After two weekends away, the backlog has become immense, so we present a whopping FOUR new episodes for the spooky season!
Episode 717 features Medicine, Fennesz, Papa M, Earthen Sea, Nero, memotone, Karate, ØKSE, Otis Gayle, more eaze, Jon Mueller, and Lauren Auder + Wendy & Lisa.
Episode 718 has The Legendary Pink Dots, Throbbing Gristle, Von Spar / Eiko Ishibashi / Joe Talia / Tatsuhisa Yamamoto, Ladytron, Cate Brooks, Bill Callahan, Jill Fraser, Angelo Harmsworth, Laibach, and Mike Cooper.
Episode 719 music by Angel Bat Dawid, Philip Jeck, A.M. Blue, KMRU, Songs: Ohia, Craven Faults, tashi dorji, Black Rain, The Ghostwriters, Windy & Carl.
Episode 720 brings you tunes from Lewis Spybey, Jules Reidy, Mogwai, Surya Botofasina, Patrick Cowley, Anthony Moore, Innocence Mission, Matt Elliott, Rodan, and Sorrow.
Photo of a Halloween scene in Ogunquit by DJ Jon.
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(Possibly) the final record by Broadcast featuring the late Trish Keenan, this is less of a proper follow-up to ...Investigate Witch Cults Of The Radio Age than it is a sparse collection of novelties and scraps assembled for the movie it was scoring. Berberian Sound Studio does tend to follow faithfully in the same path that Broadcast's previous records set out for them, namely the increasingly ambient moods which pulse throughout, but I can't help but feel longing for what could have been.
Amidst the detritus, there lies scarce moments of composed music on Berberian Sound Studio: percussion and organ stabs at the beginning and middle, on the "Equestrian" tracks; brief, catchy and almost immediately over. Likewise, on "The Sacred Marriage," a simple melody is broken up by chimes ringing out. Apart from those songs—similar to "The Be Colony" from Witch Cults—this album is a funeral dirge dominated by somber drones and bursts of sampled noise. The music is interred in its subject matter; I have admittedly not seen the film that this is soundtracking, but it's clear from the scattershot organization of these songs that they thrive on context within the film, and outside of it there is little to latch onto.
Although I can find plenty of pleasant moments to enjoy—brusque synths, extracted audio bits and distant conversations, BBC Radiophonic Workshop homages, James Cargill's adept production—I can't really name any "songs" to highlight. Obviously it's a soundtrack, so some repeating motifs and themes are expected, but a large portion of the attention given to this comes from Trish Keenan's death, and the subsequent affirmation that this is one of her "final recordings," which means it is getting dressed up as if it were a fully realized album. In actuality, there's barely any of Keenan's presence to be felt here. Where her voice appears, it's all vowels, and it goes by so fast that it can be easily missed without paying attention.
This is the 15th Annual Brainwashed Readers Poll: the longest running poll from a digital publication that allows the readers to both nominate and vote for the best and worst of the year. The writers don't all necessarily agree with the placement and rankings, but we have our last word in the comments we have provided.
Thanks to everyone who participated in both rounds and we wish you the best for 2013.
Album of the Year
Swans, "The Seer" (Young God)
This was definitely in my own personal top three for 2012 and I’m pleased to see that I am not alone. This is a towering work of sheer power, every aspect of Gira’s previous work being assimilated, regurgitated and reborn in a glorious way. – John Kealy
I listened to this entire album even when I didn't have the time to. Seriously, I'm going back and tracking it and I don't know how I pulled 120 minutes out of thin air to enjoy this from start to finish as often as I did. Nothing represented the year more for me than this album. My favorite by far of Michael Gira's work and a culmination of past ideas that outshines all of them in ambition and execution. – Adam Devlin
There were a ton of very good albums released this year, but very few great ones. This was one of the great ones; more a crushing statement of intent than a mere collection of new songs. -Anthony D'Amico
Definitely one of my absolute favorites this year. While My Father was a great album, it still felt a bit too in-line with his Angels of Light work. This carried the same power and intensity that all of the classic Swans albums did, while still feeling like a new direction in Gira's long and storied career. - Creaig Dunton
I didn't start digging into The Seer until I saw Swans on the supporting tour, but once I invested the time required to digest its 2 hours, oh man—it's obvious The Seer is leagues ahead of pretty much anything else I heard this year. This is absolutely essential listening, on par with Children of God, White Light from the Mouth of Infinity, and Soundtracks for the Blind... if not an arm's length ahead of them all. – Stephen Bush
Scott Walker, "Bish Bosch" (4AD)
While it was less of a leap forward from The Drift than expected, Bish Bosch was still one of the best things I have had the joy to listen to. Difficult and convoluted, it is a treat for anyone who cares about actually sitting down and devoting their attention to a work of art. This is far beyond a simple album, it is a masterwork in song craft. – John Kealy
I have absolutely no stomach at all for Walker's recent work. The farting noises and lines like "I've severed my reeking gonads" make me feel far more like I am listening to a psychotic breakdown or an exorcism than an actual album. I suppose that is actually an amazing achievement, but it is also kind of unlistenable. - Anthony D'Amico
This only just came out and I think I've had the chance to hear it twice through without interruptions or distractions. I like it and I'm glad to hear more humor in Walker's music ("Epizootics!" is a lot of fun), but there's no way I can rate this thing without listening to it a lot more than I have. - Lucas Schleicher
I wish Scott Walker could have released this in January of 2013 so I could have more time to digest it. What few songs I've put to memory are absurdly powerful statements, and the album as a whole suggests some profound significance that is waiting to be unveiled like an answer to a divine question. – Adam Devlin
