, Ben Eshmade’s Daylight Music concerts at the Union Chapel on Saturday afternoons. This was a lifeline which I often shared with my wife and my three-year-old son Oscar, who continues to make his way into any resulting reviews as companion, unintentional critic and occasional disruptor (You’ll probably be hearing more from, or at least about, Oscar during 2015 – assuming that he gets over his current hatred of live music before I disown him). Yet I shouldn’t complain too much about being stuck with Daylight Music as a default destination. Every one of their gigs featured at least one act which traipsed out of Ben’s address book and won me over.
As a result, I have plenty of Daylight memories. It was a good place to see instrumentalists (such as Dean McPhee and his smoky Yorkshire-via-Morocco loop guitar) and if you wanted to see a harp mixing it with a laptop or a percussionist moving from steel drum to typewriter – but still expected a tune – it was the gig to go to. The Ida Y Vuelta Ensemble offered explosive London flamenco and brought on a live, quick-changing dancer whose heels hammered hell out of a tabletop. The immaculately arty odd-couple duo Bitch ‘n’ Monk came with Yoko Ono’s endorsement, sang soprano, screamed flute, and offered us a melange of Colombian punk-jazz and beatboxing. Cross-cultural, mixed-instrumental families Flux and Digitonal took assorted cinematic, acoustic and electronic elements and blew them up into glowing paper lanterns, or drowned them five enchanted fathoms deep.
Daylight was also a great place for songwriters – Clémence Freschard, keeping a chapelful of fans happy with a still, small, studiously cool performance; Daniel Marcus Clark telling us song-stories, muffing up a third of the verses, corpsing with rue and being warmly forgiven; Rachael Dadd skipping and clapping her band onstage and then capering from instrument to instrument to play her skittery folk. Via a soft-breathing, barely-there chamber-pop vision of strings and tantalisingly unfinished stories, Emily Scott unrolled her introspective vistas and promenades of solitude and reflection, like a James Joyce belle with a ukelele. Johnny Lynch of The Pictish Trail shed his lo-fi blip-boxes and courted us with a chalk-and-cheese mix of stand-up comedy and terrifying folk songs. Anchored by deep Pentangle-esque double bass, the Vespers trio offered three separate songwriter’s takes on the perils of loving.
And there was more… Robert Glover from epic45 turned up with his Field Harmonics side project, drowning pop songs in a bushy welter of chiming electronica. The Middle Ones travelled from separate ends of the country to gush, clang guitar, giggle, squeeze an accordion and deliver smart, unorthodox kitchen-sink songs of commitments, bicycles, romantic flutters and the interweaving of different generations. Franky & The Jacks charmed with smart suits, great barbering and a hot-jazz/Southern balladeer take on rockabilly; and while Crayola Lectern weren’t new to me (their debut album was a humble highlight of 2013), it was here that I first got to hear their waterlogged, beautiful Edwardian-esque melancholy in the flesh for the first time, complete with cornets, whispers and gentle lysergia.
Still, my attendance record was nowhere near perfect. I missed Bird to Beast‘s acid folk, Richard James, the classical triple-whammy of Oliver Coates, James McVinnie and Liam Byrne (complete with viol da gamba), Showman’s Wagon, and I’m sure that my old ‘Misfit City’ mate Vaughan Simons will be disappointed that I missed Louis Barabbas’ Christmas show – although I’ve now seen Louis’ Santa photos, and reckon that Oscar will probably thank me for not dragging him along to that one.
Back in the world of pick-up, plug-in-and-play music, I paid little attention to mainstream releases, but occasionally some things did get through to me. With ‘Unrepentant Geraldines’, Tori Amos left behind much of the heraldic esoterica that’s swarmed in of her work in recent years and turned out her most intimate and engaging collection of songs for ages. Back at the tail end of 1991, she’d made me cry, gasp, yearn and fall over myself when I first heard Silent All These Years: in 2014, she did the same thing with Invisible Boy. Another album which I’d looked forward to inexplicably failed to connect. Usually, Elbow’s Guy Garvey can sing about middle-aged men strolling through Manchester suburbs and make it sound numinous and heartfilling. Fuelled by the foundering of a long-term romance and by Guy’s inspirational sojourn in New York, ‘The Take Off and Landing of Everything’ took Elbow to the top of the British charts. Yet even as Guy sang about the magic of Manhattan, and invited us into dark metaphorical dreams of a coracle-frail love swallowed up in the Atlantic, all I could think about was how flat and grey these grand emotions sounded – and how Elbow’s gift for illustrating the extraordinary wonder of ordinary sights (and driving them up into the hearts and singing voices of arena crowds) seemed to have deserted them.
