A Sweeping Curve of Sound

Musicfolio has released their top twenty Goth/Darkwave/Industrial albums for 2007. Topping the list is VNV Nation’s album “Judgement”.

“Judgement is obviously a darker album being that the theme is Judgement Day, the end of mankind. Lyrically it contains many of VNV’s most popular themes, but on tracks like Nemesis and Descent we see Ronan really tapping that dark visceral vein of his. The vocals on Descent are spoken, not sung, and believe me when I say Ronan sounds seriously grim on that track! A very haunting song.”

I can’t say I think VNV Nation made the best “dark” album of 2007, but I’m sure they are working with different criteria.

On a more personal note, I would like to give a shout-out to the Parasol Records top-2007 picks (I briefly interned there, and they are all wonderful people with great musical taste).

But enough of this 2007 pondering! I am very much looking forward to the music of 2008. New albums from Nick Cave, M83 (check out a preview), Bauhaus, Deadfly Ensemble, Devotchka, Ladytron, A Silver Mt. Zion, Portishead, Jessie Evans, and the new Mirabilis CD “Sub Rosa” (now available via mailorder, but hitting the stores in February) which I plan to review here soon (once I get my hands on it).

“Mirabilis - the collaborative neo-classical/heavenly voices duo Summer Bowman of The Machine in the Garden and Dru Allen of This Ascension - return with Sub Rosa, the brilliant follow-up to their 2004 debut, Pleiades. The new album mixes classical sensibilities with exotic electronics and acoustic instrumentation to complement the vocal depth listeners are familiar with from Dru and Summer. The vocals are supported with a melancholic arrangement of flute, hammered dulcimer, and live percussion mixing with multi-layered vocal stylings to invoke a range of emotional textures.”

Sounds right up my particular alley. Now off to record this weeks podcast…

Wired’s Listening Post runs down the top ten music stories of 2007.

My favorite music blog, Raven Sings the Blues, shares its top 15 of 2007.

Mtv: The year the music industry broke. Also, what is coming in the future?

Pitchfork: Top fifty albums of 2007.

See also: DJ Martian’s extensive best-of lists link collection.

Deathrock.com: nominations for best 2007 albums.

Mick Mercer’s picks for 2007’s best albums.

Plus: Mick Mercer’s X-Mas-themed issue of The Mick (pdf), and a Christmas card from Uncle Nemesis.

After a bit of warm-up, here is the list for my personal top-25 albums of 2007. When possible I have provided a link to a review or post concerning the artist. I’ll most likely want to change some of these (and the order of placement) in the days to come, but I’d say it captures what new releases I enjoyed this past year.

25. yelworC - “Icolation” [my review]
24. Siouxsie Sioux - “Mantaray”
23. The Horrors - “Strange House”
22. Grinderman - “Grinderman”
21. Chromatics - “Night Drive”
20. AKACOD - “Happiness” [my review]
19. Hexperos - “The Garden of the Hesperides” [my review]
18. Low - “Drums and Guns”
17. Ataraxia - “Kremasta Nera” [my review]
16. Arrowwood/Novemthree - “Split EP” [my review]
15. Klaxons - “Myths of the Near Future”
14. Akron/Family - “Love is Simple”
13. Irfan - “Seraphim”
12. Faun - “Totem” [my review]
11. Black Ice - “Myopia” [my review]
10. V/A - “John Barleycorn Reborn” & “All Souls Arise” [my review]
09. Khvarena - “The Spirit Rises” [my review]
08. Interpol - “Our Love to Admire” [my review]
07. Daemonia Nymphe - “Krataia Asterope” [my review]
06. The Moon and The Nightspirit - “Rego Rejtem” [my review]
05. iLiKETRAiNS - “Elegies to Lessons Learnt” [my review]
04. Bjork - “Volta”
03. The Valerie Project - “The Valerie Project” [my review]
02. Monica Richards - “InfraWarrior” [my review]
01. P.J. Harvey - “White Chalk”

“White Chalk is a mood piece for sure, but it’s also a careful, nuanced work that rewards close listening. Klein may be correct that it is not suitable as all-purpose background noise, but he fails to realize that this is in fact an indication that the album has succeeded on its own terms. The point of White Chalk is to transport the listener into the world of Harvey’s characters, and it is remarkably effective in doing so. It’s meant to be a window into other lives, not yet another mirror to gaze upon ourselves, or a blanket of ambient sound to keep us from feeling uncomfortable in silence.” - Matthew Perpetua, Fluxblog

I hope this steers you towards some great new music. I’m looking forward to a great musical year in 2008.