X-TG, "Desertshore/The Final Report" (Industrial)
I am still digesting these two albums and while Desertshore has grown on me more and more since my first tentative listens, The Final Report is the real point of interest here. It is a wonderful album that truly deserved its own fanfare, rather than being tagged on with the heavily hyped Nico cover album. A bittersweet end to something that was only beginning. – John Kealy
The Desertshore covers album was enjoyable in parts, but I'm a sucker for Nico's original and, like almost any covers LP, this honestly doesn't touch the original. Carter Tutti Void's Transverse was the superior TG-related offshoot. – Stephen Bush
Andy Stott, "Luxury Problems" (Modern Love)
I only liked about half of this album, but that half is awesome. - Anthony D'Amico
Didn't grow on me as much as I'd hoped. "Hatch The Plan" was great but "Numb" was the worst way to start the album and I was too impatient to let most of it sink in. – Adam Devlin
Close to the most over-rated album of the year. There's an EP's worth of ideas here I guess. - Lucas Schleicher
Alison Skidmore's vocals are a perfect addition to Stott's core sound, but Luxury Problems has the sound of a transitional release with growing pains. Still, there are at least three killer tracks on here ("Numb," "Hatch the Plan," "Luxury Problems") and Stott's best work is most likely yet to come. – Stephen Bush
Raime, "Quarter Turns over a Living Line" (Blackest Ever Black)
Exactly as sparse and unfriendly as they needed to be. Raime made a monster of an album that thrives on every single precise note they play. – Adam Devlin
This exceeded my expectations in every way. Easily the best thing that they've ever done.. - Anthony D'Amico
Om, "Advaitic Songs" (Drag City)
Along with Swans and Scott Walker, 2012 was the year of Advaitic Songs. It felt like Om were always working up to a moment of white light epiphany and Al Cisneros’s vision came through fully here. Seeing them perform these songs live was a revelation, a deeply moving experience that will never leave me. – John Kealy
I've enjoyed every new Om release on its own terms, and Advaitic Songs is no different. Advaitic Songs expanded the band's core aesthetic a step further, blending traditional Arabic music and instrumentation into Om's sound like never before. – Stephen Bush
I completely expected this to get savaged in the poll this year. I'm pleasantly surprised that it didn't, but it isn't Om's finest hour. -Anthony D'Amico
Earth, "Angels of Darkness, Demons of Light II" (Southern Lord)
This sequel to their 2011 album of almost the same name was a let down for me. Granted, I was not a huge fan of the first installment but here Dylan Carlson sounds like he is treading water. This is a shame because his solo projects from this year show that he is not ready to go out to pasture yet. – John Kealy
I haven't listened to this since spring 2012, but remember liking it fine. Perhaps not Earth's most memorable work, given that it's more improvised and less meticulously composed, but a solid listen nonetheless. Shame that Horseback's tremendous Half Blood didn't make the poll; those guys did metal + drone/ambient + roots music better than anyone this year—Earth included. – Stephen Bush
Six Organs of Admittance, "Ascent" (Drag City)
I'm a massive fan of Chasny's acoustic work, so this was a bit of a grower for me personally. Now the whole thing is a killer listen front-to-back, and Chasny's electric playing is straight fire. Can't recommend this highly enough. – Stephen Bush
Demdike Stare, "Elemental" (Modern Love)
Not as impressive as Tryptych (or as totally overwhelming)was but there's still a pool of beautiful sounds to dive into and explore. Their previous work was more subdued while this release is menacing, and oddly catchy. – Adam Devlin
Hardly a leap forward from their previous work, but hey, if it ain't broke... – Stephen Bush
Godspeed You! Black Emperor, "'Allelujah! Don't Bend! Ascend!" (Constellation)
Congrats to these Canadian "anarchists," who, now sponsored by the Acura Jumbotron and subsidized by the Canadian government, have finally learned how to capitalize. All snark aside, the album is sadly a half-assed effort compared to monumental, genre-defining releases such as Skinny Fists, Slow Riot, or F#A#∞. A deep listen to Allelujah and comparison to their heyday reveals the band's loss of interest in making captivating music or relevant statements. - Jon Whitney
Godspeed were a bolt out of the blue for me a decade ago. I have loved everything else they have done yet their decision to release a couple of old pieces with very little in the way of new material was a little disappointing. I love these pieces, I devoured bootlegs of live performances over the years but it does feel like an empty gesture after such a long wait. The fire is still there but the fear is that it will go out. – John Kealy
For those of us who weren't Godspeed (and/or post-rock) fanboys back in the day, this is a welcome album. I enjoyed the original GY!BE albums on Kranky/Constellation just fine, but didn't seek out bootlegs and don't recall hearing any of the songs from 'Allelujah! when I saw GY!BE live in 2003, so it's not a far cry from their older work to my ears (if not a huge progression, either). – Stephen Bush
Oh good, the decade-long politicized post-rock drought is finally over. - Anthony D'Amico
Shackleton, "Music for the Quiet Hour" (Woe to the Septic Heart)
Strikes a careful balance between totally gorgeous and totally obnoxious. – Adam Devlin
Windy and Carl, "We Will Always Be" (Kranky)
"Fainting in the Presence of the Lord" is a stunning statement, an epic closer, and one of the best songs of the year. - Jon Whitney
Far and away my favorite ambient album of the year, as well as W&C's best work to date. This should've been in the top five, folks. – Stephen Bush
A Place to Bury Strangers, "Worship" (Dead Oceans)
A couple tremendous songs on here, but overall, APTBS haven't topped their debut album with any of their more recent efforts. – Stephen Bush
This band gets better and better in my opinion. - Jon Whitney
KTL, "V" (Editions Mego)
One of the best things either Stephen O’Malley or Peter Rehberg have ever done. This is immense. – John Kealy
Immense and monolithic, like an aural Stonehenge. – Stephen Bush
Julia Holter, "Ekstasis" (RVNG Intl.)
