A blog on gigs, music, art and London.

Saturday, 28 December 2013

My Top 100 Albums Of 2013

It's been another fascinating year of music that saw some of my favourite bands return along with the discovery of some excellent new artists. 

I always find the journeys many albums make over the course of the year in relation to my final list quite interesting. They all begin their journey at different times, some immediately race away into the lead only to fade over time, others retain a consistent position towards the top of the list over a period of months, while others force their way into the reckoning late on, occasionally unexpectedly.

I didn't get round to listening to some albums released late in the year that would have otherwise made the list (Nils Frahm, Trouble Books, Dalglish), possibly didn't give enough time to other albums I would have expected to feature (Neko Case) and couldn't quite get into certain albums despite trying (Julia Holter).

If you don't want to wade through the 6000 words below (and I wouldn't blame you) you can view the 100 albums in a simple, text-free list.

Otherwise, here goes...

100) Trilok Gurtu – Spellbound (Moosicus)

One of many albums I reviewed for musicOMH this year. Read my review here.

99) Pan-American – Cloud Room Glass Room (Kranky)

A set of beautifully drifting, organic soundscapes from ex-Labradford man Mark Nelson (assisted here by fellow Labradford member Robert Donne and drummer Steven Hesse).

98) Ólafur Arnalds – For Now I Am Winter (Mercury Classics)

97) Olan Mill – Hiraeth (Preservation)

Another album of heavenly ambient excursions from Olan Mill. It arrived quite late in the year which possibly accounts for its relatively lowly position in this list but it undoubtedly confirmed the talent that Alex Smalley has for creating distinctive and original pieces.

96) Various Artists – Collision/Detection (Long Division With Remainders)

95) Bibio – Silver Wilkinson (Warp)

94) Rachel Musson, Mark Sanders & Liam Noble – Tatterdemalion (Babel)

I saw saxophonist Rachel Musson play as part of a (different) trio at the Intersect festival at Cafe Oto in December but this album of improv-jazz with drummer Mark Sanders and pianist Liam Noble arguably at times captured an even more impressively uncompromising, raw and jarring sound.

93) Iron & Wine – Ghost On Ghost (4AD)

92) Midlake – Antiphon (Bella Union)

The departure of singer Tim Smith provided the context to Midlake’s fourth album and it signalled a return to the more melodic sounds of The Trials Of Van Occupanther, albeit without the emotional highs of that record.  In particular, the title track with its Mercury Rev style guitar outro was fantastic, one of my favourite tracks of the year. There also seemed to be a little bit of revisionism going on in the reviews/features I read this year on Antiphon’s predecessor The Courage Of Others. I’m sure at the time it was viewed positively but now seemed to be held up as an example of Smith’s perceived negative influence over the band. It’ll be interesting to see what he comes back with/how he responds but for now Antiphon saw the other members of the group re-assert their credentials and provide fleeting reminders of why they have become such a loved band for many.

91) Jupiter & Okwess International – Hotel Univers (Out Here Records)

It’s fair to say that Jupiter Bokondji has led an interesting life. Born in the Democratic Republic of Congo he spent much of his childhood in Berlin before returning to the Congo to look for new sounds. He more recently became involved in the Africa Express project led by Damon Albarn. Hotel Univers is the first international release by Okwess International, the band he formed in the 1990s in Kinshasa and it boasts a rich, bustling sound that draws on rock, funk and blues. I’ve never been to Kinshasa but I imagine that the sounds featured on Hotel Univers project the essence of the city that helped make it.

90) Debashish Bhattacharya – Madeira (Debashish Bhattacharya)

I think I first heard this album by Indian musician Debashish Bhattacharya on Radio 3 – most probably either on Late Junction or World On 3. Bhattacharya has attracted attention for the three lap slide guitars he has designed himself (and plays here) and the five ragas performed on Madeira with tabla player Subhasis Bhattacharya offered a subtly atmospheric and entrancing listen where the music revealed itself at a patient pace before setting off towards frenetic peaks.

89) John Vanderslice – Dagger Beach

Dagger Beach was funded through a successful Kickstarter project. I didn’t always find it a particularly easy listen, especially compared to some of John Vanderslice’s other releases and you got the impression that JV had to work hard to make this come to fruition. It doesn't hit the heights of Pixel Revolt or Emerald City but still showed his strengths in terms of lyrical detail and musical experimentation.