This was odd, considering the fact that quite a number of the albums which did touch me also mirrored my own greying state and the sometimes unsettling rollout of new perspectives that comes with it. Building workable compromises with age – or simply fucking it all off and being as honest as possible in what’s no longer, in truth, just a young man’s game – clearly had its own dignity, even its own triumphs. With ‘Double Chorus’, Michigan punk-poppers Kenny & The Swordfish delivered a semi-autobiographical record from hard giggers turned to compromised family men. Still holding to their noisy guitars and ska chops (like a two-man fusion of Fishbone and The Clash) they raged against the loss of youth’s freedom, shivered with the chill of fading targets and opportunities, and struck uneasy bargains with the new state of affairs, but never gave up.
A little extra gristle and grizzle also suited The Scaramanga Six and their ‘Scenes of Mild Peril’ DVD. Banged out rough and filmed live in a Brixton studio and in a commandeered Bridlington golf lodge, their cartoon-limned, carefully overblown tales of brooding everyday fury, murderous emotion and self-inflicted bruises were stripped of the elaborate visual wit of the band’s promo videos. Instead, they were gifted with an extra, claustrophobic grain; and as ever, the band kept up their reputation as the other kind of Yorkshire Gothic.
On a similar tip, as well as nursing a reissue of 1987’s ‘Unseen Ripples From a Pebble’ reformed C86 post-punk survivors The Wolfhounds slung out their first new album in twenty-four years called (with a sour, proud prod and a wink) ‘Middle Aged Freaks’. If I’m going to listen to clanging, sneering garage rock, I’m going to listen to some that’s been made by weathered old dogs like these: men with plenty of miles on their clocks, a bloody-minded attention to texture and the world’s complications, and a collective bellyful of acid-dipped wit whether they’re turning out disturbing precises of current day morality, mocking their own deluded shadow-selves (“you’re a tough old tenderised piece of meat / and your sage advice is on repeat… / A line of charlie while the kid’s asleep. / A chopped hog Harley with a baby seat,”) or soothing the frustrations with sympathy and stoicism. (“Sometimes in each life we all must fail – / but those weren’t the words of your father. / And into each life must fall some hail. / You know – like rain, but harder.”) Amongst the harsh punchy guitars, a whisper of samples even recalled front Wolfhound David Callahan’s other old band, Moonshake (another of my ‘90s favourites).
Moving into his fifties and making the best of an enforced band hiatus, no-man singer Tim Bowness pulled together some of the project’s stalled work as well as sundry other personal musings and ideas and come up with ‘Abandoned Dancehall Dreams, an album of brilliantly-lit and beautifully played art-pop spanning muscular to delicate and dealing with personal histories, mid-life stock taking and the choices and chokes which go to form people’s lives. Many of the songs (while not quite Morrissey-esque tirades) had an underlying seethe of north-west English non-conformance and grit: a quality which perhaps had lain a little too softly on his previous work, and which now finally put the lie to the recurring (and unfair) Bowness reputation as a solipsistic crooner. Beyond these more plangent stabs, there was space for moments of peerless spiralling romance and even a spot of Northern classical-fusion collaboration with Andrew Keeling.
‘Abandoned Dancehall Dreams’ also spawned a brace of animated videos, including this one for rattling lead-in track The Warm-Up Man Forever. (For me, it suggests that in later life that skinny little candy-striped computer-graphic guy from Dire Straits’ old Money for Nothing video thickened into an embittered and flat-capped folkie; his polygons bloated, and Pixar never returning his calls. See what you think…)
I might have ignored – or simply missed – the pop music which most people were listening to this year but I found in other places. Bailey Cremeans – a teenaged keyboard balladeer from Missouri – offered me rapturously sad songs on ‘Celestial City’. On ‘Two Magpies’, hyperventilating clink-and-murmur Londoners Quimper burrowed into the toybox and assembled a manic play of fairy-tale shadows, fuzzy-felt and sexual menace. Stretched between America’s East and West Coasts, New York roots-polystylist Mama Crow and Ecuadorian player-producer Daniel Lofredo Rota teamed up as Liminal Digs – arriving with the playful and slightly scary ‘Dragonfly’ EP, which flitted between Latina acoustic acid-folk and electronica with wantonness, a wandering and salty female wit, and an occasional flash of teeth.