This is gorgeous, and a fine step upward from Tragedy. Excellent writing and arrangements throughout, and a beautiful headphones album. – Stephen Bush
Silent Servant, "Negative Fascination" (Hospital)
Motion Sickness of Time Travel, "Motion Sickness of Time Travel" (Spectrum Spools)
I got burned out on Rachel Evan's work very quickly, as she released a lot of similar-sounding material in a short time. This sprawling, hallucinatory epic won my attention back. -Anthony D'Amico
A personal favorite of 2012. Ambarchi was cranking out new material all year, but this one it just all came together right. Long and repetitive, the tension built from an understated opening into a hypnotic 70s cop film funk and a gloriously beautiful ending is undeniable. - Creaig Dunton
Tim Hecker and Daniel Lopatin, "Instrumental Tourist" (Mexican Summer)
Enjoyed it less than I had hoped. Sort of felt like someone else had just combined past work of theirs clumsily without giving thought to organization. They made a point of trying to capture the spontaneity of a live recording, but Ravedeath, 1972 did better work with improvised recordings and Lopatin's input seems almost negligible. A few nice tracks are overshadowed by lots of filler. – Adam Devlin
Thiis release watered down Hecker and Lopatin's individual aesthetics to the detriment of both, leaving an album that is neither here nor there. I'd sooner put on Returnal, Replica, or a good half-dozen of Hecker's albums before listening to this one again. – Stephen Bush
Lee Gamble, "Diversions 1994-1996" (Pan)
Awesome EP from Lee Gamble, who I'm excited to hear more from. Pan definitely deserves to have at least one of their releases high up on this list. One of the best labels of 2012 without a doubt. - Lucas Schleicher
Loscil, "Sketches from New Brighton" (Kranky)
As solid as anything Loscil has done before, with the exception of Plume which I heard first and will always cherish. Loscil takes subtle, intimate moments and pulls them to the foreground so they can flourish. A perfect soundtrack to any rainy afternoon. – Adam Devlin
Delicious. - Jon Whitney
Oren Ambarchi, "Audience of One" (Touch)
Paul Duncan's vocals on "Salt" still surprise me. The first time I heard Audience of One, I checked the player to make sure the wrong CD hadn't made it into the case somehow. I like hearing Ambarchi try new things (and he tried a lot this year), but I liked this album from him the most of all. - Lucas Schleicher
Dead Can Dance, "Anastasis" (PIAS)
Horrible and sickly, the world really did not need another Dead Can Dance album. World music for people who hate the world. – John Kealy
Seeing them live this year made it clear that this was a lot more like two solo EPs than any sort of real creative reunion. Still, some of it was quite likable - it did not come close to capturing the magic of their golden age, but it was definitely a hell of a lot better than the execrable Spiritchaser. Some of Brendan Perry's songs are extremely cringe-worthy though. - Anthony D'Amico
DCD have always been more akin to their colleagues on 4AD (Cocteau Twins, This Mortal Coil, et al.) than world music of any kind. Ignoring a handful of Perry's lyrics, I enjoyed Anastasis far more than I had anticipated, and "Amnesia" is one of my most played songs of the year. – Stephen Bush
Perry still has an amazing set of pipes. - Jon Whitney
The Caretaker, "Extra Patience (After Sebald)" (History Always Favours the Winners)
Patience (After Sebald) did not require a sequel. One album of blurred Schoenberg samples was more than enough, thank you. -Anthony D'Amico
Monolake, "Ghosts" (Monolake)
More production than composition, but it's pleasant. Not memorable at all, but very pleasant. – Adam Devlin
Liars, "WIXIW" (Mute)
A few cuts reminded me of the band's heyday ("Brats"), but otherwise, I found WIXIW forgettable—not bad, per se, but I had no urge to keep listening after a couple initial spins. – Stephen Bush
Vatican Shadow, "Ghosts of Chechnya" (Hospital)
If all of the good Vatican Shadow songs released this year were condensed into one album rather than endless stream of EPs and reissues, it probably would have been one of my favorite albums of the year. As it stands, this is my least favorite of the two "new" VS full-lengths to get released this year (I prefer Atta's Apartment). "Voices Came Crackling Across A Motorola Hand-held Radio" is definitely one of Fernow's finer moments though. -Anthony D'Amico
Could Fernow have released any more records this year? There were (I think) three full-length Vatican Shadow records, at least two EPs, a few limited edition cassettes, the Christian Cosmos stuff, and a 3xLP compilation right at the end of the year. With the exception of a standout song or two, I could have done without all of them. And I'd rather listen to Muslimgauze anyway. - Lucas Schleicher
I dug Vatican Shadow when I heard the tape version of Kneel Before Religious Icons, but once again Fernow's saturating the market. While I do remember this one and Atta's Apartment being enjoyable, I'll be damned if I can remember specifics. I also wish I had waited for the 3xLP. Cheaper, but likely better fidelity, even if it doesn't come with a Mohammad Atta jacket patch. - Creaig Dunton
Dirty Three, "Toward the Low Sun" (Drag City)
Like Iron Maiden, Dirty Three will never sound like anyone else and they will never disappoint. However, unlike Iron Maiden, they do not release albums with enough regularity. More please! – John Kealy
Incredible comeback effort from Dirty Three with a spontaneous, live-recorded feel to many of its songs. – Stephen Bush
Myrninerest, "'Jhonn,' Uttered Babylon" (The Spheres)
I'm a bit late to the party on this one, but this album is absolutely spectacular. It sounds like a lost All The Pretty Horses-era Current 93 album, only more intimate, personal, and understated (aside from the occasional yowl). This absolutely belongs in the top five. Also, David Tibet wins my coveted "Most Amusing Leonard Cohen Reference in a Song" award for 2012. -Anthony D'Amico
Just picked this up tonight on the strength of its placement in the Brainwashed poll. Don't let me down, D'Amico! – Stephen Bush
Pye Corner Audio, "Sleep Games" (Ghost Box)
The moodiest thing Ghost Box has ever put out, and an outstanding effort. – Adam Devlin
Aluk Todolo have always sounded like they do not belong in any neat pigeonhole and Occult Rock reaffirms this feeling. Far more accessible than their previous releases but at the same time heavier than a concrete block around your neck, this is brilliant. – John Kealy
Goat, "World Music" (Rocket Recordings)