You knew the hipster love-affair was over when Pitchfork gave Interpol’s major-label debut a measly 6.0. Then again, so did Spin and Rolling Stone. Which means those magazines have become surprisingly relevant once more, or, that Pitchfork has finally solidified into a part of the rock-criticism mainstream (admit it, they have become rather predictable). Meanwhile, while even fans generally agree that no new ground has been broken with “Our Love to Admire”, most everyone admits that the album is a solid affair with a few truly great songs lifting the entire album above workmanlike mediocrity.

“For better and worse—mostly better—Our Love is unmistakably another Interpol disc … on the whole, Our Love To Admire delivers exactly what’s promised, which for fans will be exactly enough. Interpol: A Brand Name You Can Trust?”

Interpol

The album’s opener, “Pioneer to the Falls”, is dead brilliant. A beautiful track that I wanted to play over and over again, and some of the best work the band has done (even the haters agree). It starts off a strong first half that, if it had been maintained throughout, would have become a classic album held up as the band’s “Disintegration”. Its a shame that the band is currently enduring the inevitable backlash that comes with an initial wellspring of underground love.  I agree with the Los Angeles Times reviewer who opined that “Our Love to Admire” will very likely become “that tricky third record, the one it’s cool to like best.” So perhaps my undimmed love for this release makes me ahead of the curve (though I doubt it).

In any event, this is certainly one of my favorites for 2007, perhaps it should be one of yours too. To quote one more review, it should be easy to see why I feel the way I do.

“Our Love To Admire borrows much of its nervous energy from several obvious English forebears: Echo And The Bunnymen, The Cure, Kitchens Of Distinction, Psychedelic Furs and early Banshees, as well as Joy Division and The Chameleons.”

So here’s to consistency and slow steady growth. May Interpol enjoy much more of it in the future.

Links: Interpol on MySpace, Interpol at The Hype Machine

[This is the fifth in a series of posts discussing some of my favorite musical releases in 2007.]

This time around I’ll be doing a double-dose of my favorite releases from 2007. Two European bands whose releases point to the still-thriving “ethno-gothic” genre (also called “Neoclassical Darkwave”) created in the wake of bands like Dead Can Dance, and Ataraxia. While there have been many releases in 2007 that could fit under this banner, including quality releases by Faun, Omnia, and Irfan, the two that have impressed me the most are “Regõ Rejtem” by Hungarian band The Moon and The Nightspirit, and “The Spirit Rises” by Italian/French collaboration Khvarena.

The Moon and The Nightspirit

“Regõ Rejtem”, The Moon and the Nightspirit’s second album, highlights a rapidly evolving duo who went from a talented but uneven darkwave project, to a surprisingly confident ethnic folk-driven force to be reckoned with.

“They released an admirable but uneven CD entitled “Of Dreams Forgotten and Fables Untold” in 2005. Back then I wished they would sing more songs in their native tongue and inject some more energy into their music. It seems that all my wishes were granted because on “Rego Rejtem” (which means “I with conjure magic” in Hungarian) Agnes Toth and Mihaly Szabo de-emphasize ethereal electronics and concentrate on the music and folklore of their native land to create a breathtakingly amazing release.”

While the album is dominated by (Hungarian) folk styles, they also insert electronic atmospherics and even some metal-inspired vocal work to flesh out the album and give the songs an even greater passion and energy. Their music embodies a shamanic primal quality that hearkens to an older Europe.

Downloads: The Moon and The Nightspirit - Rego Rejtem
(from the album “Regõ Rejtem”)

Links: The Moon and The Nightspirit on MySpace

The second release, “The Spirit Rises”, comes from a collaboration between Jeanne & Fabrice Lefebvre of the French band Rajna (a sort of orient-inflected Dead Can Dance), and Francesco Banchini of Gor (a project that gives a special focus to medieval and middle-eastern sounds) called Khvarena (a Zoroastrian concept meaning “divine glory”), a unified musical vision of Europe’s early interactions with the Middle-East that seems to transcend the individual projects and create something truly sublime. This is a work that vocally and sonically rivals Dead Can Dance at their very best.