Two bands from Brooklyn, in particular, caught and held my enthusiasm. With a song called High Time, from their debut EP, Legs earwormed their way into my affections. It wasn’t that they were particularly new-sounding. That celebratory-sounding disco-pop – packed full of skatting, singable keyboard hooks – was pure ‘80s; part Prince, part Talking Heads, partly smooth Donald Fagen awkwardness (circa ‘The Nightfly’). So too, was their preppy shirt-and-tie look. But their songs were adorably infectious and cleverly layered, with lead singer Tito Ramsey sketching out a picture of a New York party scene raddled by insecurities, uptight resentful dancing, panic attacks, and unstable summer romances eaten away by drug habits.
Elsewhere in the borough, Trevor Wilson maintained his rickety, compelling psych-folk Vocal Ensemble by transforming them into a partnership of equals called Anawan although it was still his startling, deer-nervy songs that propelled them. If the renamed and, slightly repurposed band lost a little of their eerie incantatory fall-apart quality, they made up for it by strengthening their West Coast-inspired harmonies and sun-spattered glint. Imagine Syd Barrett directing The Mamas & The Papas and you’re partway there, though Anawan’s joyous mewl and trip-triggering song swerves are entirely their own.
One strand of music that I particularly enjoyed in 2014 was the sound of women, looping. There was Howlet, illustrating grand and dreamy obsessions on ‘Afraidarck’ by draping cavernous recording space with layered but minimal spider-silk vocal lines and the barest of beats. There was Georgina Brett, working with voice only to improvise spiralling spring-paths of call, response and return or detailed masses of counterpoint on-the-fly. Yasmyn Hendrix pursued the same method to decorate and festoon a capella pop songs, whether she was creating her own or working out a clever, rainy-day cover of Massive Attack’s ‘Teardrop’.
Possibly the most outstanding for me was the spellbinding singer-songwriter-cellist Laura Moody, equally skilled at daredevil string playing and pyrotechnic performance-art vocal. She didn’t actually make use of looping technology; but her meticulous wreathing patterning, embedded minimalism and elastic poise suggested that it had had a strong impact on her anyway. Surprisingly, Laura’s ‘Acrobats’ album (released quietly in November) didn’t go for the same witty, barnstorming élan as her earlier work, condensing and reining in those extraordinary performance skills in favour of elliptical nu-folk songs: innerspatial and introspective, no less compelling.
In Seattle, the remarkable Kye Alfred Hillig pumped out two albums for free (‘Real Snow’ and ‘The Buddhist’), adding to an ever-growing catalogue coursing from genre to genre (this year it was synth-pop, alt.country and bare-bones sadcore). Unlike many of his sloppily prolific contemporaries, all of his work emerged diamond-clear, fully-formed and packed with striking, pungently-emotional songs. A better blogger than me would have been yelling about him all year: I suppose that I’d better be that better blogger in 2015.
On another tack, it was good to see one of 2013’s lesser-known losses (that of promising Belgian art-punk Floky Pevée) commemorated and soothed by the multi-artist album ‘Ceci N’Est Pas Un Disque’. Here, the five songs which Floky recorded with his band Kabul Golf Club were restored and then revisited, turned inside out by eight different bands and a host of different treatments: indie-country, hardcore, electropunk, sludge metal, funk and post-rock. There was humour, but no cheap laughs; there was craft, but no sanctimonious genre purity. Instead, everyone involved did their best to show how far Floky might have gone, and just how much diverse potential already existed in the songs beyond the pummel and screams. It was the best of tombstones.