This album is as hot as they come right now. Wonder if we'll all remember them this time next year. - Lucas Schleicher
James Blackshaw, "Love Is the Plan, the Plan Is Death" (Important)
Between this and the Myrninerest album, Blackshaw had a truly stellar year. This is some of his finest work to date. -Anthony D'Amico
Blackshaw's guitar playing on Love Is the Plan... is top-notch, but I've never cared for his piano work nearly as much, and the vocals are an odd choice. I would have preferred a back-to-basics approach. – Stephen Bush
Ufomammut, "Oro: Opus Primum" (Neurot)
Ufomammut, "Oro: Opus Alter" (Neurot)
Ufomammut released not one, but two of the most monolithic, blindingly heavy albums of the year. Neurosis, watch your backs... – Stephen Bush
Evan Caminiti, "Dreamless Sleep" (Thrill Jockey)
Keiji Haino, Jim O'Rourke and Oren Ambarchi, "Imikuzushi" (Black Truffle)
This is an absolutely blistering live set that gets better every time I hear it. – Stephen Bush
Mount Eerie, "Ocean Roar" (P.W. Elverum and Sun)
Between this and Clear Moon, I think2012's been the best year for Elverum in a long while. – Adam Devlin
Bill Fay, "Life Is People" (Dead Oceans)
I'm glad this didn't completely fall through the cracks, as it seemed like it came out with hardly anyone noticing. Fay is quite a compelling guy when he's at his best. -Anthony D'Amico
Jon Porras, "Black Mesa" (Thrill Jockey)
Locrian and Mamiffer, "Bless Them that Curse You" (Utech/Sige Records)
These two projects mine similar ground on their solo works, but on this collaboration, the result is greater than the sum of its parts. - Creaig Dunton
Neneh Cherry and the Thing, "The Cherry Thing" (Smalltown Supersound)
No one seems to talk about this but I think it is a terrific album. I was afraid of some horrible trip hop with skronks but this is the real deal. Fantastic playing and Cherry’s vocals fit perfectly amidst The Thing’s primal roar. – John Kealy
I still can't believe this album actually exists, as it seems too good to be true: the artist responsible for "Buffalo Stance" collaborating with The Thing? And they do a Suicide cover?!? My head just exploded. -Anthony D'Amico
Not sure I can vouch for the Madvillain cover, but Suicide's "Dream Baby Dream" is indeed a brilliant reading by everyone involved. Heard in an interview the whole thing was improvised in the studio from memory. If that's true, then Jesus—that's even more impressive. – Stephen Bush
Hildur Gudnadottir, "Leyfdu Ijosinu" (Touch)
Richard Skelton, "Verse of Birds" (Corbel Stone Press)
Another year, another achingly melancholy and almost supernaturally beautiful Richard Skelton album. -Anthony D'Amico
Aaron Dilloway, "Modern Jester" (Hanson)
One of my favorite records of the year, and probably will remain one of my favorite records for a long time. It's strangely controlled and straightforward for a noise release, yet it still manages to convey a million things at once. There's been plenty of nice things said about this record and I'm inclined to agree with the hype. – Adam Devlin
"Eight Cut Scars" is possibly the single most annoying song that I heard this year, but this was otherwise a masterfully crafted and absorbing album. -Anthony D'Amico
Christian Fennesz, "Aun" (Ash International)
Cyclobe, "Sulphur-Tarot-Garden" (Phantom Code)
The most beautiful release of the year, I am still reeling from my first listen. – John Kealy
I hope this eventually gets released in a less hopelessly limited way, as these are easily some of my favorite Cyclobe pieces ever. -Anthony D'Amico
Aaron Dilloway and Jason Lescallet, "Grapes and Snakes" (Pan)
The first half of this album was a bit more restrained than I would have expected, but "Burning Nest" is pure genius. -Anthony D'Amico
Definitely not what I expected from this pairing. In the end I liked hearing the first side more than the second; Dilloway is as good with quiet stuff as he is with the loud. Maybe better. - Lucas Schleicher
Actress, "R.I.P." (Honest Jon's)
This was instantly forgettable. -Anthony D'Amico
Bob Mould, "Silver Age" (Merge)
Grimes, "Visions" (Matador)
I can't get past her singing voice, and I don't think I want to try anymore. – Adam Devlin
Nothing Claire Boucher does musically will ever be quite as awesome as this was. -Anthony D'Amico
Most overrated album of the year. – Stephen Bush
Mount Eerie, "Clear Moon" (P.W. Elverum and Sun)
Holly Herndon, "Movement" (RVNG Intl.)
This is objectively not a good album. -Anthony D'Amico
I can imagine her talents will serve her well as an amazing producer, but as a composer and arranger, the disc is an amateurish, clumsy, and directionless school project. - Jon Whitney
Kevin Drumm, "Relief" (Mego)
37 minutes of crushing, monolithic perfection. - Anthony D'Amico
Moon Duo, "Circles" (Sacred Bones)
I love everything Moon Duo have released, and Circles is no different. Another subtle step forward from the sound they've always owned. – Stephen Bush
Thomas Köner, "Novaya Zemlya" (Touch)
Strangely, I have not been able to get into this as much as his earlier works though I know it is of the same quality. I need to give it more time. – John Kealy
Played this a few times, but it didn't grab me like Permafrost did back in the day. – Stephen Bush
Jason Lescalleet, "Songs about Nothing" (Erstwhile)
The best album on this list. Along with Pan, Erstwhile had a phenomenal year in 2012, and Jason's Songs About Nothing is among the very best from that label. It's a kind of audio rebus, a tribute to Big Black, and a very, very unique electronic album. Nobody else makes music like this. - Lucas Schleicher
I am thrilled that Lescalleet has gotten so much attention this year, but I don't fully understand why this was the album that brought it to him. I thought this was merely good. Maybe people just really love Big Black humor. -Anthony D'Amico
I did appreciate all the Big Black references on this one, but I felt it was overall pretty strong even without that, and the longer piece on the second disc with the Depeche Mode punchline was fun to say the least. - Creaig Dunton
JK Flesh, "Posthuman" (3BY3)
I felt a bit let down by this one. As a fan of Broadrick from way back, it felt too much like he was co-opting the atrocious dubstep trends rather than being his usual innovative self. It wasn't a BAD album, but I just was not too enamored by it. Hopefully the resurrected Godflesh will be a better outlet for his more aggressive tendencies. - Creaig Dunton
Rangda, "Formerly Extinct" (Drag City)
Less spontaneous and more rehearsed sounding than the debut. Not sure if that's a good or bad thing yet. – Stephen Bush
Vatican Shadow, "Atta's Apartment Slated for Demolition" (Hospital)
Edward Ka-Spel, "Ghost Logik" (Rustblade)
