Sufjan Stevens – The Age of Adz

I was somewhat skeptical for Sufjan’s forthcoming electronically driven release. The man has proven himself to be the folk-rock multi-instrumentalist of epic proportions, more so after his wonderful 2010 EP, All Delighted People, with the standout title track being his magnum opus. But on The Age he manages to perfectly blend his much beloved folk influences with electronic instruments. He was able to deliver the same kind of bombast and joy that he always had and still amaze his truest fans.
I always used to play Illinois and Michigan whenever I needed to take my mind of something and be completely swept away by its ambiance and playfulness. Though not as obvious but this record is very much the same way. A spectacular over the top concept record at purpose and pure bliss at heart, conceived by true talent.

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Ariel Pink’s Haunted Graffiti – Before Today

One thing you can’t say about this album is that it’s stale and tiresome. Outright simple joyous harmonies keeps your focus on what it’s meant to do. Deliver pure innocent fun. The record jumps from sing-along anthems like “Round and Round” (most likely my favorite track of the year) to more bluesy ballads like “Can’t hear my Eyes” to exotic percussion with dreamy harmonies on “L’Estat”, where every striking guitar riff being more ecstatic than its previous. It tells a story, it’s a lot playful to where this is probably the most fun I’ve ever had listening to an album.

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Beach House – Teen Dream

The more this albums stays in your music player, the more its effective aural vibe resonates, the more you’ll get attached to it. Due to its blissful electric guitar, glorious vocals, wondrous melancholy and minimal state of mind, the music becomes so incredibly moving and intimate that all it needs is time. It’s like a walk in the park free from all worries and discomfort. If you can’t do it, the music will.

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Caribou – Swim

Canadian Dan Snaith isn’t as much an innovator as he is a progressor. Whether it’s his previous psych pop spectacle, Andorra, or condensed organic electronica through his Manitoba releases, he knows what works, what needs to be explored and built upon.
It all feels remarkably natural, easy-going and mellow, and before you know it the massive climax on slow-burning album closer “Jamelia” passes, ready for you to take another dive (mind the pun) into this wondrous display of elegancy, bliss and melancholy.

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Arcade Fire – The Suburbs

You couldn’t help but love what these Canadians accomplished this year. Not only did they perfect their very distinct style, but the harmony between songcraft, ambiance and style makes The Suburbs their most fulfilling to date. It feels more focused than ever, but even though it seems a little too long, they proved that they do layered soundscapes so subtle towards almost perfection.

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Four Tet – There Is Love in You

I’ve been most intrigued by his shift in style coming from his 2008 Ringer EP and Wolf Club/Moth joint with Burial. It becomes much clearer that Hebden’s BFF(?) aka Burial is a big influence, leaning closer to stretchy dubstep, gradually swelling chords and haunting progression. However, he never abandons his organic melodious roots and swift glitch style of electronic music. Furthermore, as revolutionary as Hebden was in the past, blending folk instruments with electronica on 2003′s Rounds, the more he perfects his style of altering sounds and creating an atmosphere on There is Love in You. Evocative, shimmering, yet subtle ever-mutating tracks couldn’t sound more blissful than this.

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Glasser – Ring

It’s amazing how music has evolved these last few years. Mostly for the better, but you can’t deny that an over saturated market doesn’t have its defects. Most notably the need to stand out, to cross a farther reaching boundary, the so-called wow-factor. In that Cameron Mesirow aka Glasser has no desire. Her whole debut album circles around this dreamy composition that feels lighter than air, breaths warmth and produces a comforting atmosphere. The use of a sarangi, a Nepalese stringed instrument, creates a very distinct sound which is among a vast array of influences.

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Balthazar – Applause

When I first heard these Belgians’ debut I wasn’t completely blown away by its songwriting, but that much more was I astonished by its sound and atmosphere. Truly unique, eccentric and through it’s consistent instrumentation and vocal arrangements the whole record feels like one long epic track that by the time you finish it, you’ve forgotten how it started. By its modest nature these Belgians will likely never receive broad appeal, but its sheer power and elegance will forever make me cherish this record.

