For much of this year I felt as though I was not able to keep abreast of music releases well enough to even pick favorites. Then suddenly towards the end of the year I came across several really great releases and A Tribe Called Quest dropped their first album in years which turned out to be amazing. Who knows, another great album might get released in the few remaining days of 2016…
The Body — No One Deserves Happiness
Starting off quiet and dark like Miranda Sex Garden, this album soon gives way to slow-crushing heavy guitar glaciers. Almost like Swans in the 90s turning back into Swans in the 80s.
Here’s my list of favorite releases for this past year, presented in alphabetical order:
Lucrecia Dalt — Ou
This is filmic, cinematic music. Sounds creep in and out of view with the seamless rhythm of the best film editors. Texture and grit are key ingredients but harmonies do sometimes emerge to lend a familiar emotional anchor to the abstraction. There’s a radiophonic wooziness that bathes the whole affair in nostalgia.
There were so many interesting album releases in 2014 I felt I could barely keep up. In fact, I was still adding titles to my Best of 2014 contenders list late into December. Here are some of my favorites, in alphabetical order:
The Bug — Angels & Devils
Kevin Martin returns to his The Bug alias for a full length LP and several EPs worth of mutant bass music in 2014. More than any other electronic music producer, Kevin understands the equal importance of mass/weight and texture. Both aspects are deployed extremely effectively whether the track is an atmospheric snarling dub-wise bass mantra or a neck-snapping mutant-dancehall-cum-grime firestarter.
Time, once again, to review some of my favorite music releases from the past year (pretty much the only regular feature of this “blog”). 2013 was a very fruitful year for alt-R&B/future-R&B as well as for Chicago-London bass hybrids. All the usual caveats apply. There is always too much music to hear all the great releases in a year but these grabbed me more than the rest. I look forward to reading all the other lists to catch up on what I missed.
Chants — I Feel Like I Feel It
If memory serves, I heard about this release via dj /rupture’s Mudd Up blog. The most obvious signposts are Shlohmo or Origami Sound’s post-Burial soundscapes but Chants manages to make an electronic music album that sounds extremely personal and expressive. There is a strong enough identity to shrug off easy comparisons.
I posted this video recently of my acoustic cover of “Arundel” by Papa M.
Someone asked in the comments for tabs, so I went about trying to make some. I used TuxGuitar, which was not a bad experience but the pdf export looks really fuzzy. If anyone has any tips for improving the output, I’d love to hear them.
There are still some great albums and singles being released mid-December, including a new 12-inch from Burial, which could easily be included here if I had had more time with them before compiling this year’s list. As always, this is my small contribution to the mass of music nerd list-making that happens at the end of each calendar year. I’m sure I’ve missed some of your favorites and I will likely read a lot of other lists to satisfy my curiosity over missed items and unjust dismissals. I hope you find something to enjoy!
Selections in alphabetical order
Burial — Kindred
Hyperdub have released two 12-inch records from Burial in 2012. If you like Burial you likely know what to expect. No surprises here: crackly atmosphere, meta-rave sonic vocabulary, skittery percussion… All the things I always love about Burial, no matter how same-y it’s starting to get. The only surprise, then, could be that I’m still not tired of Burial music.
It’s been a long time since I’ve messed with Applescript.
I modified a script I found on the algoriddim forums. This script would run through all tracks that were analyzed in djay and try to write the bpm data to the mp3 tag in iTunes. If your library is large, this could take days.
My modified script will take the currently selected tracks in iTunes and look for bpm data in the djay metadata plist file. Potentially a much smaller and more focused task.
[UPDATED 29 Feb 2012]
I have included support for manually-set bpm values, which are stored by djay in a separate plist file.
[UPDATED 29 Mar 2012]
I have included support for copying key data to iTunes, with translation of djay’s integer value to string representation
[UPDATED 23 Dec 2012]
Bugfix: reset bpm variables in script to prevent old values from being held in memory for the next track. Thanks, Kieron Thorpe!
[UPDATED 22 Jan 2013]
Bugfix: tracks with a key of 8B-C were being skipped. Thanks, recoltonRobert!
Enhancement: warn user if no tracks are selected in iTunes.