Ben Hogwood’s annual round up of the best long players of the year
1). Seven Davis Jr – ‘Universes’ – (Ninja Tune)
In a strong year for albums it is one of the most positive stories that unexpectedly rises to the top. The Houston-born singer and producer Seven Davis Jr has been through a lot in his life – described as ‘a heavy amount of addictions and unfortunate circumstances’ – but here he is, out the other side, making music of vibrant energy and positivity. The album operates as a concept where Seven is beamed in from outer space, performs a number of observational and uplifting songs on Earth, and is then removed. As we work through ‘No Worries’, ‘Good Vibes’ and ‘Freedom’ it becomes clear that Davis is a man in the George Clinton mould, where a combination of funk, soul and inventive beats is all he needs for survival. Add a dash of thoughtfulness to the lyrics and he has a recipe you and I can take a whole load from.
{http://soundcloud.com/ninja-tune/sets/seven-davis-jr-universes-1}
2). Julio Bashmore – ‘Knockin’ Boots’ – (Broadwalk Records)
There is something immediately refreshing about the Julio Bashmore approach to house music. For one thing, it’s fun. Bashmore – real name Matt Walker – doesn’t like to take things too seriously, but he does still like to serve up some soulful vocals among the catchy hooks and perky riffs that he brings to the table. ‘Holding On’, ‘Rhythm of Auld’ and the Van Helden-aping ‘She Ain’t’ are just three tracks proving that ‘Knockin’ Boots’ is full of good things, with gritty house beats getting the complement of softer production and that touch of fun. It all comes together to make a house music album that refuses to budge from the turntable.
{http://soundcloud.com/juliobashmoremusic/she-aint}
3). Jamie XX – ‘In Colour’ – (Young Turks)
Jamie xx’s eagerly awaited debut album did not disappoint, and fulfilled the role of a concept album in its documentation of a carnival. It is a wonderful, life-affirming piece of work, full of love for the dance music of the past but also anticipating the sounds and beats of the future. ‘I Know There’s Gonna Be’ (Good Times)’ rightly got a lot of attention for its sampling of The Persuasions, but in reality the final track of the album owes a lot to what has gone before. The throwback ‘Gosh’, the joyous steelpan strains of ‘Obvs’ and ‘Loud Places’ (which samples Idris Muhammad’s ‘Could Heaven Ever Be Like This’) are all great tracks, positioned so that Jamie xx has the ebb and flow of his night on the tiles just right. Because of that we all get to share in the fun.
4). Roots Manuva – ‘Bleeds’ – (Big Dada)
Even now it’s fair to say we do not value Roots Manuva enough as a pioneer in British hip hop. ‘Bleeds’ is his best since ‘Awfully Deep’, but it finds him occupying a similar emotional space. That space includes forensic self-examination, as well as some startling insights into the society of the country he holds dear. The class divide, apathy and personal strife are all subjects up for discussion, and those chats are conducted above the production expertise of Switch, Four Tet and even Max Richter. There is even more emotional involvement here too, which together with the sound of a familiar voice is a very potent combination. It’s time this treasured artist was given his full due.
{http://soundcloud.com/bigdadasound/roots-manuva-facety-211-prod-four-tet}
5). New Order – ‘Music Complete’ – (Mute)
The overriding emotion on hearing New Order’s first album in ten years is one of relief. That may sound a bit odd, but the relief that such an influential group of big standing are still making good music, in spite of their beef with Peter Hook, soon turns to respect and love when you realise the album in question is getting better with every hearing. ‘Music Complete’ doesn’t miss Hook as much as you might think, turning the spotlight instead on some well written songs that have really strong productions to go with them. The likes of ‘Restless’, ‘Academic’ and ‘Unlearn This Hatred’ are a treat, strong in positivity and seizing the moment. A very encouraging first chapter of the band’s new line-up.
{http://soundcloud.com/neworderofficial/new-order-tutti-frutti-hot-chip-remix}
6). Beat Spacek – Modern Streets – (Ninja Tune)
This is the first solo album release from the hugely talented Steve Spacek in eight years, and it is every bit as forward looking as you would hope. For ‘Modern Streets’ he made copious use of iPhone and iPad apps, but there is no sense of phoning in the vocals at all. All you need is to try the opening strains of the heady ‘Inflight Wave’ and you will be sold, not just with the wavy keyboard pads but with the calming vocals and urgent beats. Contrast this with the menacing ‘I Wanna Know’ and you have an idea of the album’s breadth, a reflection of what growing up in 1980s New Cross was really like.
{http://soundcloud.com/ninja-tune/sets/beat-spacek-modern-streets-1}
7). Nuclear Winter Garden – ‘Nuclear Winter Garden’ – (My Favourite Robot)
It has been quite a year for Jori Hulkkonen. His own artist album ‘Oh But I Am’ would have been enough on its own, but this piece of work, under his Nuclear Winter Garden alias, seems to pick up from where his recent collaboration with John Foxx left off. Named after an intimate party night in his Finnish home town, the album has space, poise and persuasive rhythm, embracing the comforting but also the frankly alarming ‘Infinite Man’, the closing ten minute track that will have you looking nervously over your shoulder if listening to this alone. Powerful stuff.
{http://soundcloud.com/my-favorite-robot-records/sets/mfr118-nuclear-winter-garden}
8). Grasscut – ‘Everyone Was A Bird’ – (Lo Recordings)
For their third album Grasscut have shown us their quintessentially British side. Taking inspiration from natural locations in the UK, ‘Everyone Was A Bird’ benefits from the guest vocals of Elisabeth Nygård and also from a noticeable step up in their orchestration. Standout tracks ‘Radar’ and ‘Slower Snowdon’ revel in the sound of real instruments, violins and clarinet respectively. With tasteful electronic dressing and beats the album becomes a gorgeous ode to the UK countryside, given with pathos and deep emotion.
{http://soundcloud.com/grasscutmusic/radar-1}
9). St Germain – ‘St Germain’ – (Primary Society)
It is quite possible that the return of St Germain after fifteen years in the wilderness will have snuck under your particular radar. If it did, there is no excuse now – because you are strongly advised to go out and buy it! After finding himself on many of the nation’s coffee tables with the Gallic house and soul of his previous two releases, Ludovic Navarre turns his attention to Mali on this substantial new album, with invigorating results. The blend of acoustic and electronic is perfectly judged, but so is the choice of vocalists, with Lightnin’ Hopkins turning in a superb guest turn on ‘Real Blues’. The use of a self-titled album is the strongest possible clue of how Navarre rates this album, and he is right to do so, while at the same time providing a welcome reminder of how Malian musicians find strength in adversity.
10). Matthew Herbert – ‘The Shakes’ – (Caroline)
Herbert has recently embraced his deep house side once again, in the process taking us back to his heyday of the mid-1990s. He remains a maverick presence, enlisting the company of little-known vocalist friends for ‘The Shakes’. For them he writes some of his very best songs, from the chest pumping ‘Strong’ to the brilliant vocal hook of ‘Smart’, while the trademark bleeps and chattering beats come together in music that subtly works its spell on your dancing feet. Herbert has reigned in the experimentation a little here – but has noticeably stepped up another level on his songwriting too.
Written by Ben Hogwood