88) Masayoshi Fujita – Stories (Flau)

87) Jyotsna Srikanth – Call Of Bangalore (Riverboat)

I discovered this album by South Indian violinist Jyotsna Srikanth through the excellent Songlines Magazine. It was the distinctive sound of her violin that grabbed my attention – immediate and pressing and full of intensity - and alongside the two strands of percussion it resulted in a highly engaging listen.

86) Barbarossa – Bloodlines (Memphis Industries)

I actually saw James Mathe play live on four occasions during 2013 (supporting Pure Bathing Culture once and Low three times) and this exposure gave me the opportunity to really get to know the songs that made up Bloodlines. Sort of like a slightly damaged, hurting modern soul set against an electronic backdrop it recalled Scritti Politti and early Talk Talk.

85) A Hawk And A Hacksaw – You Have Already Gone To The Other World (LM Dupli-Cation)

84) Warm Digits – Interchange (Distraction)

A concept album centred on the Tyneside Metro system, Interchange provided an evocative journey of its own, fuelled by motorik percussion, building synths and hard-wired guitars.

83) The Garifuna Collective – Ayo (Cumbancha)

Watina, the album released back in 2007 by Andy Palacios and the Garifuna Collective was quite an important album for me personally in terms of revealing just how powerful and joyful world music could be so I approached Ayo with anticipation. Pleasingly, it showed their vocal harmonies to be just as soulful and enriching as on Watina. Hopefully they’ll play WOMAD next year!

82) Forest Swords – Engravings (Tri Angle)

Engravings demonstrated an element of continuation from Matthew Barnes’ excellent debut EP of two years ago but it also showed how his dubby, deteriorated sound had also been subtly developed and broadened.

81) Tindersticks – Les Salauds (Lucky Dog)

From a Tindersticks perspective focus in 2013 centred on Across Six Leap Years, their album of reworked, career-spanning material but this soundtrack to the Clare Denis film slipped by relatively unnoticed. If you were to ignore the opening and closing tracks that featured the vocals of Stuart Staples however you would struggle to identify this as a Tindersticks album. Entirely electronic in sound, it showed a real versatility to their music as they ventured outside their usual musical boundaries, confirming them as experts in the art of soundtracking.

80) Lubomyr Melnyk – Corollaries (Erased Tapes)

79) Cigdem Aslan – Mortissa (Asphalt Tango)

I was introduced to the genre of rembetika during some pre-WOMAD listening – a form of Greek/Turkish traditional music that arrived straight from the heart, dripping with emotion. At WOMAD it was the music of Mavrika that introduced me to the genre but this album from London based Turkish singer Cigdem Aslan was just as striking a listen.

78) Emiliana Torrini – Tookah (Rough Trade)

Emiliana Torrini’s sixth album Tookah showed signs of musical progression but as always it was her enchanting voice that was the most striking aspect. It’s still one that I could listen to endlessly, so euphonious and delicate and fragile.

77) Jaipur Kawa Brass Band – Dance Of The Cobra (Riverboat)

Whenever I go to India one of the highlights is stumbling by chance upon a wedding party progressing along the street. They are nearly always soundtracked by a brass band similar to the Jaipur Kawa Brass Band. This album captured the energy, zeal and power of this form of music perfectly.

76) Felicia Atkinson – Visions/Voices (Umor Rex)

Visions by French artist/musician Felicia Atkinson seemed to be pieced together from a similar sound palette to that used by Liz Harris on her Grouper albums. It sort of suggested itself as an album for those who prefer their female-led ambient to be more shaded, more longform and more opaque than the relatively clear-minded approach demonstrated so well by the likes of Julianna Barwick.

75) Deptford Goth – Life After Defo (Merok)

I enjoyed this album of openly emotional, vulnerable, song-based electronic music from south London based Daniel Woolhouse. The sounds were soft, inviting and accessible and it seemed to settle into its own little niche in the musical landscape of 2013.

