Top ten albums of 2009
Here it is then, my usual top ten rundown of my favourite records of the year....
10) Kingdom of Rust - Doves
After the slightly disappointing Some Cities, Doves return to form with this - all the renewed energy from Some Cities but with the writing savvy of The Last Broadcast. Sadly the days of the subtle atmospherics of Lost Souls are apparently long gone, but this belter of an album secured its place here with a belter of a live show in the Summer.
9) Big Whiskey and the Gru Grux King - Dave Matthews Band
Dave Matthews Band suffered the loss of original member saxophonist Leroi Moore last year and disappeared from public sight to mourn the loss of their friend. There was never any doubt that they’d be back, and when they did their friend would be a big part of the new album - at least in spirit - and here it is.
Kicking off with a couple of tracks recorded with Leroi just before his death, we hear an energetic album - probably what we were going to get - oozing with sax and sass. The formulaic trappings of the last couple of outings now fully exorcised. The rest of the record is, predictably in a slightly different vein; more introspective and yet still work Moore would be proud to be associated with. Funny The Way It Is gives us some of Matthews’ trademark observations but in a slightly more straightforward way than we’re used to, but with Spaceman, it’s back to wry viewpoints exposing basic truths. Time Bomb shows us a songwriter who’s never been closer to life and reality and its grit, but it’s great to hear the album end on a party in Moore’s honour - Cornbread, laden with innuendo is a cracking dance number and sure to be a live favourite. Where the band goes from here will be the real test.
8) Infernal Machines - Darcy James Argue's Secret Society
An eMusic find, and completely impossible to describe, other than as the man himself describes it - steampunk jazz. I have absolutely no idea what that means, but it sounds like Big Band Jazz for the new millennium. It’s bold, brash but also subtle and intriguing . Not always an easy listen, but a definite ride for those willing to open their ears. Sadly it seems to be only available on CD if you go to a show but is downloadable just about everywhere.
7) Daddy's Table - Phil Campbell
Phil Campbell is back this year with Daddy’s Table - the follow up to Joy which made my top ten back in 2007. He’s teamed up with a producer and multi-instrumentalist this time around who I think has really worked hard to get a great record from him. The songs are just as autobiographical but somehow just a little more hopefull than those on Joy, which is great to hear from a writer who has always worn his heart on his guitar. A couple of great shows from Phil this year too - including the release party for this album which we were privileged to attend.
6) A Sense of Loss - Nosound
Nosound have been developing over the last few albums into a group well worth keeping an eye on. This release brings a more natural, acoustic sound to the synth driven music of the last couple of records and what we get is something decidedly reminiscent of Talk Talk’s Spirit of Eden. Again, quite a dark record but with a bright heart somehow.
5) The Sun Came Out - 7 Worlds Collide
But if it’s a fun record you’re after then look no further than this from Neil Finn and buddies. The 7 Worlds Collide project started off life as a series of live shows showcasing Finn and his fellow superbandmates’ music which spawned a live album - this is a double CD of new material written and recorded in a very short space of time at Finn’s New Zealand studios. The cast is larger this time, featuring most of Wilco, Finn’s entire family, KT Tunstall, Bic Runga, Don McGlashan and a host of other musical luminaries.
The resulting record is rich and varied, if a little stretched for the 2CD version. In places it’s pure Finn, but he’s not afraid to allow his cohort’s talents show through too. You Never Know was somehow infected with the spirit of George Harrison too.
4) Out of the Tunnel's Mouth - Steve Hackett
After a blinding performance at Summer’s End, and interminable delays due to legal wrangling over his divorce, this was probably my most anticipated record of the year. Hackett delivers a brilliant record, consolidating a lot of the jazz/fusion exploration he’s done across recent albums with the straight up rock of his earlier solo outings and even his sojourns into world, folk and classical music. It doesn’t suffer from the ‘flab’ that a few of his more recent releases have, making this a lean record of classic Hackett. A great introduction to a great artist, as well as an invaluable addition to an existing collection.
3) Them Crooked Vultures - Them Crooked Vultures
Now this *was* a surprise. Stumbled upon some links on Facebook to this low down, dirty, almost falling apart bluesy rock. This is at once right back in the seventies and also bang up to date, which makes sense when you find out that it’s a project between Dave Grohl of the Foo Fighters (back behind the kit he battered for Nirvana), Josh Homme of Queens of the Stone Age (whose material I will be checking out on the strength of this) and non other than John Paul Jones on bass. That rhythm section is killer - this shows just what a great drummer/bass combo can do and they drive this whole record. It’s just a belter of a rock album and I hope there’s life in the project for another couple of albums. Sadly the ensuing tour was well sold out by the time the record hit the shelves….