"The Voyeur" is one of my favorite Ka-Spel pieces ever. Edward is untouchable when he is in storyteller mode. -Anthony D'Amico
Emptyset, "Medium" (Subtext)
Holy Other, "Held" (Tri-Angle)
This is sex music for cough syrup abusers. -Anthony D'Amico
Finally—a release on Tri-Angle that 100% lives up to the hype. – Stephen Bush
Lee Gamble, "Dutch Tvashar Plumes" (Pan)
Mirrorring, "Foreign Body" (Kranky)
I played this way too many times into the wee hours of the night. Mesmerising. – Stephen Bush
Vladislav Delay, "Kuopio" (Raster-Noton)
Chromatics, "Kill for Love" (Italians Do It Better)
Eleh, "The Weight of Accumulation" (Important)
Pure magic. – John Kealy
Zelienople, "The World Is a House on Fire" (Type)
Andrew Chalk, "Forty-Nine Views in Rhapsodies' Wave Serene" (Faraway Press)
I'm going to put these songs on so many mixtapes. Mesmerizing little compact glimpses into another world. – Adam Devlin
Helm, "Impossible Symmetry" (Pan)
"Stained Glass Electric" is about as awesome as noise gets. -Anthony D'Amico
High on Fire, "De Vermis Mysteriis" (Century Media)
Switching to Kurt Ballou as producer made all the difference between this and Snakes for the Divine. Where is Converge on this year-end list, by the way?! – Stephen Bush
Jessica Bailiff, "At the Down-Turned Jagged Rim of the Sky" (Kranky)
A welcome return to form. – Stephen Bush
Locrian and Christoph Heemann, "Locrian and Christoph Heemann" (Handmade Birds)
I dig most of Locrian's work, and this one was definitely good, but I felt the collaboration with Mamiffer made for the better release, it felt like more than the sum of its parts. - Creaig Dunton
Lotus Plaza, "Spooky Action at a Distance" (Kranky)
This was much less compelling than Lotus Plaza's debut. I have no idea what you guys found to like about this. -Anthony D'Amico
"Monoliths," mainly. – Adam Devlin
Nurse with Wound / Graham Bowers, "Rupture" (United Dirter)
I am surprised this has not polled better as it is a stunning and mesmerizing work, even if it is as sad as it is engaging. – John Kealy
Nurse with Wound and Blind Cave Salamander, "Cabbalism" (Dirter)
I am also surprised this has not polled better as it is absolutely perfect. – John Kealy
Nadja, "Dagdrom" (Broken Spine)
Sticking Mac McNeilly behind the drum kit is a wonderful twist on Nadja's core aesthetic. – Stephen Bush
Peaking Lights, "Lucifer" (Mexican Summer)
This was easily the most exasperating album of the year for me. It sounds like someone remixed an Astrud Gilberto album for in-store play at Starbucks or something. The dub version is thankfully a bit better though. - Anthony D'Amico
Alexander Tucker, "Third Mouth" (Thrill Jockey)
Forgettable and bland. – Stephen Bush
Blut aus Nord, "777 - Cosmosophy" (Debemur Morti)
Container, "LP" (Spectrum Spools)
You know someone is the real deal when they are too busy kicking ass to even bother thinking of titles to differentiate their albums. -Anthony D'Amico
Jim Jarmusch and Jozef Van Wissem, "The Mystery of Heaven" (Sacred Bones)
Jim Jarmusch and Jozef Van Wissem, "Concerning the Entrance into Eternity" (Important)
Jarmusch I can take or leave as a director (though Dead Man is a firm favorite) but this album with Van Wissem was terrific. I need to get that other one they did. – John Kealy
Keith Fullerton Whitman, "Occlusions; Real-Time Music for Hybrid Digital-Analogue..." (Editions Mego)
A two part 35 minute synth exercise in deliberately avoiding all semblance of rhythm and melody. Liked it more than I should have. – Adam Devlin
Bill Orcutt, "Why Does Everybody Love Free Music but Nobody Loves Free People?" (Palilalia)
Eli Keszler, "Catching Net" (Pan)
An incredible cacophony. I hope to see him play live sometime. – Adam Devlin
I bought Cold Pin when it first came out and was blown away by it. It still sounds good to me now, but I haven't warmed up to the additional music on this 2CD set yet. Another one of those albums that I need more time with. Keszler is an amazing performer though and for anyone that didn't get Cold Pin, Catching Net is essential. - Lucas Schleicher
Fushitsusha, "Hikari To Nazukeyo" (Heartbeat)
Like a storm in my ears though this was less like the Fushitusha of old and more like Haino’s other recent band Seijaku (with more oomph to their sound). Haino's return to Fushitsusha was one of the year's top surprises and from the sounds of things, he is only warming up. Their other album should have charted too but the damn things are so difficult to find outside of Japan. Hopefully the third album in this trilogy is easier to get. – John Kealy
Kyle Bobby Dunn, "Bring Me the Head of…" (Low Point)
Back in July I said that this album contains "some of the most beautiful and ambiguous music I have heard this year." I stand by that claims five months down the road. Dunn makes big, sprawling, beautiful music with a dry, dark underside. There's more going on here than meets the eye/ear. - Lucas Schleicher
Marissa Nadler, "The Sister" (Box of Cedar)
"In a Little Town" spent a lot of time in heavy rotation at my place. -Anthony D'Amico
Mohn, "Mohn" (Kompakt)
The subterranean bass frequencies on this thing are otherworldly. Play it loud. – Stephen Bush
Much more song-based than Twinsistermoon's previous efforts. I like this, but it was just released so I'll need more time to digest. – Stephen Bush
Gabriel Saloman, "Adhere" (Miasmah)
Natural Snow Buildings, "Beyond the Veil" (Blackest Rainbow)
The Slaves, "Spirits of the Sun" (Digitalis)
Disappears, "Pre Language" (Kranky)
This definitely had the unintended effect of reminding me how much I used to love GVSB, but "Joa" and "Pre Language" are seriously bad-ass songs in their own right. Also, Brian Case is an awesome frontman. -Anthony D'Amico
Duane Pitre, "Feel Free" (Important)
Another absolute gem from this year, Pitre’s Feel Free and his album with Eleh were both standout releases for me. Feel Free is like Terry Riley’s In C reborn and remodelled, moving with the same unstoppable propulsion but into a very different space. – John Kealy
Fenn O'Berg, "In Hell" (Editions Mego)
This was definitely better than some of their other recent work, but I wish they'd actually make a real album. It seems like such a waste for these three to only unite for improvised performances. -Anthony D'Amico
Mike Shiflet, "The Choir, the Army" (Under the Spire)
This was quite a divergence from Shiflet's recent noise epics on Type, but it was characteristically excellent. -Anthony D'Amico
The Legendary Pink Dots, "The Creature that Tasted Sound" (Trademark of Quantity)
The title piece easily eclipses the rest of the album, but the hallucinatory soundscapes that make up the remainder are quite good in their own right. -Anthony D'Amico