74) Yo La Tengo – Fade (Matador)

It’s always a slightly odd feeling when one of your favourite bands releases a slightly below-strength album (even more so when the reviews elsewhere are generally quite positive). The second half of Fade was actually very good – tracks like Cornelia & Jane, The Point Of It and Two Trains would all make the cut in any best of Yo La Tengo playlist I’d make but the other tracks didn’t quite do it for me, in some cases sounding like watered down versions of ideas executed much better on previous albums. Their show at the Barbican in March was probably my favourite of the year however and proved they are still the best at playing consistently different, brilliant live shows. Georgia’s version of Take Care by Big Star that night was just one of the most beautiful moments I’ve experienced at a gig for many years.

73) Hecq – Horror Vacui (Hymen Records)

Ben Lukas Boysen has built up a reputation over the years for releasing music that switched back and forth from different sub-genres. He has worked more in film soundtracking of late, using his own name for releases, moving away from his harder, IDM sound reserved for his Hecq alias. Horror Vacui was another excellent album of glitchy, contorted electronics layered over ambient synths.

72) Arp – More (Smalltown Supersound)

71) Directorsound – I Hunt Alone (Second Language)

Directorsound is the name adopted by Dorset-based musician Nicholas Palmer and his fourth album I Hunt Alone possessed a baroque simplicity and pastoral softness that recalled the likes of Virginia Astley or an instrumentally-focussed Vashti Bunyan.

70) Grumbling Fur – Glynnaestra (Thrill Jockey)

Another album that defied easy categorisation, Glynnaestra seemed to have one eye on the future and one on the past. I enjoyed its predecessor Furrier a lot (and on balance still prefer it to Glynnaestra). On this album Daniel O’Sullivan and Alexander Tucker integrated the sound of pulsating synths/percussion into vocal-led tracks that (improbably) on occasion bore a passing resemblance to early Depeche Mode.

69) Ralfe Band – Son Be Wise (Highline Records)

Ralfe Band’s post-Gorky's mix of eastern European flavoured instrumentation, slanted leftfield folksong and lyrical eccentricities may not have been quite as pronounced as it has been in the past but third album Son Be Wise still showed them to be on fine form.

68) Greg Haines – Where We Were Saw (Denovali)

I’ve followed Greg Haines since hearing his debut album Slumber Tides back in 2007 and he’s proved himself a consistently brilliant player-composer. Last year saw him reach something of an emotional, elegiac peak in the lushly orchestrated panoramas found on Digressions but Where We Were Saw him change focus, moving away from the comparative bleakness and sadness to a more shaded, darker sound that embraced dissonance, electronics and beats.

67) The Memory Band - On The Chalk (Our Navigation of the Line of the Downs) (Static Caravan)

Amongst other things The Memory Band have recently played shows where they play the music of The Wicker Man soundtrack and On The Chalk was drawn from a similar kind of unusual, outsider-folk to Paul Giovanni’s original album. The inclusion of field recordings and samples worked really well and alongside lesser-heard instrumentation made for an interesting, involving listen.

66) Josephine Foster – I’m A Dreamer (Fire Records)

It may have been recorded in 2013 but the music on I’m A Dreamer seemed to be directly transported in from a different era, totally unconcerned with any modern trends or references.  I guess her nearest contemporary would be Gillian Welch and Foster’s music seemed just as raw and deeply steeped in history, including hints of the early vocal jazz of the likes of Billie Holliday.

65) Debruit & Alsarah – Aljawal (Soundway)

I discovered this fairly late in the year but it was an excellent example of artists combining interesting personal backgrounds and individual elements of regional music and re-homing them in a different musical setting. In this case Sudanese vocals (courtesy of singer Alsarah) were placed alongside the effervescent electronic environment created by French producer Debruit to wonderful effect.

64) Barn Owl – V (Thrill Jockey)

The music of Barn Owl has always evoked the sounds and imagery of the galaxies but this was refined and serene and quietly powerful.

63) Tim Hecker – Virgins (Kranky)

I first listened to Virgins on a morning commute to work and I struggled a little to fully appreciate the scale and depth of sound. However, on second listen and with no distractions, it sounded transformed. Hecker’s early albums will always be important records to me but Virgins showed he was still capable of creating powerful, impactful pieces of work.