As has often been the case with ‘Misfit City’, much inspiration came from English psychedelic rock. Not in the shallow, easily-hyped mould of TOY or Temples (with their skinny young limbs, cloaking haircuts and by-the-book cribs of The Stooges, Hawkwind and Can) but in the high-and-low, the sidelines under the radar, the semi-secret pockets. Often, it came from men and women who’d already done several decades of growing-up away from the general public.
With little more than a nylon-strung guitar, a pair of archaic-sounding keyboards and a soft cracked voice, Arch Garrison’s ‘ I Will Be A Pilgrim’ delved into folk-baroque and folkways simultaneously. With equal amounts of airy beauty it unearthed and merged ancient English journey-ritual and personal soul-searching, its warm psychogeographic songcraft leaving the listener with nourished heart and aching feet.
Arch Garrison’s rarely-spotted cousins, Stars in Battledress, also broke cover; emerging under their own name for the first time in over a decade. With ‘In Droplet Form’ they provided an engaging, sometimes sombre record of pre-weathered, fully committed Englishiana, knitted together from the sound of antique wireless songs, bell-rounds, the water-dampened mustiness of old institutions, and eerie garden-shed-drones. Richard Larcombe’s cunning and tragicomic lyrics were the weft in the weave – feinting, bleeding, mystifying, bitingly literate and frequently hilarious.
Descending from the same psychedelic cloud, Knifeworld’s ‘The Unravelling’ delivered flagrant horn-drenched excitements of guitars, tingling Rhodes and double-jointed rock punch, but was also drenched in hauntings and mournings which stayed with you long after the fadeout. One of Knifeworld’s members, Emmett Elvin (already a journeyman for innumerable other projects including Chrome Hoof) went on to build on the triumph of ‘The Unravelling’ with his own audacious ‘Bloody Marvels’ album, in which his own dazzling compositions built monkey-ladders to the stars and back. No less ambitious was Trojan Horse‘s ‘World Turned Upside Down’, in which four musically ravenous young Salfordians baked themselves a gigantic layer-cake of prog, psychedelia, hi-concept funk and Northern rock, laced it with history and hallucinogens, shared it around and then ate the rest, all with noisy gusto and generosity.
If after all that you really and truly just wanted the motorik, you could always opt for the big, bluff, quaking noise of ZOFFF (a late-in-the-year Brightonian supergroup of grizzled sprites and younger heads with assorted Crayola Lectern/Dark Star/Electric Soft Parade connections). And having seen him spend much of the previous year creating an exciting, crabbed and roaring punk-prog with The Fierce & The Dead, it was still good to see that irrepressible loop-strummer Matt Stevens back in the solo saddle with ‘Lucid’, maintaining his upward progress with a set of instrumentals peppered by multiple looped-and-lashed guitars and with guest stars and influences drawing from black metal, prog and jazz. With ‘Curious Yellow’, airy Bristolians Hi Fiction Science delivered a near-perfect Krautrock-blended approximation of West Coast acid rock and English acid folk (not to mention being a big hit with Oscar, who’s dubbed the entire band ‘Ladyhorse’ on the strength of their cover artwork). From Rome, still pegging away at his winning fusion of light-touch prog and fuzzy Britpop, Sterbus offered a little in-between-albums grab-bag in the shape of ‘A Wonderful Distrust’. From Florida, Scott Miller and Anjie Skaya sent over ‘Liquid Days’, a spontaneous song-album of cracked, wonder-struck voice, wandering guitar and Russian violin which (in its own humble, crumpled-loons way) evoked the Incredible String Band, Van Morrison and The Bathers. A compulsive scattershot releaser of albums, Scott reckoned that he was onto something better with this one; and he was right.
Two revenant records from another psychedelic hero loomed in the background. Six years gone from music, and still an invalid, Tim Smith continues to command a tremendous love from the surprising number of musicians who continue to claim him as a key influence. His presence haunted several of my favourite albums of this year; those by Knifeworld and Arch Garrison in particular. Two opportunities to listen back to the fatherlode came with a reissue of ‘Extra Special Oceanland World’ (Tim’s lone, wounded-sounding solo project from the early ‘90s) and with a grand double vinyl reissue of Cardiacs’ multiple-personality magnum opus ‘Sing To God’ (in all of its kaleidoscopic, childish inspiration).