Single of the Year
Burial, "Kindred" (Hyperdub)
Burial, "Truant/Rough Sleeper" (Hyperdub)
The longer Burial's songs get, the less I like them. I couldn't get into this at all. - Anthony D'Amico
I feel the exact opposite. Burial's newer work takes time to evolve in ways that always surprise me. – Adam Devlin
"Rough Sleeper" is one of the best Burial songs yet. Love the fractured house vibe that flickers throughout. – Stephen Bush
Cut Hands, "Black Mamba" (Blackest Ever Black)
Dullest ever dull. - Lucas Schleicher
A Place to Bury Strangers, "Onward to the Wall" (Dead Oceans)
APTBS always seem more interesting when described than listened to. This release follows that formula. – Adam Devlin
A powerful punch, and possibly a much stronger statement than the album. - Jon Whitney
There's basically only two songs here, but at least they were both scorchers. -Anthony D'Amico
Myrninerest, "Journey to Avebury" (The Spheres)
The Haxan Cloak, "The Men Parted the Sea to Devour the Water" (Southern)
Matmos, "The Ganzfeld EP" (Thrill Jockey)
I liked this a lot, but then again, you already knew that, right? – John Kealy
Grails, "Black Tar Prophecies Vol. 5" (Kemado)
This split with Pharaoh Overlord was a monster though I wish it was a Grails full length. – John Kealy
Blanck Mass, "White Moth/Polymath" (Software)
Oneohtrix Point Never, "Dog in the Fog: Replica Collaborations and Remixes" (Software)
Tropic of Cancer, "I Feel Nothing" (Sleeperhold)
Coh, "Soisong" (self-released)
Octagonal CDs will not play on any of my devices. However, in my mind this sounds like an obvious progression of where SoiSong left off. Perhaps Ivan Pavlov puts more of his own spin on things and Sleazy’s side of the split is somewhere out there in the ether(net). – John Kealy
Tropic of Cancer, "Permissions Of Love" (Mannequin)
British Murder Boys, "Where Pail Limbs Lie" (Liberation Technologies)
Electric Sewer Age, "Moon's Milk in Final Phase" (Divine Frequency)
drcarlsonalbion, "La Strega and the Cunning Man in the Smoke" (Southern)
I was expecting this to be crap but it’s excellent. – John Kealy
Jesu, "Duchess/Veiled" (Matador)
Kangding Ray, "The Pentaki Slopes" (Raster-Noton)
AUN, "Full Circle" (Denovali)
Six Organs Of Admittance / ( r), "Shivers" (Tourette)
Windy and Carl, "Windy and Carl" (Blue Flea)
Boduf Songs, "Internal Memo" (Morc)
Like Grails, I love hearing new Boduf Songs but want a full album. – John Kealy
Live album/vault recording/reissue (or otherwise not really a "new full-length album")
Swans, "We Rose from Your Bed with the Sun in Our Head" (Young God)
Godly. – John Kealy
I don't think any recording medium can capture the intensity of a Swans performance, but this set does its damndedst to. - Creaig Dunton
Best possible memento I could ask for from the My Father Will Guide Me... tour—an exhilarating reminder of the power of Swans' live set. – Stephen Bush
X-TG, "Faet Narok" (Industrial)
A really nice companion to the “real” album, at times I find this to be superior to Desertshore itself. – John Kealy
Grouper, "A I A" (Kranky)
I've played this in 2012 as much as any of Liz Harris' work in years past. She keeps getting better with age, and A I A is perfect late-night listening for fall/winter. Cannot wait to hear the collection of Dragging a Dead Deer-era recordings on Kranky this spring. – Stephen Bush
Swans, "The Burning World" (Water)
One of Swans' only albums that I can take or leave. While I didn't hear the reissue, I'm unsure how much a remastering/repressing can butter up one of their weakest efforts. – Stephen Bush
Sleep, "Dopesmoker" (Southern Lord)
Worst album cover ever, and it needed to be a double CD with the Jerusalem mix on it (because nothing beats that one). – John Kealy
Porter Ricks, "Biokinetics" (Type)
Utterly amazing and sounds way too current for an album originally from 1996. Would be my favorite reissue of 2012 were it not for the Zs box set. – Adam Devlin
This was a fantastic repackaging (complete with beautiful new artwork) of this too-often ignored '90s classic. – Stephen Bush
David Lynch and Alan Splet, "Eraserhead Original Soundtrac Recording" (Sacred Bones)
Fantastic reissue of an iconic soundtrack. I would love to see other soundtracks from Lynch’s movies done in a similar way. How good would a vinyl box set of the Twin Peaks material be? – John Kealy
Vatican Shadow, "Kneel before Religious Icons" (Type)
Again, Fernow was shoveling this stuff out at an obnoxious rate this year, but this early release still stands as one of the best of the project, thankfully saved from the oblivion of overpriced, underproduced tape market. - Creaig Dunton
Laurie Spiegel, "The Expanding Universe" (Unseen Worlds)
Superb reissue with very good additional pieces. - Duncan Edwards.
One of the best things released all year, new, vault, or otherwise. - Lucas Schleicher
Flawless. – Stephen Bush
Eleh, "Radiant Intervals" (Important)
As good as it was in 2010 but this time it’s shinier. – John Kealy
Carter Tutti Void, "Transverse" (Mute)
This noisy and hypnotically rhythmic live collaboration with Factory Floor's Nik Void was one of the most pleasant surprises of the year for me. -Anthony D'Amico
This was leagues better than X-TG's Desertshore/The Final Report and should be ranked far higher. – Stephen Bush
Daphne Oram, "The Oram Tapes Volume One" (Young Americans)
Psychic TV, "Dream Less Sweet" (Angry Love)
Sugar, "Copper Blue" (Edsel)
Best album Mould has released his entire career—Hüsker Dü included. – Stephen Bush
Ben Frost, "Steel Wound" (Room40)
Antony and the Johnsons, "Cut the World" (Secretly Canadian)
While I love the performance, I cannot get by that mad ecology/moon speech at the beginning. – John Kealy
That was my favorite part. – Adam Devlin
Sorry but I think I spit up a little bit when I first heard that speech. - Jon Whitney
One of my most treasured releases of 2012. This plays almost like Antony's greatest hits, with several of the new arrangements and performances outshining the album versions ("Swanlights," "Epilepsy Is Dancing," "I Fell in Love with a Dead Boy"). Along with Transverse, this is one of the most compelling live albums of the year. – Stephen Bush
Luc Ferrari, "Presque Rien" (Recollections GRM)
Wonderful reissue of one of the most important compositions of the 20th century. – John Kealy
Nurse with Wound, "A Sucked Orange / Scrag" (Dirter)
This year has not been as prolific for Steven Stapleton as previous ones but I was glad to see this get the reissue treatment as it is a minor masterpiece. Rocket Morton. Rocket Morton. Rocket Morton. You get the picture. – John Kealy
Natural Snow Buildings, "Night Coercion into the Company of Witches" (Ba Da Bing!)