62) Black Hearted Brother – Stars Are Our Home (Sonic Cathedral)

61) Sigur Rós – Kveikur (XL)

Kveikur had much more weight and heft to it than its predecessor, and it felt like the band decided to make a conscious return to the impact and melodic immediacy found on earlier albums (especially compared to last year's ultra pared down Valtari). Seeing them at Brixton Academy was a reminder of what a brilliant band they are and how transcendent their live shows can be.

60) These New Puritans – Field Of Reeds (Infectious)

Field Of Reeds continued in a similar vein to its predecessor Hidden, as was similarly acclaimed. It contained plenty of beautiful moments, most notably Fragment Two, V (Island Song) and Organ eternal but I’d be quite interested to see them really go more strongly in a more experimental, challenging direction. They clearly have more vision and ambition than most of their contemporaries and I could see them putting out something really defining over the next few years.

59) Moon Wheel – Moon Wheel (Not Not Fun)

Australian musician Olle Holmberg delivered an album of intriguing, oscillating electronic textures on this understated self-titled release. 

58) CFCF – Music For Objects (Paper Bag)

Montreal producer Mike Silver has covered differing ground on his releases to date and pushed this further with Music For Objects, an eight track album inspired, as the name suggests, by everyday objects. It initially seemed a little too heavily indebted to the likes of Steve Reich & Phillip Glass but as the album progressed this influence became more fleeting and less entrenched, revealing itself to be a beautiful, luminescent collection of pieces. 

57) William Ryan Fritch – The Waiting Room OST (Lost Tribe Sound)

To begin with this reminded me of Godspeed You! Black Emperor / A Silver Mt. Zion in its heavy sense of sadness. Elsewhere it maybe fell into a more orthodox strings-based cinematic sound, but it was still a beautiful piece of work. 

56) Phosphorescent – Muchacho (Dead Oceans)

There were times when Muchacho, the sixth album from Phosphorescent, felt like the musical equivalent of a well thumbed book, slightly tattered around the edges but possessing a real beauty and power within the pages. In a way it was also an album of contrasts - the inclusion of synths and programmed beats on the opening tracks lent the album a certain freshness before the raw, emotive Americana was gradually re-asserted. 

55) Tal National – Kaani (Fatcat Records 130701)

54) L. Pierre – The Island Come True (Melodic)

On The Island Come True Aidan Moffat proved he was equally capable in constructing abstract instrumental sound collages as wringing emotion and poignancy from life’s less salubrious episodes.

53) Nosaj Thing – Home (Innovative Leisure)

Light, brisk and spacious Nosaj Thing's follow up to the excellent Drift was a highly listenable release, full of trademark electronic inflections and soft clipped beats.

52) Haiku Salut – Tricolore (How Does It Feel To Be Loved)

I saw Haiku Salut play most of this beguiling album a show at the Buffalo Bar in March that I reviewed for musicOMH.

51) Califone – Stiches (Dead Oceans)

The number of Califone releases now approaches double figures, showing how enduring a musical force the Chicago-based four piece have become, albeit one still very much happy to exist on the periphery of alternative rock. Stitches showed off all of their qualities – strong songwriting and wide-ranging, accomplished playing allied to a gritty, exposed aesthetic.

50) Euros Childs – Situation Comedy (National Elf)

49) Mark Kozelek & Desertshore – Mark Kozelek & Desertshore (Caldo Verde)

2013 was a highly prolific year for Mark Kozelek, this being his third album of the year (that is if you discount the many live records he’s also released). It was good to hear his voice alongside electric guitar and drums (contrasting from the classical acoustic guitar heavy albums he’s concentrated on in recent years). I saw him play an emotional show at Union Chapel in October (on the night Lou Reed died) that focused on tracks from this album, his collaboration with Jimmy LaValle (more of which later) and forthcoming Sun Kil Moon album Benji. He seemed to suggest that these songs were knocked out fairly quickly but I didn’t really pick this up when listening to the album. As usual, some beautiful moments – Sometimes I Can’t Stop, Katowice Or Cologne, Don’t Ask About My Husband and the superb You Are Not My Blood all standing out.