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Emeralds – Does It Look Like I’m Here

You feel like you’re drowning in electronic haze, a sonic blast of emotional punch with ups and downs. Just as I’ve said about Fuck Buttons last year: Just let it fill a space, absorb it and witness it.

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Kanye West – My Beautiful Dark Twisted Fantasy

Kanye deserves every bit of recognition he got this year, even if some went a little overboard (p4k). You just can’t deny the infectious pop hooks on “All Of The Lights” and “Blame Game”, the outright simplicity of “Runaway”, the soulful vibes of “Devil In A New Dress” or the heavy bombastic rhythms on “Monster” and “So Appalled”. It’s a pop sensation and agreed even now it’s more show-off of ego and skill than actual songwriting, but I think it shows that Kanye put his heart and soul into it. The man is overly ambitious, passionate at everything he does and always delivers his best. For that I give him lots of credit. People hating on this says more about themselves than the ones enjoying the music for what it is: a highly entertaining experience bursting with energy.

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Robyn – Body Talk (in 3 parts)

Electro-pop is probably the simplest and most accurate to describe Body Talk. Sure she takes inspiration from dubstep, 90’s hiphop and rock, but to leave it at that is quite the understatement. She’s does this so well, delivering excellent songwriting and being pure delight with her bittersweet charm. I specifically enjoyed the album being released in three parts throughout the year. From the outright dance act “Don’t Fucking Tell Me What to Do” to the (deeply personal) emo downer “Dancing On My Own”, not one song feels like filler but off-the-wall infectious.

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Crystal Castles – II

You could dispute that Crystal Castles follows current trends in music, but the fact is that, even on their 2008 LP, they found their sound and know how to explore and build upon that. That being the perfect combo of dark psychedelia, noise rock and well-placed 8-bit electronica. It never feels too overwhelming, too straight-forward or too complicated. A perfectly structured soundscape, it all just works so effectively well.

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Vampire Weekend – Contra

This year Vampire Weekend was much praised and most acclaimed in indie rock. Writing overly joyous songs that stick, play in your mind over and over. It feels so simple and easygoing, you can’t help but smile out of pure child-like enjoyment.

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Antony and the Johnsons – Swanlights

What I’ve said about last year’s The Crying Light applies full force to Swanlights (equally tremendous Thank You for the Love EP): a captivating LP with heart-struck emotion and wither, built on layers of gloominess and melancholy. Whenever I take the time to listen carefully I’m both amazed by its subtlety and struck in awe by its build up. Antony’s subtlety is tremendous.

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Owen Pallett – Heartland

A deeply refined and polished play of intricate classical arrangements and majestic pop music that’s completely unique. A colorful palette of beautiful orchestration, if you will.

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Titus Andronicus – The Monitor

A sentimental record of raw pure rock music. You would at times want to chant along, weep and triumph at the same time, and at the end it all leaves you exhausted waiting for more.

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Joanna Newsom – Have One on Me

Joanna Newsom requires time and attentive listening for its glorious harmonies to resonate. There’s just no one out there doing anything remotely close to her. For that, and her musical talent she earns respect and lots of praise.

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MGMT – Congratulations

Another controversial record that many shot down. Maybe it’s too obscure for people to comprehend, too psychedelic or maybe their shift in style was too sudden for some. The psych-rock experience I got from listening to Congratulations was super relaxing. It’s inviting, rewarding and emits intense warmth.

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Jónsi – Go

If not for his deep falsetto voice, you can’t help but feel his connection with much beloved Sigur Rós (big fan here). It’s nothing short of epic and dwells in the same region as Sigur Rós, but can’t be compared to “()” or “Ageatis Byrjun”. It’s a lot more joyous in short bursts (“Boy Lilikoi”), other times requires patience and needs room to grow (“Grow Till Tall”). Even though I expected too much (“()”), it has become more than satisfying to see the Sigur Rós frontman do his thing and do it well.