One of the most monumentally noisy NSB releases I've heard. It's been difficult to get through three CDs in a single listen, but taking Night Coercion disc by disc, I'm enthralled. – Stephen Bush
Sugar, "Beaster" (Edsel)
Nurse with Wound, "Creakiness and Other Misdemeanours" (United Jnana)
Four Tet, "Pink" (Text)
I haven't heard the eight songs on Pink as a collected album yet (damn $30 import CDs...), but the tracks I have heard individually over the past year are nothing short of stellar. Kieran Hebden has done no wrong to these ears in the last decade or so—he's one of the most consistent musicians I can name across any genre. – Stephen Bush
John Maus, "A Collection of Rarities and Previously Unreleased Material" (Ribbon Music)
What kind of world do we live in where this makes it onto a best of list, but Alga Marghen's Eliane Radigue 2LP doesn't? Nobody will care about Maus in a few years. What a waste of a spot. - Lucas Schleicher
Pandit Pran Nath, "Ragas of Morning and Night" (Mississsippi)
While I am fairly certain this is a bootleg, the original recording is beyond words, no description can come close to capturing how unreal Pandit Pran Nath's performances were. This needs to be more available and I am glad Mississippi (who previously booted Pran Nath's Earth Groove) are doing it. The few Pran Nath recordings out there are not enough and too many of them are beyond the pockets of most music fans. - John Kealy
Sugar, "File Under: Easy Listening" (Edsel)
Catherine Christer Hennix, "Chora(s)san Time Court Mirage: Live at Grimm Museum, Vol. 1" (Important)
Absolutely sublime performance by Hennix, it is a treat to finally have access to more of her work. This is inspirational and transcendental, if only it lasted forever. – John Kealy
Current 93, "And When Rome Falls" (Coptic Cat)
Current 93's live albums have historically been excellent, but this one felt one-dimensional and bombastic to me. A piano is definitely not the ideal foil for David Tibet's artistry. -Anthony D'Amico
Gate, "The Dew Line" (MIE)
The Durutti Column, "Short Stories for Pauline" (LTM)
All the tracks on this so-called lost album have been heard elsewhere, but despite some parts that are almost too mellow, a most welcome release. - Duncan Edwards
The Slaves, "Ocean on Ocean" (Helen Scarsdale)
I was absolutely thrilled to see this get a proper reissue. This is definitely one of the most unique and absorbing drone albums in recent memory. -Anthony D'Amico
[V/A]
"The Minimal Wave Tapes Volume Two" (Stones Throw)
Not quite as well-arranged as the first volume but still an excellent collection. – Adam Devlin
The first collection was immeasurably great; Volume Two has plenty of highlights, but doesn't gel together quite as well as its older sibling. – Stephen Bush
"Broken Flag: A Retrospective 1982 - 1985" (Vinyl-on-Demand)
A nice mass-market release of the vinyl collection from a few years back. I would have liked to have seen a bit more material added though, since the BF catalog is sprawling to say the least. - Creaig Dunton
"Touch: 30 Years and Counting" (Touch)
"Dabke: Sounds of the Syrian Houran" (Sham Palace)
"A Wrenched Virile Lore" (Sub Pop)
People actually listen to Mogwai remix albums? I had no idea! – Stephen Bush
"BIPPP: French Synth-Wave 1975/85" (Born Bad)
"Bollywood Steel Guitar" (Sublime Frequencies)
The fact that this list is riddled with Sublime Frequencies reissues rather than new albums depresses me. Please come back, Sublime Frequencies. You've been entirely too quiet lately. -Anthony D'Amico
"Cumbia Beat Vol. 2: Tropical Sounds from Peru 1966 - 1983" (Vampi Soul)
"Eight Trails, One Path" (Three Lobed)
One of the year's only salvageable releases from the corporate cash-grab known as Record Store Day (which, for those who haven't done their homework, is a thinly veiled effort by RSD sponsors like EMI, Universal, Sony, WEA, and Warner Bros. to help save their own skins). – Stephen Bush
"Time to Go - The Southern Psychedelic Moment: 1981-86" (Flying Nun)
"Eccentric Soul: Omnibus, Vol. 1" (Numero Group)
"Personal Spaces" (Chocolate Industries)
"Istanbul 70: Psych, Disco, Folk Classics" (Nublu)
"Saigon Rock and Soul: Vietnam Classic Tracks 1968-1974" (Sublime Frequencies)
"Starting into the Sun: Ethiopian Tribal Music" (Sublime Frequencies)
"Strange Passion" (Finders Keepers)
This compilation of Irish post punk music makes me feel like I was born too late. – John Kealy
"Zendooni: Funk, Psychedelia and Pop from the Iranian Pre-Revolution Generation" (Light in the Attic)
"Bruce Haack Remixes" (Stones Throw)
"Dross Glop" (Warp)
Better than the album it was remixing. – Adam Devlin
I lost interest in Battles when Tyondai Braxton made his exit. Comparing the pukey cover art of Dross Glop to that of, say, Mirrored makes me comfortable in my decision not to even hear this. – Stephen Bush
"Trust" (Time Released Sound)
"U.S. Bestial Forces" (L. White)
"We Are the Works in Progress" (Asa Wa Kuru)
"A Journey Into Greek Electronic Music, Classics and Rarities (1978-1991)" (Into the Light)
"Diabos del Ritmo: The Colombian Melting Pot 1975 - 1985" (Analog Africa)
"Eat the Dream: Gnawa Music from Essaouira" (Sublime Frequencies)
Boxed Set
Can, "The Lost Tapes" (Spoon/Mute)
This was an absolute joy to listen to and explore. Just when you think you have heard all you need to hear from such a legendary group, this comes along and reminds you why you fell in love with them in the first place. – John Kealy
No mistakes about this release; someone did sift through the archives and pulled out some fine achievements. - Jon Whitney
Another perfect chance to play the Damo Suzuki telephone game, where I listen to the same lyric over and over and bastardize it into something weirder. Are you racing with the streaker? – Adam Devlin
There's no denying that much of Can's work on The Lost Tapes matches and lives up to their proper albums. In at least one case ("Graublau"), they have completely outdone themselves. Excellent curation. – Stephen Bush
Exactly what these vault-raiding compilations should be, a lot of tracks that match the quality of what was on their albums, and not bogged down by unnecessary alternate takes or demo versions. Hopefully that vault of live material Schmidt mentioned in interviews will get the same treatment. - Creaig Dunton
William Basinski, "The Disintegration Loops" (Temporary Residence)
Who actually bought this when so many other more essential box sets got released? Could have (and should have) been done with less garish overworking of the medium, or at the very least a bare-bones CD box should have come out too. - John Kealy
I can't wait to see how this is repackaged and reissued next year! -Anthony D'Amico
The music is peerless, but the box set (though it looks gorgeous) is also overpriced. It would have been just as helpful to get stand-alone vinyl pressings. – Stephen Bush
Gorgeous, over-priced, and extravagant. Definitely a cool and impressive set, but I prefer these albums on CD, uninterrupted by flipping. - Lucas Schleicher
Whoever voted for this box who actually owns it, please raise their hand.... I thought so. - Jon Whitney
Pauline Oliveros, "Reverberations: Tape and Electronic Music 1961-1970" (Important)
This collection was a sore point for my wife as she hates electroacoustic music and I got totally stuck into this. What a magnificent body of work, and to think this was only the beginning of Oliveros’s journey through sound. – John Kealy
This is a monumental box set, and comprised much of my late-night listening through the fall and winter. – Stephen Bush
This is the work of a living legend. - Jon Whitney
Eleh, "Retreat, Return, Repose" (Important)
Codeine, "When I See the Sun" (Numero)
Anyone who hasn't heard the original Codeine recordings is in for a treat. These sound fantastic on vinyl. – Stephen Bush