48) Sam Amidon – Bright Sunny South (Nonesuch)

47) Piano Interrupted – The Unified Field (Denovali)

I first became aware of Piano Interrupted earlier in the year by discovering Two By Four, the album they released last year. The Unified Field wasn’t hugely different, still showing them to be skilled in integrating traditional instrumentation with electronics although it was possibly a little more studied, cerebral, minimalist and curtailed than its predecessor.

46) Nadia Sirota – Baroque (Bedroom Community)

The name of this album only gave the listener an idea of the starting point of the music of violist Nadia Sirota. It did less to convey the forward-thinking outlook that informs it. Over the course of six tracks the music here is expanded beyond the parameters of the genre of the title, pushed into unexpected places and incorporating unanticipated sounds.

45) Roddy Woomble – Listen To Keep (Reveal)

Listen To Keep was ex-Idlewild frontman Woomble’s fourth solo album and one that got a little unfairly overlooked throughout the year. It saw him continue to explore the worlds of alt.county and modern folk (whilst continuing to relay hints of Michael Stipe in his voice). The likes of The Last One Of My Kind meanwhile also proved his ability to write free-flowing, melodic tracks had not deserted him.

44) John Beltran – Amazing Things (Delsin)

I heard of American producer John Beltran for the first time this year but a glance at his back catalogue reveals a long and varied career. Amazing Things was a rewarding marriage of melodic electronica and lush strings that recalled the likes of the Cinematic Orchestra. I’ll be investigating his other albums in 2014.

43) Volcano Choir – Repave (Jagjaguwar)

They may be a band in their own right but it hard to look past Justin Vernon when it comes to Volcano Choir. His voice is still heartfelt, exposed, poignant but paradoxically many of the tracks on Repave sounded shot through with a sort of melancholic, rousing euphoria.

42) Hacker Farm – UHF (Exotic Pylon)

Noise, dark ambient and mutant electronics were all rolled together into one hugely immersive ball of sound on UHF.

41) The Haxan Cloak – Excavation (Tri Angle)

Excavation offered another glimpse into the subterranean, blackened soundworld of The Haxan Cloak. The music was fractured and foreboding, conveying a strangely alluring sense of unease.

40) Autechre – Exai (Warp)

39) Mike Cooper – White Shadows In The South Seas (Room40)

I was really pleased to discover the music of Mike Cooper this year. He’s been making music for over 50 years, starting off in the field of folk/blues before moving on to take in everything from soundtrack work to electronic and improvised music and more. The esoteric, fascinating music on White Shadows In The South Seas fell between genres, referencing everything from winding guitar lines, lightly percussive groove-based workouts and birdsong-embellished exotica.

38) Petrels – Onkalo (Denovali)

It’s fair to say that Haeligewielle, the debut album by Petrels (musician Oliver Barrett) blew me away somewhat unexpectedly last year. Onkalo may not quite have matched the heights of its predecessor but it was still a powerful work. Filtered, distorted sounds rushed through the album and the incorporation of vocals into the mix added an emotional dimension not always witnessed in the genre of dark ambient.

37) Daniel Bjarnason – Over Light Earth (Bedroom Community)

Moving melodic flourishes, glossy sweeping strings, powerful impactful peaks. Over Light Earth by Icelandic composer-player Daniel Bjarnason proved that modern classical could contain all of these qualities, sounding complex yet still totally compelling.

36) Jerusalem In My Heart – Mo7it Al-Mo7it (Constellation)

For me, this release by JIMH was one of most interesting records of the year. Essentially a project led by Lebanese musician Radwan Ghazi Moumneh, Mo7it Al-Mo7it offered a spellbinding mix of traditional Arabic music and experimental avant-rock, the layering of exclamatory, impassioned vocals over the extended guitar drones resulting in a uniquely powerful listen.

35) Oddisee – The Beauty In All (Mello Music)

The Beauty In All was another fluid, highly listenable blending of sharp beats, samples and melodic motifs from Maryland producer Oddisee.

34) Esmerine – Dalmak (Constellation)

I came to this album late in the year but I’m so pleased I finally got round to listening to it as for me it is the best Esmerine album. Recorded in Istanbul with a group of Turkish musicians it showed the band to be re-energised, delivering what I’d say is their strongest album to date, hinting at the dynamism of GY!BE but also retaining their neo-chamber origins.