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Sleigh Bells – Treats

An amazing concept record that blew my mind. Aggressive noise, catchy electro-rock and an in your face attitude makes its purpose more than clear.

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Deerhunter – Halcyon Digest

This record really has a sense and feel for subtlety, not quite like 2009’s Microcastle but feels very constant and continuous. Its tender art rock style, nostalgic sense and smart songwriting makes you feel elevated above all else, ready to drift into daydreaming mode.

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Chilly Gonzales – Ivory Tower

Chilly loves his piano, rapping and keeping things light, tensionless and fun. That’s Ivory Tower in one sentence. The man is a true piano virtuoso (love his Erik Satie-esque 2004 Solo Piano LP) and this becomes graciously obvious when every song brings his melodious piano hooks to the forefront. The term Chilly does him justice, in every which way.

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Massive Attack – Heligoland

Massive Attack’s whole focus is on style, atmosphere and sound. Many don’t get this and shoot it down for a lack of cohesion, but ultimately succeeds in delivering a truly exceptional record that perfectly balances atmospheric depth, emotion and punch.

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The Radio Dept. – Clinging To A Scheme

This is a very mellow and down to earth album, but nonetheless very joyful and instant feel good.

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How to Dress Well – Love Remains

The sonic limitations of this record make it fragile, intimate but very direct. It takes some getting used to, but really it’s an immersive experience that doesn’t let you go, but rather takes you in by storm.

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Salem – King Night

The More Crack and Water EP from about a year ago were like a revelation to me. Their soulless demonic darkness was overwhelming, nothing I ever heard before. They not only improved their sound, but understood what the listener liked about it. It isn’t as time resistant as I previously thought, but it sure as hell gives you the experience as intended.

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El-P – Weareallgoingtoburninhell-megamixxx3

Megamixxx3 isn’t just a mixtape, it was a much obliged gift by El for the long wait (and the claims he made to be more prolific after 2007’s I’ll Sleep When You’re Dead). El-P always had a surprisingly effective production talent and this is no less. Filled with bass, dark undertones and aggressive percussion, this mixtape is as effective as it gets. You just can’t stop but head nod throughout this whole album. That’s all it’s meant to do, but nonetheless still looking forward to El spitting rhymes in a confirmed 2011 album.

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The Books – The Way Out

A fun playful experience like you’ve never had before.

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Future Islands – In Evening Air

The perfect combination of soft rock, blazing synths and mild Tom Waits like vocals delivers an instant feel-good, instant infectious impression that only intensifies with each mesmerizing song.

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Blonde Redhead – Penny Sparkle

I must say I never heard any of their previous records, but I was somewhat overwhelmed by how soft, simple and relaxing this music is. They obviously perfected their sound over the years. Acoustic instruments, hazy vocals and carefully placed electronic sounds just feel so natural and organic.

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Grizzly Bear – Veckatimest

Of all artists included in this lists, this band’s intricate chamber pop undoubtedly had the most mainstream appeal this year. It’s not only a big step forward for indie rock, but especially great to see these guys get the recognition financially that they deserve. After their mind-bending 2006 stellar, Yellow House, they succeeded in creating an at least equally great follow-up.
A sophisticated, intriguing and constantly challenging listening experience full of warm, lush sounds and a strive for perfection. I can’t imagine a band with such great devotion towards creating music than the already legendary Grizzly Bear. I’ve called it an influential piece in indie rock history that can’t and won’t be ignored.

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Fever Ray – Fever Ray

One of the reasons that I favor atmosphere over songcraft is the way that it plays with your mind, keeps you visualizing things that aren’t there and dream away. This has the perfect balance but it’s the consistent dark atmospheric vibe through the whole record that binds me to it. Karin Dreijer Andersson, notorious as part The Knife, knows how to take advantage of minimal sounds and well placed percussion to draw an exceptional ethereal play with an emphasis on heavy sounds and aural vibe. Everything is carefully placed, for you to get completely lost, drowned in a soundscape of dark cerebral hymns. It’s moody, haunting and takes you in by storm.