Khvarena

The band uses lyrics inspired by 10th century Persian poet Ferdowsi, and incorporates a ritualistic reverence for Middle-Eastern ethnic instruments, recalling a time when monotheism was still young, and mysticism the order of the day. This is a mature and intelligent work that impresses from the first listen, and stands up to constant play. An album I enjoy returning to over and over again. One can only hope that this isn’t a one-off project and we will see more from Khvarena in the future.

Downloads: Khvarena - “Khvarena (clip)”, “Zot (clip)”
(from the album “The Spirit Rises”)

Links: Khvarena on MySpace

[This is the fourth in a series of posts discussing some of my favorite musical releases in 2007.]

It is often the case that some of the best “dark” music isn’t made by the usual merchants of goth music, sometimes, the most sublimely haunting music comes from an unlikely marriage of styles that show a promising new direction. Such is the case with Leeds band iLiKETRAiNS. Their debut full-length album, “Elegies to Lessons Learnt”, is a masterful revelation of how different musical forms can meld beautifully. In this case it is taking the grand and sweeping post-rock styles of bands like Sigur Ros and Godspeed You! Black Emperor and fronting it with a vocalist who could easily have fronted a goth rock band circa 1985.

iLiKETRAiNS

Almost relentlessly mournful, yet buoyed with transcendent orchestration that veers between heavenly swirls and a churning menace that makes the at-times over-the-top lyrics seem right at home. The band has been quoted as saying they wanted to their post-rock sound to have a “sense of location”, and if put in that context the portentous vocals married to anthemic and orchestral sounds makes perfect sense considering that Leeds was also the home to bands like The Sisters of Mercy, The March Violets, and Red Lorry Yellow Lorry. This isn’t to say that iLiKETRAiNS will be incorporating a named drum machine any time soon, but that its impossible not to acknowledge the rich veins of darker sounds to come out of their home town and that infuse the songs on “Elegies to Lessons Learnt”.

It is rare to find a band so fully formed on their first full album. iLiKETRAiNs have created a special album, that will no doubt generate a nigh-fanatical audience (if it hasn’t already). Despite some critics harping on their “goth undertow” as if referencing that genre were some sort of musical sin, I applaud their bravery to acknowledge that life can be tormented, melodramatic, and yes, over the top at times. Certainly one of the best albums with a darker-bent for the year 2007.

Downloads: iLiKETRAiNS - “We All Fall Down”
(from “Elegies to Lessons Learnt”)

Links: iLiKETRAiNS on MySpace, iLiKETRAiNS @ The Hype Machine

As we hit mid-November, the inevitable “best of 2007″ lists are starting to see the light of day. Some of the more notable lists include Stylus Magazine’s top 50 (which features ASCoS faves P.J. Harvey, Grinderman, and Low), Rough Trade’s list (giving the nod to Studio’s intriguing album “West Coast” among others), and the Drowned in Sound top 50. Music blog Largehearted Boy is keeping an updated list of “top” lists from blogs and magazines. So be sure to check there to see what your favorite cultural barometer has to say about the year’s musical releases.

As for me, I’ll be waiting until the end of December to unveil my own picks, you never know when you’ll be bowled away by an album at the last minute. In the meantime, I’ll be posting regular entries that give a sneak-peak at my favorite albums of 2007 from the “darker” musical genres.

[This is the third in a series of posts discussing some of my favorite musical releases in 2007.]

It isn’t just gangster rappers and hardcore punks who are concerned with “keeping it real”. The struggle for authenticity and drive towards a musical ideal perfectly describe the Greek band Daemonia Nymphe. Their mission? Recreate the sounds and spirit of ancient Greece.

“Daemonia Nymphe tries to recreate the sound of Greek Antiquity. Musicians use incredible instruments like lyra, varvitos, krotala, pandoura, double flute… made by the legendary Greek instrument maker Nicholas Brass. These ancient songs are sung by balkan choirs and bewitching female voices. Their music is a kind of World music mixing Folk, traditional music and Rock.

Daemonia Nymphe

Devotionals to Greek gods and goddesses, tales from ancient myth, songs that explore ancient mystery cults, and meditations on philosophic ideals dominate this band’s work. Their first two albums were starkly beautiful achievements that quickly won them an international following. With their 2007  outing, “Krataia Asterope”, the band builds on their already remarkable strengths and branches out to allow some more modern elements in. No doubt influenced by their experience of being “remixed” in 2005, hints of modern technology and instrumentation can head on this new effort. But instead of making them sound more “modern”, these subtle elements only add to the sense of mystery and awe. Tracks like “Nocturnal Hekate” (sound sample on this page) send chills down your spine as haunting (and haunted) voices call forth the dark goddess of the crossroads. This is a masterful album that inhabits, yet transcends, the ancient sounds they strive toward.