Apart from my encounter with Beethoven and Cerha at the Proms, my dips into classical music were few and far between. However, they were often pretty memorable. They began with Keith Burstein‘s evening at the Lithuanian Embassy on January 29th, at which the stubborn, stalwart neo-tonal iconoclast (veteran of numerous spats with both the musical establishment and the press) played and discussed the new Naxos recording of his ‘Elixir’ symphony and ‘Songs of Love & Solitude’ cycle. Despite ‘Elixir’s initial roots as a lambently romantic London concerto, Keith eventually had to make a long train journey to Lithuania and an appointment with the Kaunus City Symphony Orchestra in order to get the two works performed and recorded in full. He was rewarded for it. The KCSO’s velvety sound brought out fresh depth in the symphony’s lush nerviness (a nostalgic Brahms-in-Vienna majesty undercut and expanded by more contemporary slithering tonal planes and disruptive rhythmic upheavals) and the lingering, opulent reveries of the song-cycle (for the latter, see below). Keith Burstein’s life and work tend to be filled with metaphysical rumblings, whether sought out and attracted. This Lithuanian voyage, too, was suffused with both wonder and shadows as Keith reconnected with his own Baltic Jewish family history while stepping carefully around the last vestigial snags of Stalinism which once engulfed Lithuania, still haunt some of its old guard, and may have added to the darker tones in the recording.
More metaphysics were stirred up in May when Olga Stezhko released her ‘Eta Carinae’ album. The Belarusian pianist’s performance of idiosyncratic early-twentieth-century works by Alexander Scriabin and Ferruccio Busoni wasn’t just a set of vigorous and individual interpretation: it was a philosophical exercise, and a multi-layered education in itself. Olga’s programmatic intent (and her intriguing sleevenote essay) mapped the pieces onto the explosion of knowledge at the time of their composition, from mysticism to astrophysics, from the development of human reason to the first pryings into the heart of the atom.
Another marriage of the scientific and the numinous arrived in June, when Markus Reuter (best known as an art-rocker who makes evanescent experiments on electric touch guitar) asserted his own entry into orchestral composing. ‘Todmorden 513’ (performed by the Colorado Chamber Orchestra) was at root a cycling, shifting, algorhythmic curtain of mathematical haunts and oblique manipulations. Emerging into the concert hall, it transformed into something greater; far more moving and psychologically suggestive than this dry, blackboard summary I’m offering here.
It was also wonderful to see a long-overdue release compiling music by Richard Causton, whose underrated, thoughtful and mercurial composer’s catalogue remains treasurable to a growing number of music directors but still mostly secret to the public. It deserves more. On the NMC release of ‘Millennium Scenes’, some of this imbalance was redressed. The Hallé Orchestra and the Birmingham Contemporary Music Group provided stunning interpretations of selected Causton works – the queasy alarm and anger of the title piece (which offered a stern critique of millennial triumphalism even as it set the cat amongst the party pigeons), the dense vigour of the Chamber Symphony, the nightscapes of Notturno, the suspended fever-dream of The Persistence Of Memory and the bright-flickering septet colourings of Kingfishers Catch Fire. It was an overdue reminder that (especially when set against the sleight-of-hand of much modern classical composition) Richard Causton’s vivid, surprising compositions have both a rare accessibility and a rare integrity.
On an even more personal note as regards classical music… in October I was best man at the Anglo-Irish-Japanese wedding of Michael O’Callaghan and Yukiko Kondo, which sprawled happily across north London between Islington, Holloway and Highgate. On its own, this would have been an ambitious and inclusive event. The reception made it even more of a remarkable occasion, becoming a loose-limbed, semi-spontaneous classical concert (with various incursions from pop, ukulele cabaret and jazz). Assorted guests, most of them members of The Learning Orchestra, stepped up and played – taking turns to deliver assorted solos, duets and trios by composers including Borodin, Elgar, Mozart, Puccini, Fred Godfrey and Swedish traditional sources. It was a welcome jolt – a reminder to me (so often the lone, semi-detached listener) that music is not just something which we purchase, drip-feed into our ears by speaker or bud or sit in front of; but something that lives and lifts in our own hands, a natural expression of community. Part soiree and part shebeen, the evening’s final coda was a nifty and playful French horn solo by Jim Rattigan in which he fused Charlie Parker, Wagner and Miles Davis, with Donna Lee merging into the Siegfried Horn Call.