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Animal Collective – Merriweather Post Pavillion

Only January and already was it hailed as best of 2009. Though many were skeptical and AnCo often misunderstood, Avey Tare, Panda Bear and Geologist were doing pretty good for themselves. Sure, I’m always excited for an Anco release, but that statement was well founded. It’s a real pleasure to listen to their whole spectrum of eclectic sounds, melodies and catchy rhythms, ans still be amazed by its creativity. Their most accessible yet, the album thrives on unexpected turns, experimental, clever and original songwriting. Not to mention a whole lot psychedelic.

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Memory Tapes – Seek Magic

Everytime I play this Gorillavsbear approved record, I’m more astonished by its smooth transitions and evolving settling vibes. Even after 15 continuous plays, front to back.
Even though it started as two projects with each their own sound, Memory Cassette and Weird Tapes, the album feels very coherent and mature. Almost as if the record had been produced by a James Murphy -like veteran. It aims and succeeds in creating a perfect summertime vibe,  filled with silky smooth electronic vibes, which unfortunately sometimes falls under the rising hype of the reinvented lo-fi sounds. With that, it wholeheartedly distinguishes itself from more generics out there by sheer ingenuity. It all seems so relaxed and easy going, demanding an instant replay. Even more, it doesn’t get any sweeter than this, but if it does, that would be called heaven.

MP3: Memory Tapes – “Swimming Field”

MP3: Memory Tapes – “Plain Material”

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Bat For Lashes – Two Suns

After an impressive debut album, Natasha Khan’s second seems more focused than ever. She’s a very talented singer with a good ear for sensational and wondrous melancholy. I’ve compared her to Kate Bush in a sense that their overall style and ambiance greatly resemble, the purity of her voice alone, best witnessed in “Moon and Moon” is emotionally overwhelming.
Not a straight ahead pop record, nor rock, folk, ambient or electronic, it encompasses all of these to create an expansive musical palette with gorgeously warm harmonies, inventive, yet evocative structure. Ghostly beauty in every which way.

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Karen O and The Kids – Where The Wild Things Are

Where The Wild Things Are was a pretty hyped up movie by a visionary filmmaker. There’s no denying. Though the atmosphere was better than the movie itself, this soundtrack perfectly portrays that feeling, regardless of whether you’ve seen the film. Listening to this album with only the trailer and high expectations for the film in mind was enough to make this a moment to remember. The accompanied vocals from the kids in harmony with Yeah Yeah Yeahs frontlady makes this soundtrack a joy to listen to. It feels so simple and easygoing, you can’t help but smile out of pure child-like enjoyment.

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Fuck Buttons – Tarot Sport

Last year’s exhilarating Street Horrrsing left many wanting something remotely similar to their painfully hypnotic chaos. Tarot Sport touched upon that and creates more gradually expanding dense arrangements.
To make songs as repetitive in this genre and still feel as comfortably relaxing and fascinating is masterly songwriting. Filled with subtle differences and smooth transitions while still maintaining dense stretched-out arrangements, brings out a tensionless vibe and leaves you in a completely relaxed mood. Pure bliss. Just let it fill a space, absorb it and witness it.

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Dirty Projectors – Bitte Orca

This is probably the least accessible record on this list, which some would differ, but definitely not the least heartening. Dave Longstreth and the girls masterly crafted a very intelligent, complex, yet playful and earthly atmosphere. Their unique contemporary art-rock style doesn’t feel bound by standard songwriting rules. Like Grizzly Bear, this is a band that spent a great deal of time perfecting and tweaking their sound to further unveil each given talent. Even more, it seems all too simple in retrospect with its complex compositions, but never out of control or ‘difficult’ to use that term.