 Daemonia Nymphe are true Pagan souls who breathe new life into ancient forms of music. They call forth a time when the people still felt the presence of the old gods, and acknowledged a divine spirit in all things. “Krataia Asterope” is their strongest album to date, and it should be in the collection of anyone who craves a “religious” music that calls to a different set of powers.

Links: Daemonia Nymphe on MySpace, Daemonia Nymphe @ Prikosnovenie

[This is the second in a series of posts discussing some of my favorite musical releases in 2007.]

Anyone who has followed the darker shades of underground music know who Monica Richards is. In the late eighties she fronted the band Strange Boutique, an eclectic 4AD-sound-inspired band that emerged from the hardcore scene in Washington DC. In 1993 she formed a new band with William Faith (who had played in an incarnation of Christian Death with Rozz Williams) called Faith and the Muse. An act that would go on to become one of the most popular in the American goth/darkwave scene.

Monica Richards, photo by Sven Togni.

I had first heard back in 2006 that Richards was planning a solo album, and as long-time fan of Faith and the Muse, I was very excited at the prospect. Early sound samples were promising, and the record promised a more personal set of songs than is usually found in her group projects. So when I did finally get my hands on a copy, I wasn’t disappointed. Unflinchingly personal, political, and truly mythic, “InfraWarrior” seemed to spill whole-cloth from her innermost dreams and hopes. It is unapologetically dramatic, incorporating spoken word elements (including her father on the introductory track “Gaia”), tribal drumming, ambient sound textures, and walls of guitar sound while Richard’s voice anchors everything with a truly amazing range of shrieks, moans, chants, and whispers. Picking a single standout track is almost impossible since the entire album flows together as a seamless whole, sending the listener on a journey towards acknowledging the divinity within you, within Richards, and within all creation.

In addition, “InfraWarrior” sports an impressive list of guest musicians and vocalists, including Jarboe, kaRin (from Collide), dark ambient artist Brian “Lustmord” Williams, and Paul Mercer (from The Changelings). This solo outing is some of the most ambitious work Monica Richards has ever pursued, and certainly raises the bar for any future releases from her main project Faith and The Muse. An easy choice for my “top” picks of 2007.

Download: Monica Richards - “Death is the Ultimate Woman”
(from the album “InfraWarrior”)

Links: Monica Richards on MySpace, Monica Richards homepage, Faith and the Muse on MySpace

[This is the first in a series of posts discussing some of my favorite musical releases in 2007.]

I have been following the San Francisco band Black Ice since their first demo appeared in 2002. The band was initially formed by members of The Phantom Limbs as an instrumental venture, but with the addition of Miss Kel (from Sister Mary Shoelace) on vocals, the group quickly evolved into a deliciously dark concoction of alternately moody and chaotic sound textures driven forward by Kel’s clear and emotive voice. A vital part of the dark musical underground that was emerging in the SF-Bay area and related scenes at the time.

Black Ice

Since then, the band has been evolving its strange but appealing mix of goth, post-punk, experimental, and ambient styles into a signature sound uniquely their’s. The band’s 2005 release, “Terrible Birds,” saw them mature in a way that didn’t compromise the underlying uneasiness or power contained in earlier works. Solidifying them as a band with its own identity, and not merely a side-project for the individual members. In March of 2007, Black Ice released “Myopia”, perhaps their most assured and confident work yet. Incorporating a larger array of players and sounds, “Myopia” is as dark and unnerving as ever, but it also represents one of their most accessible collections of song. Tracks like the brilliant, lamenting, “In the Dark”show a band willing to trust its own songwriting, rather than hide behind layers of art-damaged noise (as some of their peers have been accused of).

“Myopia” is yet another triumph for Black Ice, and one hopes that this is only the beginning in a longer exploration of “dark” music that doesn’t insult your intelligence, or bore you to death. Certainly one of the best, and overlooked, releases this year.

Downloads: Black Ice - “In the Dark”
(from the album “Myopia”)
Black Ice - “Terrible Birds”
(from the album “Terrible Birds”)

Links: Black Ice on MySpace, Black Ice on Hungry Eye Records