33) Splashgirl – Field Day Rituals (Hubro)

32) Grouper – The Man Who Died In His Boat (Kranky)

31) Julia Kent – Character (The Leaf Label)

The third album by New York cellist Julia Kent had a real density of sound and expansive scope and registered as one of the most immersive and satisfying modern classical releases of 2013.

30) Aaron Martin & Christoph Berg – Day Has Ended (Dronarivm)

Woven Tides by Aaron Martin (under the From The Mouth Of The Sun name) was one of my favourite modern classical releases of 2012 and a similar beautiful richness flowed through his collaboration with Christoph Berg.

29) Bill Callahan – Dream River (Drag City)

Dream River was a superbly executed (and typically Callahanian) exercise in wryly observed, reflective lyrics and unhurried, understated arrangements. Definitely an album to slow down and pause to. I’m looking forward to seeing him play at the RFH in February.

28) A Sun Amissa – You Stood Up For Victory, You Stood Up For Less (Gizeh)

You Stood Up For Victory, We Stood Up For Less consisted of two tracks, each approaching twenty minutes in length. They marked A-Sun Amissa out as one of the most successful 'new' bands to take post-rock and develop and refine it in interesting ways (as seen at their show at Cafe Oto in February).

27) Amor De Dias – The House At Sea (Merge Records)

I heard Gideon Coe play the title track from The House At Sea on his 6music show at the start of the year and was immediately captured by its warmth and beauty. Much of the album was delicate and gentle, reminiscent of Neil Halstead/Mojave 3/Ella Guru but as the albums progressed hints of a broader sound were unveiled.

26) Solar Bears – Supermigration (Planet Mu)

25) Vieux Farka Toure – Mon Pays (Wrasse Records)

There was some mesmerising, absorbing playing on Mon Pays which ultimately helped it stand out in a year that boasted several high-quality African guitar-based albums.

24) Jon Hopkins – Immunity (Domino)

Immunity was Hopkins’ attempt at soundtracking the ascent and descent of a night out and he accomplished it in masterful, seamless and elegant style. The closing title track was particularly poignant – reminiscent of his work with King Creosote on Diamond Mine.

23) Múm – Smilewound (Morr Music)

I’ve loved Múm since discovering their wonderful debut album Yesterday Was Dramatic, Today Was OK. Their sound has progressed in a poppier direction ever since and this was another Icelandic confection of glitch, sugary sounds, unruly electronics, and wispy, waif-like vocals. There was an enlightened playfulness and a controlled quirkiness to tracks like Candlestick not found elsewhere this year. Set against this backdrop the occasional use of strings felt like a genuinely enhancing addition rather than the default option many bands resort to.

22) Veronica Falls – Waiting For Something To Happen (Bella Union)

I’d never really paid much attention to Veronica Falls until by chance I heard Teenage being played in H&M (thanks to the Shazam app). It pretty much instantly converted me to their music – melodic, girl-fronted, indie-pop perfection. I reviewed their show at Islington AssemblyHall for musicOMH.

21) Rabih Beaini – Albidaya (Annihaya)

This album by Lebanese musician Rabih Beaini stood out primarily due to the unusual and varied set of sounds it was drawn from - strangely configured electronics that seemed to mimic the natural world (Ya Shater suggested the sounds of birdsong and flowing waterfalls), loosely experimental and at times aleotoric-sounding instrumentation, weird vocal references, jazz-informed percussion. An invigorating and rewarding listen.

20) The Necks – Open (Rer Megacorp)

The fact that I still haven’t seen Australian trio The Necks play live remains a source of frustration (although one I hope to overcome in 2014). Their improvised live shows always attract huge praise and it’s not difficult to see how the music featured on albums like Open could translate so well in that environment. The album’s name was particularly telling – there was such a heightened sense of space on Open, with rustling percussion and mirage-like piano ensuring an understated, absorbing listen.

19) Benoît Pioulard – Hymnal (Kranky)

18) Rokia Traoré – Beautiful Africa (Nonesuch)

Beautiful Africa possessed a real vitality and composure not to mention superb musicianship and captivating vocals – all qualities reflected in her performance at WOMAD (read my review of the festival here).