2) Standing in Silence - Rhian Sheehan
Rhian Sheehan is an artist I’ve been following since I was in NZ - he’s effectively an electronic artist but he manages to give his music a more organic feel than just about anyone else I’ve heard in the genre. That has never been more true than on this disc, which is just lush and delicious and yet also so delicate. It’s also a continuous piece which demands you listen all the way through - relaxing and exhilarating in turns, a real gem from this year which will be getting spun for a long time to come. Try this video out if you like the sound of that:
1) The Cage Was Unlocked All Along - Zoey van Goey
And finally, the number one album, as decided back in about May when I first got this off eMusic. Glasgow based, but featuring members from Scotland, Ireland and Canada, all these influences, sounds and accents go to make a quirky, insightful, and above all fun record. It’s impossible to listen to We Don’t Have That Kind of Bread (how many other songs feature the word 'ventricles'?), or We All Hid in Basements without smiling, or The City is Exploding without a sniffle. But I think it's the subtle little arrangements with all their apparently random and yet totally complete little bings and whistles that I love the most. A beautiful little record and I hope the first of many from this band.
Some other also rans: Phoenix's Wolfgang Amadeus Phoenix is a great little pop record that almost pipped Doves to the top ten spot. Bouncy jangly fun all the way but with a bit more depth than previous releases. Slickly produced joy. Sara Watkins, Nickel Creek's fiddle player's released her first, self titled solo outing; more gospel inspired than her work with the band, but still modern bluegrass playing at its very best. If you like Mark Knopfler's more recent work, particularly his work with Emmylou Harris, check this out.
Family Cactus are another cracking emergent band from the kiwi music scene. Indie guitar characterises their album Come Howling
Some disappointments this year came from established artists in my collection. Muse appear to have wowed everyone with their The Resistance this year, but I'm afraid after the initial shine wore off all I really heard was a synth pop pastiche of their previous work. Where it worked well, it was largely because it mirrored their past glories so well; where it failed most spectacularly was where they pushed their boundaries just too far. Porcupine Tree looked like recovering from the utterly horrid Fear of a Blank Planet with The Incident, but in a similar story to Muse, I realised that the bits I liked, I liked because I'd heard them all before.
Last and least however, is Marillion, who delivered us Less is More this year. A collection of acoustic reworkings of high points from their back catalgoue which somehow manages to be neither less nor more. Not less because the arrangements are almost all at least as complex as the originals, smothering them in excessive instrumentation and forced changes; and not more because although one or two are interesting, I don't think any of these renditions improve on the originals. A crushing disappointment from my favourite band. I hope the experiment is over and I can look forward to more new music from one of the most genuinely innovative bands on the scene really soon.
10) Kingdom of Rust - Doves
After the slightly disappointing Some Cities, Doves return to form with this - all the renewed energy from Some Cities but with the writing savvy of The Last Broadcast. Sadly the days of the subtle atmospherics of Lost Souls are apparently long gone, but this belter of an album secured its place here with a belter of a live show in the Summer.
9) Big Whiskey and the Gru Grux King - Dave Matthews Band
Dave Matthews Band suffered the loss of original member saxophonist Leroi Moore last year and disappeared from public sight to mourn the loss of their friend. There was never any doubt that they’d be back, and when they did their friend would be a big part of the new album - at least in spirit - and here it is.
Kicking off with a couple of tracks recorded with Leroi just before his death, we hear an energetic album - probably what we were going to get - oozing with sax and sass. The formulaic trappings of the last couple of outings now fully exorcised. The rest of the record is, predictably in a slightly different vein; more introspective and yet still work Moore would be proud to be associated with. Funny The Way It Is gives us some of Matthews’ trademark observations but in a slightly more straightforward way than we’re used to, but with Spaceman, it’s back to wry viewpoints exposing basic truths. Time Bomb shows us a songwriter who’s never been closer to life and reality and its grit, but it’s great to hear the album end on a party in Moore’s honour - Cornbread, laden with innuendo is a cracking dance number and sure to be a live favourite. Where the band goes from here will be the real test.
8) Infernal Machines - Darcy James Argue's Secret Society
An eMusic find, and completely impossible to describe, other than as the man himself describes it - steampunk jazz. I have absolutely no idea what that means, but it sounds like Big Band Jazz for the new millennium. It’s bold, brash but also subtle and intriguing . Not always an easy listen, but a definite ride for those willing to open their ears. Sadly it seems to be only available on CD if you go to a show but is downloadable just about everywhere.
7) Daddy's Table - Phil Campbell
Phil Campbell is back this year with Daddy’s Table - the follow up to Joy which made my top ten back in 2007. He’s teamed up with a producer and multi-instrumentalist this time around who I think has really worked hard to get a great record from him. The songs are just as autobiographical but somehow just a little more hopefull than those on Joy, which is great to hear from a writer who has always worn his heart on his guitar. A couple of great shows from Phil this year too - including the release party for this album which we were privileged to attend.