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The Antlers – Hospice

How The Antlers’ confessional emo downer got under my skin I have no idea. While the lyrical content might suggest otherwise, it’s an album to put you to sleep and I mean that in the best way possible. It’s conceptually a downer record in every way. Graceful and indulgent use of subtle melancholy makes this an exceptionally personal record with broad appeal. It still sends shivers down my spine when Peter Silberman continuously sings “Don’t ever let anyone tell you you deserve that” on the second greatest track of the album “Wake”. Don’t let the Da Vinci inspired cover art (I think) fool you, it’s more than just a personal record. This is indie in the true sense of the word.

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Volcano Choir – Unmap

It’s a revelation to hear such subtle and highly addictive compositions on an ambient record. Justin Vernon’s masterly For Emma, Forever Ago under the Bon Iver moniker was picture perfect. At first I thought Volcano Choir would be a Justin Vernon vs Collections of Colonies of Bees side project unable to convey such great emotion as Justin’s last year effort, but soon after convinced me that this could be one of the best ambient records of 2009. It made me realize that this in certain extend is very similar to Bon Iver’s evocative soundscape, yet toned down into a minimalistic and stretchy electro/acoustic composition. Its hypnotic subtlety and slow progression sucks you in and wonders through your mind, even if you’re not a fan of the genre.

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Wild Beasts – Two Dancers

This is a band that I discovered only a month ago, but amazed by its sheer power and elegance, has been at constant rotation in my player. It takes some getting used to the singer’s high pitched eccentric, yet refreshing voice which unfortunately keeps conservative people at distance. Its marvelous melodies are well tucked in which makes for a much more interesting listening experience. Their sound reminds me a lot of early The Cure arrangements, mystical sonic harmonies that expand through time. I’m really glad this caught my ear, because this could just as easily have drowned in the oversaturated fast-forward state of mind of pop music. It’s glorious for its strangeness.

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The xx – xx

The xx were a wonderful surprise to us all. These young kids delivered an instantly admirable feeling of growth which many placed in their top ten list. Stripped down of all unnecessary layers, it feels very unplugged and straight forward. But through its isolated instrumentation and thoughtful lyrics, it rapidly gets lodged in your head and keeps you chanting joyously all night long. Which isn’t necessarily a bad thing.

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Nosaj Thing – Drift

After last year’s incredible and personal favorite Flying Lotus album I was destined to find something similar genre-wise and Nosaj Thing’s Drift was a very welcome surprise. It’s very much alike in style and ambiance but aims for more subtle and moody vibes. But there’s just something to Jason Chung’s flow that’s very dynamic and smooth.
It feels like it’s being played in a big empty space, carefully producing a minimal and spacious sensation at the same time. Best experienced as a whole, the album works its way through a collision of styles with crunchy, sensible and carefully placed beats at first and a soundscape of organic, spacey sounds on a majority of tracks right after. A whirlwind of haunting progression it certainly is.

MP3: Nosaj Thing – “Light #1

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Phoenix – Wolfgang Amadeus Phoenix

With inspiration from many greats in music (like Grizzly Bear), these French guys delivered one of the most acclaimed albums in indie rock this year. Broad appeal and universal praise in commercial and noncommercial mediums was partly due to their undeniably pleasing mainstream pop song “Lisztomania”, followed up by “1901″. The rest of the record also feels and acts much like an ordinary pop record, but their strength lies beneath their impeccable songwriting skills. You can feel they’re bursting with energy and optimism, that only strengthens with each infectious hook.

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The Very Best – Warm Heart of Africa

Their exhilarating The Very Best Mixtape from last year was a welcoming surprise, it induces a lot of Southern and East-European vibes without making it sound too distant. With one Malawi born vocalist and a British duo on production, one might expect a mix of Afro-pop and electro hits. True, but even more they took the concept and songwriting a step further. A perfectly structured combo between contagious feel-good chants and heartfelt (mind the pun) atmospheric tracks, strengthened by Esau’s lively voice and shaded by warm lush vibes which reminds you what the album title implies. You can feel the sun, the earth, the energy and still you feel struck by their outright enthusiasm.