Jim Rattigan’s own gigs (with variously-sized ensembles) were apparently one of the joys of London jazz life over the past year. Sadly, I played far too little attention to jazz in 2014. I was delighted to hear about the return of Loose Tubes (reconvening to blow up a juicy brass noise for the first time since 1990) but that was yet another one of the gigs I missed. A particular highlight on record was Billy Bottle & The Multiple‘s ‘Unrecorded Beam’ – a sumptuous, slightly Canterbury-flavoured extrapolation from Henry David Thoreau poems which drew on an inspired, solid-yet-shifting ensemble including Kate Westbrook, Mike Outram and Roz Harding (Producer-engineer Lee Fletcher added a stunning extra dimension to the album, weaving and whirling the listener’s perspective into and around the band, as if he’d fitted his microphones to a darting bee). Other than that, my encounters with jazz were fitful. There were downloaded dates with the cinematic torchy musings of Slowly Rolling Camera, and with the bouncing vocalese and spilling piano salad of the Lauren Lee Jazz Project‘s ‘Makebeliever’, but otherwise it was all about old records, or appreciated stolen licks appearing in other genres. I should have done better.
I prefer hip hop when it questions, weaves and converses rather than just constantly retreading a set of brags. With the megalomania and Renaissance man posturings of the main players reaching delirous levels this year (and consequently leaving me cold), my hip hop experience was sidelined. In spite of that, I had my favourites here as well. I enjoyed Ice Cold Sophist; and El-P and Killer Mike’s second album as their continuing Run the Jewels team-up, in which their occasional lyrical brutality was counterbalanced by their quick-shifting skill and invention. Animator and DJ JayMcQ‘s ‘Tales From My Parent’s Spare Bedroom’ was another hit for me: a cheeky turntable mash-up from behind a Philadelphian white-picket fence.
Surprisingly, assorted efforts by Christian rap collective Humble Beast also rode high. Speaking as an atheist (however gentle) if anyone had told me that one of my favourite rap albums of 2014 would be Propaganda’s ‘Crimson Cord’ I’d never have believed them. Still, there it was: a wise, profound, slam-poetic album in which Propaganda’s religious faith never snagged his flow, articulacy or questioning mind but proved to be an integral part of his compassion, positivity, social responsibility and outspokenness. Beautiful Oddity’s lively, omnivorous production style (from shimmering respiring ambience to rock-guitar-edged corner-slams) proved to be the perfect frame.
Overall, however, I didn’t pay enough attention to hip hop. Similarly, although the density and discursive potential of contemporary R&B genuinely appeals to me I heard little that I actually liked this year. As with jazz, I heard a few things bubbling away in assorted underground strata, a world away from perfume-deal hyper-commerciality or from the constipated melismae being squeezed out on TV talent shows… but all those songs were from before 2014. I’m clearly not listening in the right places yet. I must do better this year.
In contrast to shortfalls in my hip hop and R&B listening, I did get to hear and engage with plenty of noise music, ambient material and post-rock. Although I’m not convinced that ‘Misfit City’’s avant-garde credentials are that predominant, I did receive a lot of music submitted from those areas, containing its fair share of gems. From Trondheim, there was the ferocious cosmic mood-rock of SVK’s ‘Avernus’; from Helsinki, the jazz-noise duo-roar of Good Romans’ ‘Open This Door, Never Look Back’. The far-flung Sontag Shogun collective made a virtue of each of its members being footloose on different continents; on ‘Tale’, they offered an aural world trek piecing together field recordings and accompaniments into a collection of pieces which pursued their playful “lullanoise” concept and also offered an essay on listening.
From New York, Sufjan Stevens revisited 2001 and reissued his extraordinarily diverse album of poached’n’tossed electronica, ‘Enjoy Your Rabbit’. Back in Britain, Darkroom steered their flowing, beautifully etiolated landscapes of eerie guitar and airflecking synths into film soundtracking, via ‘Rhombus’.
