In many ways, this end of the chart is the more interesting ones, in that there is probably a few names that you are not that familiar with! You can see what we thought below and check out some new sounds.
11. A Winged Victory for the Sullen – Atomos
“The strings slowly build, then fade. The piano ripples in mesmeric fashion. There are a variety of subtle electronic sounds in the background, that fill out the sound and enrich it. This is all you would expect if you know the first album, and fans of their work would want nothing else. The various instruments take the limelight and then move into the background in such a slow and gradual progression that you only notice if you are paying close attention. It is the type of album you can start again as soon as it finishes.”
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12. The Gloaming – The Gloaming
Probably the best Irish Album of the year, and it was released way back in January of this year. So much so, it hardly feels like this year at all. It combines the skills of many of the best Irish Trad musicians, and is the second entry featuring Caoimhín Ó Raghallaigh. It’s an exciting time for Trad music, which seems a strange thing to say!
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13. Loscil – Sea Island
Loscil is the name for Scott Morgan’s muscial outlet. He lives in Vancouver where he makes sound effects for computer games and music. A perfect life? It’s not the type of sound that will ever trouble the hit parade, but is a slowly moving sound that builds and folds in on itself.
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14. Grouper – Ruins
This album made me realise that you don’t need production tricks to create something a bit special. It is piano and vocals and that’s about it. The vocals are distant and muffled, but ever so delicate. It’s an album that makes you feel like you are drifting…
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The Master returned and this was something of a shock to the system, after being quiet for so many years. There was always going to be so much pressure heaped upon a new release from the Limerick man (kinda), Richard D James, but taken on its own merits, it was quite special.
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“The arrangements change quickly between songs, sometimes the guitars play (controlled) nasty and on other songs they’re in the periphery. There are songs with a prominent brass section, reminiscent of ‘Love this Giant’ but again, only on certain tracks. The sound is clear and crisp, with the vocals prominent and all else behind. The lyrics are smart and funny, and live up to previous albums. Songs like ‘I prefer your love’ (to Jesus) and ‘Severed Crossed Fingers’ waft along in a secluded valley of sound. In truth, you’d struggle not to like this album. I’m sure you could, if you put your mind to it, but you’d have to work at it. I think a few more risks are required for her classic album though, which I’m sure will come with time.”
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“All of the tracks are fiddlle based, with the two performers sometimes playing together and at other times battling with each other, like a struggle for supremacy. It’s a complex and intriguing insight into the various sounds that can be developed. The main thing you realise is how emotive fiddle playing can be, there is such raw feeling in the playing, such highs and lows, happiness and sadness. It is a lovely collection that deserves to be heard.”
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What went on to be the Scottish Album of the Year, we reviewed back in February. “While their sound may be too vulgar or raw to find a home in many a record collection, for those willing to take a risk, this comes recommended for its bravery and diversity. What they do doesn’t always work out, but when it does, it’s really quite special. Stand out tracks include the singles ‘Get Up’ and ‘Low’ both of which you can hear below.“
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“Possibly the lack of guitar on the album is one of the more striking things about it, as the piano/ synth is always the first option. His voice is such a fragile instrument that it works perfectly over this soft delicate playing. It’s an album that you can enjoy first for the music and later as you pick out the phrases and lyrics buried within. The musical arrangements are quite diverse from track to track, and the one unifying thing is the space and deliberate quietness on all the album. It’s an album worth exploring.”
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“The production carries through the album, and while there is a lot of different directions, it provides the glue that holds it all together. There is a hint of invention about this album, like he’s not prepared to make things easy for himself, or recreate something that’s been done before. This is what differentiates this from the pack, and while the variety of sounds and ideas don’t always hold together, when they do, they’re quite special. It’s an album that will broaden the horizons of many who listen to it, as it slips easily between genres and moves people outside their comfort zones, and for me that’s always a good thing!”
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No More Workhorse 