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Dan Deacon – Bromst

Deacon stirs a multitude of well thought out electronic sounds to create an utter enjoyment. At first this might be overwhelming, but not once does it feel too dense or chaotic, even more he gently strokes the line on which he keeps building. Deacon is a master at what he does, building layer after layer of glorious and well founded sounds and still feel completely effortless and natural. I like to think of it as a mix between an easy going Aphex Twin and more straight-forward Animal Collective. It’s great in its genre, and it all just works so very well together.

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Girls – Album

It’s a fact that lo-fi is an up and coming trend, I’m predicting that lo-fi will be bigger in 2010 than now. That said, at the time of release, accompanied with the below video, I was a big fan of Girls’ first single “Hellhole Ratrace”. A very contagious melody and a ‘just don’t give a f*ck what you think’ ‘take life as it comes’ feeling make this one of the best songs of the year. Surprisingly most songs of their aptly titled ‘Album’ age quite good aswell. I like to think they’re kind of like the new hippies. It might just all be an act, but their Elvis Costello inspired sound just takes you over by storm. Though a tiny bit overrated, it succeeds in evoking raw emotion in its purest form possible.

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Japandroids – Post-Nothing

Post-Nothing is a term we can take quite literally here, these Canadian youngsters are living their life now and, like the Girls’ album, take life as it comes, which transpires greatly through their lyrics. I’m not really into raw or aggressive rock music, but there are those few exceptions where the song structure and melody are so damn irresistible that I gladly acknowledge the fact that music has no boundaries what so ever. I never thought one electric guitar and drums could sound so griddy, raw and uncut, performed with such relentless velocity and outright enthusiasm.

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Antony and the Johnsons – The Crying Light

I’ve read that some are appalled by all the controversy surrounding Antony’s lifestyle, but that’s beyond me. All I know is that he released a captivating third LP with heartstruck emotion and wither, built on layers of gloominess and melancholy. A highly conceptual album dominated by Antony’s miracle of a voice.

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Julian Casablancas – Phrazes for the Young

With the hope for a new Strokes album this year slowly fading away, the solo debut of frontman Casablancas is very welcome. He indulges in larger, more electronically driven arrangements which sounds big, surprisingly simple, straightforward and immediate. His solo effort is however a playful bunch of addictive, highly enticing ballads which forms a coherent piece that ages well. Might be the most suiting album cover of the year for an astonishing first initiation filled with melodious easy going progression.

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Beirut – March of the Zapotec/ Realpeople Holland

I wouldn’t call this cheating but these are two EP’s combined together by 2007 favorite, Zach Condon as Beirut/Realpeople, who I ones called a musical marvel. These two EP’s are worlds different in style but definitely not in passion. March of the Zapotec is a continuation under his more acoustic (eastern european) influenced Beirut moniker, this time inspired by his trip to Oaxaca, Mexico. Realpeople Holland on the other hand delivers all electronically driven sounds which, as he proclaims, are inspired by the legendary Magnetic Fields. As an ‘electro-head’ I like the second EP more, but the two form a sort of disjointed boundary, almost like a ying and yang, which works exceptionally well together. This combined effort is often overlooked or dismissed by the ‘EP’ tag alone, but make no mistake, it’s crafted with the same amount of passion as any other Beirut album.

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St. Vincent – Actor

Her whole ensemble might be an acquired taste for some, but one can’t help but be impressed by her incredibly engaging and creative songwriting. The former Polyphonic Spree member has a very stylistic almost narrative way of interweaving melodies, which I can’t help but connect with a fictional Tim Burton animated film (like the tba Alice in Wonderland). It’s more complete and more interesting lyrically and sonically than her debut and succeeded in conveying discomfort like an unsettling dream, filled with unique, well composed instrumentation and eccentric vocals.

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White Lies – To Lose My Life…

Concerning pop music, this might be my guilty pleasure. Sure, songwriting is a bit stale and predictable compared to others in this list, but gladly makes up in grotesque, ethereal and epic soundscapes. In that, it gives me that same feeling in style and ambiance as when M83′s Before the Dawn Heales Us first came out. Big music, easy cuts but oh so enjoyable and it all just works exceptionally well together. I just can’t stop listening.