If you were after purer noise experimentation, you could look to the overwhelming nuclear blatter and power electronics of Cthulhu Detonator ’s ‘Sucking The Blood Of Celestial Bodies’, the fuzz, breath, dazed piano and radiophonic space echoes of Con Rit‘s ‘Drawing Down Of The Moon’. One slice of noisiness which particularly appealed to me was the Herhalen label’s triple-artist cassette ‘Bourgeois Kerb Stomp’, which was split between the bouncing distortions, little mechanisms and samples of Splashy the Blame-Shifter, the torrential drum-machines-and-feedback onslaught of Lenina, and the downbeat Salford dole-life sound-paintings of Ship Canal (one of which was a lo-fi, dirty-Proustian ramble through the artist’s old takeaway food bills).
The enthusiasm and productivity of certain labels was inspiring. The longstanding wing-and-a-prayer avant-gardeners Silber Media were heroically popping out a little gallery of albums every month, of which ‘Absolut Gehör’ (Origami Arktika’s collection of scutter-and-drone Norwegian psych-folk) was a standout. So too was the gigantic ‘QRD – The Guitarists’ four-hour virtual box set, with no less than fifty-five tracks of experimental cross-genre players buzzing, strumming, droning, looping and mashing their instruments, accompanied by nearly two thousand four hundred pages of interview. (Talk about writing the book on something.)
Fluttery Records bombarded me with assorted post-rock promos during the year, including the expansive Anglo-Scandinavian sonic portraiture of Row Boat‘s ‘In Between’ and the mongrelised techno-rock of AL_X’s ‘Shunt’. Hidden Shoal continued to stake their claim to be releasers of some of the broadest, most accessible art-pop and avant-garde recordings. Some of my favorites were Markus Mehr’s ‘Binary Rooms’ (assorted interferences floating over majestic found sound) and Chloë March’s ‘Nights Bright Days’ (an art-pop songwriter cycle with a Eurydice twist).
The label-less and the isolated continued to prove themselves at least as good as the feted and celebrated. From deep in Sussex, Coriaplex offered an ice-dewed trip into space-rock with ‘One Way To Forever’. Perpetually unappreciated outside of certain small arty enclaves in Poland, David Hurn continued to prove himself much more than a London sadcore murmurer. His ‘Museum of You’ EP might not have contained a single syllable of his disillusioned and waspishly compassionate songwriting, but its eerie spacious chamber instrumentals impressed in other ways. Dank with air-driven keyboards, rattles, distant cellos and musique concrete samples, they rumbled like late Talk Talk or Bark Psychosis struck voiceless. Maybe it’s a coincidence that David lives in the East London regions, north of the Thames and east of the Lea, that spawned some of the best British post-rock in the late ‘80s and early ‘90s; or maybe something’s rubbing off.
Another graduate of those particular times and places (former Redbridgian Ian Crause, once the creative force behind Disco Inferno) turned out one of the most outstanding experimental records of the year. Inexplicably snubbed by indie labels and small art endeavours alike, battling indifference and occasional homelessness, he gritted his teeth and completed ‘The Song of Phaethon’. We’d heard an early version of this piece back in 2012, but 2014 saw the whole uncompromising vision flood out as an EP. Like Chloë March, Ian drew on Greek myth, but in a far more immersive way. Using the legend of Apollo’s bastard son (whose sense of entitlement saw him wresting control of the sun-god’s chariot and carelessly scorching the earth before a thunderbolt brought him down) he wove it into a scathing metaphorical critique of neo-liberalism and the Iraq war. His “picturesound” technique melded a trudging bardic chant with a flooding rush of illustrative samples, the biting lyrical fable illustrated and orchestrated by the sound of screaming jets, whinnying horses, munitions, news broadcasts, snatches of other musics from Greece and the Gulf. The artful,vicious coda (Phaethon, lying prone and dying in the wreckage he’d created, still blithely justifying himself) was spiced with samples of Blair bluster. Slap. (Incidentally, right at the end of the year, and just when he seemed to have burnt himself out for a long time, Ian unexpectedly resurfaced with a couple of bright-sounding muttery pop singles, one of them in Spanish…)
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I seem to have started my look back across the year with a sense of shrunkenness and frustration. Getting to the end of it, I find that even in my own small subjective sliver of 2014 there’s a remarkable richness – and that’s comforting. All things considered, it was a surprisingly good year for music. Frequently, the only thing that really seemed to be missing was me. But more about that next time…