17) Mountains – Centralia (Thrill Jockey)

Probably the Mountains album I have enjoyed most to date. On Centralia their longform, immersive synth-based pieces crystallised into something perfectly-formed, transporting and (like much of the best instrumental music) acted as a facilitator to escapism, especially on stand out tracks like Tilt. The map on the album cover art seemed appropriate - there's always been something richly topographical to their music.

16) William Tyler – Impossible Truth (Merge Records)

I was struck by the beauty and sheer technical skill on Impossible Truth early in the year but when listening on headphones during a journey from Leeds to London it seemed to make even more sense as the greens, ochres and maroons of the English countryside in autumn flashed by the window. A natural, organic, unfiltered quality flowed quite beautifully through the winding, deviating paths of Tyler's guitar playing.

15) Oneohtrix Point Never – R Plus Seven (Warp)

On R Plus Seven Daniel Lopatin continued his journey through the outer reaches of progressive electronic music in impressive fashion, juxtaposing cut up fragments alongside moments of serenity to present what could be seen as the musical representation of a glittering, multi dimensional, many sided shape.  He improves with each release and is slowly moving towards establishing his own post-digital musical language.

14) Mark Kozelek & Jimmy LaValle – Perils From The Sea (Caldo Verde)

I enjoyed this album more than MK’s collaboration with Desertshore mainly due to the strength of the songs and lyrics as opposed to the electronic backdrops they were intelligently set against (although they were wonderful also). Tracks like Caroline, Ceiling Gazing, You Missed My Heart and the calm, reposed closer Somehow The Wonder Of Life Remains were classic Kozelek – effortlessly despatched with a resolute ability to remain lodged in your head and heart for long periods of time. Among The Leaves by Sun Kil Moon was my favourite albumof 2012 and his music continued to play a rewarding, cathartic role for me in 2013.

13) Magic Arm – Images Rolling (EMI)

Another really strong album from Manchester musician Marc Rigelsford that was not particularly easy to place or accurately describe. In places it contained hints of The Beach Boys, Panda Bear and possibly even Badly Drawn Boy whilst also having some of the finesse of mid-period Mercury Rev. Put Your Collar Up was one of my favourite tracks of the year and really deserved a bigger audience. The instrumentation was broad but assured – strings, piano, synthesisers and guitar sat alongside each other cordially. When during final track The Flood Rigelsford sings “you don’t have to belong” it almost sounded like a succinct lyrical condensation of his music. I saw him play a great show at St Pancras Old Church in May.

12) Anais Mitchell & Jefferson Hamer – Child Ballads (Wilderland Records)

Anais Mitchell has already proved herself a fine interpreter of both traditional and modern folk music and this collaboration with New York singer-songwriter Jefferson Hamer on this short collection further reinforced this view. I hadn’t heard of Hamer before this but he was actually responsible for some of the most beautiful moments on the album. I’ll definitely be investigating some of his solo work in 2014.

11) Goldfrapp – Tales Of Us (Mute)

I first listened to Tales Of Us on my way to work one day in September and it was eminently suitable morning listening, unobtrusively infiltrating my sleepy consciousness. I love this side to their music – so discreet and deliberately underplayed (traits also present on their last album Seventh Tree). There were moments on Tales Of Us such as Ulla where most bands would have ramped up the orchestral backing but the fact that Goldfrapp chose to proceed with such restraint seemed to make the music even more powerful. It was one of a few albums this year that made me think of the Cocteau Twins albums but this was definitely the album that came closest to matching the mystery and beauty of those records.

10) John Grant – Pale Green Ghosts (Bella Union)

I used to think that it was unlikely that John Grant's solo music would ever quite have the same impact on me as that of his previous band The Czars but Pale Green Ghosts rather emphatically persuaded me otherwise. Musically bold and lyrically confrontational, funny and poetic, it was no surprise to see this personal reinvention of an album top several end of year charts (including that of musicOMH).

9) Laura Cantrell – No Way There From Here (Spit & Polish)

The return of Laura Cantrell with new, original material was one of the undoubted highlights of 2013. Her voice remained crystal clear and her songwriting was as strong as ever. Her version of Jennifer O' Connor's Beg Or Borrow Days was one of my favourite tracks of the year. Quite simply one of the best modern country singers around.