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Yeah Yeah Yeahs – It’s Blitz

While Karen O’s Where the Wild Things Are score was much more interesting to me, the switched styles and move to electronic synths of YYY’s Show Your Bones follow-up is pretty impressive too. There’s no denying that the evolution in technology provided full acoustic guitar-driven musicians with an extra layer to portray emotion and transcribe passion. It’s Blitz is the perfect example of that. An album filled with catchy hooks, surprisingly effective synth-pop grooves, and irresistible sing-along melodies. It would be higher in my list if it were a little heavier and more aggressive, but still unexpected and surprisingly effective production.

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jj – jj n° 2

With jj nº 3 already announced, a record deal signed and a reworked Lil’ Wayne track considered as one of best of the year, these Swedes are officially on the rise. It’s no secret that easy going summery lo-fi electronica always scores for the indie music fanatics, but every once in a while that’s all we need. An afropop influenced uplifting piece of joyous electronica. Just that.

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Little Dragon – Machine Dreams

You don’t find many up and coming artists that stay within the boundaries of one genre, in fact it feels like taking risks and coloring outside the lines is the way to get respect and recognition. I don’t blame the ones that do, but it makes the ones that don’t shine and flourish. Little Dragon is one of those consistent electronic artists that delivers glorious upbeat and straight fun electronica, sometimes labeled as ambient background music. One example is their marvelous “Feather” which is just instantly headnodding. Deformed background vocals with organic elements sends shivers down your spine, even when played for the 15th time. It’s an album that will stand the test of time, but sadly will remain an underdog in our fast-forward culture.

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Lindstrøm & Prins Thomas – II

Like Lindstrøm’s Where You Go I Go Too, this collaboration induces you in an epic journey of glorious instrumental electronica, stretchy disco-era vibes and almost natural toned down funk, composed in a way that seems incredibly easy going. You rarely see this genre being revisited which Lindstrøm and Prins Thomas do so well. Through its warm, organic sounds, you listening experience floats in subtlety, psychedelia and feels like a revelation with each listen. Feels very spontaneous and every bit as mellow.

MP3: Lindstrøm & Prins Thomas – “Cisco”

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Bibio – Ambivalence Avenue

It’s hard to comprehend that on a mere 12 track album, so many different styles are embraced and still sound orderly and highly conceptual. Wilkinson subtly blows a dusty 60′s lo-fi feeling throughout the record, while his distinctive musical influences encompass Boards of Canada -esque IDM on “Haikuesque”, beat oriented experimental hiphop on “Dwrcan” and parts of funk, soul and folk best noticed on ‘”Jealous of Roses” and “Lovers Carvings”. A highly addictive composition of creativity that feels both modern and passé, tense and easy-going, or better yet spontaneous and precise.

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Moderat – Moderat

I’ve been a big fan of 2007 favorite (and Thom Yorke approved) Modeselektor and previously featured Apparat. These two German electronic giants joined forces as Moderat to create this collaborative effort, which has Modeselektor’s aggressive rusty edges and Apparat’s celestial synth parts interweaved. They sometimes drift through dubstep territory, and gently stroke downtempo boundaries. It all works well together and still feels very distinctive in style, but somehow combines smooth and subtle progression with stretchy hypnotic drum loops.

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Hudson Mohawke – Butter

I like this album for what it is. Hudmo’s long awaited debut sounds very bombastic, headnodding with “sound the alarm!” type anthems, which makes this an album unable to ignore. But lacks coherence and feels more like a beat tape than an actual single form unity. Exploding tracks like “FUSE” followed by the stilled complementary “Star Crackout” beg to differ, but sadly the majority, like the album cover, feels very black and white. But don’t let my criticism fool you, this kid’s got talent. Sure, he’s still evolving, refining and perfecting and this won’t be the last we heard of him, I’m sure.

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