6) A Sense of Loss - Nosound
Nosound have been developing over the last few albums into a group well worth keeping an eye on. This release brings a more natural, acoustic sound to the synth driven music of the last couple of records and what we get is something decidedly reminiscent of Talk Talk’s Spirit of Eden. Again, quite a dark record but with a bright heart somehow.
5) The Sun Came Out - 7 Worlds Collide
But if it’s a fun record you’re after then look no further than this from Neil Finn and buddies. The 7 Worlds Collide project started off life as a series of live shows showcasing Finn and his fellow superbandmates’ music which spawned a live album - this is a double CD of new material written and recorded in a very short space of time at Finn’s New Zealand studios. The cast is larger this time, featuring most of Wilco, Finn’s entire family, KT Tunstall, Bic Runga, Don McGlashan and a host of other musical luminaries.
The resulting record is rich and varied, if a little stretched for the 2CD version. In places it’s pure Finn, but he’s not afraid to allow his cohort’s talents show through too. You Never Know was somehow infected with the spirit of George Harrison too.
4) Out of the Tunnel's Mouth - Steve Hackett
After a blinding performance at Summer’s End, and interminable delays due to legal wrangling over his divorce, this was probably my most anticipated record of the year. Hackett delivers a brilliant record, consolidating a lot of the jazz/fusion exploration he’s done across recent albums with the straight up rock of his earlier solo outings and even his sojourns into world, folk and classical music. It doesn’t suffer from the ‘flab’ that a few of his more recent releases have, making this a lean record of classic Hackett. A great introduction to a great artist, as well as an invaluable addition to an existing collection.
3) Them Crooked Vultures - Them Crooked Vultures
Now this *was* a surprise. Stumbled upon some links on Facebook to this low down, dirty, almost falling apart bluesy rock. This is at once right back in the seventies and also bang up to date, which makes sense when you find out that it’s a project between Dave Grohl of the Foo Fighters (back behind the kit he battered for Nirvana), Josh Homme of Queens of the Stone Age (whose material I will be checking out on the strength of this) and non other than John Paul Jones on bass. That rhythm section is killer - this shows just what a great drummer/bass combo can do and they drive this whole record. It’s just a belter of a rock album and I hope there’s life in the project for another couple of albums. Sadly the ensuing tour was well sold out by the time the record hit the shelves….
2) Standing in Silence - Rhian Sheehan
Rhian Sheehan is an artist I’ve been following since I was in NZ - he’s effectively an electronic artist but he manages to give his music a more organic feel than just about anyone else I’ve heard in the genre. That has never been more true than on this disc, which is just lush and delicious and yet also so delicate. It’s also a continuous piece which demands you listen all the way through - relaxing and exhilarating in turns, a real gem from this year which will be getting spun for a long time to come. Try this video out if you like the sound of that:
Click to view1) The Cage Was Unlocked All Along - Zoey van Goey
And finally, the number one album, as decided back in about May when I first got this off eMusic. Glasgow based, but featuring members from Scotland, Ireland and Canada, all these influences, sounds and accents go to make a quirky, insightful, and above all fun record. It’s impossible to listen to We Don’t Have That Kind of Bread (how many other songs feature the word 'ventricles'?), or We All Hid in Basements without smiling, or The City is Exploding without a sniffle. But I think it's the subtle little arrangements with all their apparently random and yet totally complete little bings and whistles that I love the most. A beautiful little record and I hope the first of many from this band.
Some other also rans: Phoenix's Wolfgang Amadeus Phoenix is a great little pop record that almost pipped Doves to the top ten spot. Bouncy jangly fun all the way but with a bit more depth than previous releases. Slickly produced joy. Sara Watkins, Nickel Creek's fiddle player's released her first, self titled solo outing; more gospel inspired than her work with the band, but still modern bluegrass playing at its very best. If you like Mark Knopfler's more recent work, particularly his work with Emmylou Harris, check this out.
Family Cactus are another cracking emergent band from the kiwi music scene. Indie guitar characterises their album Come Howling
Some disappointments this year came from established artists in my collection. Muse appear to have wowed everyone with their The Resistance this year, but I'm afraid after the initial shine wore off all I really heard was a synth pop pastiche of their previous work. Where it worked well, it was largely because it mirrored their past glories so well; where it failed most spectacularly was where they pushed their boundaries just too far. Porcupine Tree looked like recovering from the utterly horrid Fear of a Blank Planet with The Incident, but in a similar story to Muse, I realised that the bits I liked, I liked because I'd heard them all before.
Last and least however, is Marillion, who delivered us Less is More this year. A collection of acoustic reworkings of high points from their back catalgoue which somehow manages to be neither less nor more. Not less because the arrangements are almost all at least as complex as the originals, smothering them in excessive instrumentation and forced changes; and not more because although one or two are interesting, I don't think any of these renditions improve on the originals. A crushing disappointment from my favourite band. I hope the experiment is over and I can look forward to more new music from one of the most genuinely innovative bands on the scene really soon.