8) Holden – The Inheritors (Border Community)

James Holden may not attract the same level of attention as other names that operate in the realm of electronic music but The Inheritors stood out as one of the year’s most interesting releases.  It was stylistically varied and dense yet brilliantly cohesive – it touched on drone, free jazz, techno and esoteric (and frequently complex) electronica without ever sounding contrived. It’ll be fascinating to see what he follows it up with.

7) Laura Veirs – Warp & Weft (Bella Union)

I’ve loved Laura Veirs’ music for a long time now and this was another very strong set of songs. The purity and warmth of her voice, confident songwriting and subtly progressive musical arrangements all combined to impressive effect on Warp And Weft.

6) Pure Bathing Culture – Moon Tides (Memphis Industries)

I first heard Tom Ravenscroft play Pure Bathing Culture on 6music. I loved the beautiful Cocteau Twins-meets-Beach House dreaminess of Moon Tides and its balancing of musical introspection and literate, melodic pop. I saw them play most of the album at a show at The Waiting Room in Stoke Newington.

5) Boards Of Canada – Tomorrow’s Harvest (Warp)

It arrived with a huge level of anticipation but Tomorrow’s harvest didn’t disappoint. I love the sense of scale and completeness that comes with Boards Of Canada albums. It’s tempting to focus on the stand out, electronic melodies of Reach For The Dead, Cold Earth and Nothing Is Real but as always the quieter, shorter, more abstract pieces like Transmisiones Ferox and Uritual were just as important in preserving the flow of the album and linking the pieces together.

4) Julianna Barwick – Nepenthe (Dead Oceans)

Nepenthe was another album of celestial, ethereal sounds from Julianna Barwick, all loops and layers, but under the surface lay real emotion and clarity. It presented a firm challenge to Eluvium’s position as my favourite ambient release of the year. It also possessed some of her most overt references to melody to date. I missed her show at Cafe Oto but really hope she returns to London soon.

3) Eluvium – Nightmare Ending (Temporary Residence)

Eluvium albums always have such a human quality to them, in some ways belying their instrumental nature (if you disregard Similes that is, his one vocal-based album to date). There’s something joyous and almost overwhelming about the sheer emotional saturation found within Matthew Cooper’s music. From the poised elegance of the piano based tracks to the blissful, engulfing exhalations of the hazier ambient pieces he always manages to maintain a delicate balance between consonance and dissonance. I love how each track makes its own particular contribution to the album whether it be the backwards pull of Unknown Variation, that seemed to be retracing former emotional ground, or the static-drenched columns of Chime.

2) Low – The Invisible Way (Sub Pop)

I’ve already written and tweeted quite a bit on Low this year (probably boring many people in the process) so I’ll try to keep this brief. I think it is by no means their best work to date (Secret Name & Trust still lead the way on this front) but The Invisible Way was an excellent album (but I would say that I guess) and as always contained some spine-tingling moments – Amethyst, So Blue, Holy Ghost, Four Score and To Our Knees ranking alongside some of their best songs.

Slightly excessively, I saw them play five shows in 2013 - in Gateshead, London, Cambridge, Sheffield and Leeds. Tracks from The Invisible Way dominated the first two shows in April and still hadn’t diminished in anyway by the time I saw them 6 months later. 

Oh, and I also wrote a long blog post on the twenty times I’ve seen them play.

It held the top spot for much of the year before being pipped on the line by...

1) Caitlin Rose – The Stand-In (Names Records)

As always the album that claims number one spot in my list is the one I’ve listened to most during the year. Indeed, my inability to stop listening to The Stand-In around late November/early December put finishing this rather long blog post at serious risk.

I knew it was pretty special on the first few listens but it then just grew and grew and grew over the year for me. It was just a brilliantly accomplished set of highly melodic and soulfully shaded alt.country-referencing songs. It was also perfectly paced as well - both in terms of track sequencing and long-term appeal (over the course of the year I think my favourite track changed about 6 or 7 times). Ultimately I think Only A Clown was my favourite and most listened to song of the year (check out the sweet and funny video here).

I like a lot of different types of music but sometimes I just can’t get past a girl with an amazing voice singing beautiful, affecting songs. Thank you Caitlin!

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