[V/A], "Broken Flag: A Retrospective 1982 - 1985" (Vinyl-on-Demand)
This is essential listening for anyone who likes noise. -Anthony D'Amico
Ramleh, "Awake!" (Harbinger Sound)
This has to be one of most improbable and puzzling boxed sets ever. I like Ramleh, but probably not nearly enough to enjoy listening to 8 CDs that comprehensively document the years 1982 to 1984. -Anthony D'Amico
That improbability is what makes this set so great. An almost pathological cataloging of Gary Mundy's early career, presented in a manner far more lavish than it probably deserves. - Creaig Dunton
Feedtime, "The Aberrant Years" (Sub Pop)
Clock DVA, "Horology" (Vinyl-on-Demand)
Colin Potter, "Recent History" (ICR)
Esplendor Geometrico, "1980-1981 Prehistoric Sounds - Necrosis en la Poya & More" (Geometrik)
Amon Tobin, "Amon Tobin" (Ninja Tune)
Sema, "Time Will Say Nothing (1982 - 1984)" (Vinyl-on-Demand)
Probably the most unexpected release of the year, this was also one of the best. A true labor of love and some of the most beautiful music in the world. – John Kealy
Very sad that I missed this. One of the few VOD sets that I'd love to have. - Lucas Schleicher
Francois Bayle, "50 Ans D'Acousmatique" (INA-GRM)
Merzbow, "Lowest Music and Arts 1980-1983" (Vinyl-on-Demand)
For me, the most surprising musical event of 2012 was that Vinyl-on-Demand somehow managed to find some Merzbow recordings that have thus far avoided being released. Frank Maier must be a goddamn sorcerer. -Anthony D'Amico
Great idea, but not many great songs. -Anthony D'Amico
Daniel Bachman, "Seven Pines" (Tompkins Square)
Incapacitants, "Alchemy Box Is Stupid" (Alchemy)
Compared to the original Box is Stupid set from a few years back, this one was certainly light on the packaging and presentation, and not to mention a bit costly. However, it is the Incapacitants, and it collects all of their exceptional albums on Alchemy, some unreleased live and collaborative material, and two DVDs of one of the most "fun" noise projects ever. I forgive the set's transgressions. - Creaig Dunton
John Duncan, "First Recordings 1978-1985 V1.2" (Vinyl-on-demand)
Lou Ragland, "I Travel Alone" (Numero Group)
Act of the Year
Swans
X-TG
Nurse With Wound
Oren Ambarchi
Scott Walker
Burial
Can
A Place To Bury Strangers
Andy Stott
Om
New Artist of the Year
Goat
I totally missed the Goat phenomenon this year, but now that I've heard them, I'm glad they got this. World Music nailed every key psych/space rock trope with vibrancy and style while avoiding the misguided self-seriousness that plagues most of their peers. -Anthony D'Amico
I love Keiji Haino and this year was a great year for anyone with an interest in his work. Between Fushitsusha not only releasing two full albums and touring along with his own solo work (see the earth-shatteringly good soundtrack to the new documentary on Haino for some amazing solo and Fushitsusha jams), it was his other collaborative efforts which caught my attention most. This live album recorded with a new trio featuring Oren Ambarchi and Stephen O'Malley was probably the highlight for me, there was nothing that approached the intense gravity and power of this performance. What a sound, what a noise and what a rush! - John Kealy
Steve Hauschildt, "Sequitor" (Kranky)
While Spencer Yeh's Transitions is definitely the most egregious snub of the year in my eyes, I think Hauschildt got quite a raw deal himself. A few of the more space-y and atmospheric pieces tend to drag a bit, but Sequitor's poppier moments are pure kitschy, lush, burbly fun (and unexpectedly soulful besides). "Constant Reminders" is easily the best song that Kraftwerk never wrote and I cannot stop listening to it. Also, it seems like a bizarre negative image of Emeralds'Just to Feel Anything, replacing the drama and moodiness with warmth, lightness, and an endearing sense of playfulness (and being a more enjoyable album for it). -Anthony D'Amico
Christian Wolff/Keith Rowe, "ErstLive 010" (Erstwhile)
The ErstLive series got four outstanding additions this year: one emotional and mind-blowing solo set from Keith Rowe, an excellent rendition of Antoine Beuger's S'approcher s'éloigner s'absenter, a mind-bending, ultra-minimal set from the duo of Taku Unami and and Radu Malfatti, and this first-time collaboration between Rowe and Christian Wolff, which I listened to the most. It's an under-appreciated and overlooked improv set from two legends who are still making incredible music more than forty years after they began. Wolff and Rowe's performance is subtle, sensitive, and totally engrossing. It points to a lot of fascinating ideas about the similarities between composition and improvisation and it encourages a kind of interactive listening that I don't always get from other music. But I love that I can turn it on and enjoy it for all its restraint and quiet beauty too. This was a pivotal record for me in 2012 and among the very best I heard all year. - Lucas Schleicher
CS Yeh, "Transitions" (De Stijl)
C Spencer Yeh'sTransitions proves that the casual brilliance of his debut single "In The Blink of An Eye/Condo Stress" was no fluke. He covers Stevie Nicks with a straight face, and his re-imagining of "Rooms on Fire" as a goth-synth piece is one of several tracks here that I have played continuously throughout 2012. This is an avant-pop album full of crisp guitar, sonorous vocals, bubbling synth, a little distortion and bold instrumental squiggles all of which put me in mind of Arthur Russell and the early solo records of Brian Eno. The original brainwashed review mentioned Robert Wyatt and Slapp Happy and "short punchy songs packed full of meaty bass lines, kitschy drum machine grooves, and a host of amusing curve-balls like horns, wah-wah guitar, and crude 8-bit-sounding synth textures." Yeh writes simple and enticing lyrics but his sketchy approach keeps their exact meaning tantilizingly just out of reach, oblique, and mysterious.Transitions even rehabilitates the line "on a dark desert highway" for which we should all be grateful. I am gobsmacked that this album was not included in the 100 Best and can only conclude that the world has finally gone mad. - Duncan Edwards
Horseback, "Half Blood" (Relapse)
In an overwrought marketplace of artists experimenting in a metal framework, Jenks Miller is one of the few that both manages to reach for new and different sounds while still maintaining a listenable, even sometimes catchy, overall sound. Minimalist in the La Monte Young sense, there is a clear, but tasteful repetition throughout. Plus, the idiosyncratic pairing of southern rock twang with ugly metal touches makes for a record that sounds like no one else. - Creaig Dunton
Fontanelle, "Vitamin F" (Southern Lord)
After a decade this supergroup returned with an absolute scorcher of a record. It's a monstrous fusion of dirty funk, jazz, and electronics contained within seven excellent pieces. Without hip, pretty faces or a mega tour, it's no surprise the album went relatively unnoticed. For those unconvinced, have a listen to the song featured in one of the most recent Brainwashed Podcasts. - Jon Whitney
Lifetime Achievement Recognition
Michael Gira
Through Swans, The Body Lovers/Haters, The Angels of Light, a solo career and back to Swans again, Michael Gira has charted an inimitable and intimidating path across the face of music. The last few years in particular have seen him rejuvenated and riding the crest of a wave I hope never breaks. The Seer is a monument to his will and integrity, the reformed Swans being far from a crappy cash grab. Like Neil Young’s return to Crazy Horse or Keiji Haino’s resuming of Fushitsusha, his act of bringing back Swans has opened up avenues that he has not tread in years and to find new routes that we have never seen before. The intensity, the power and the honesty at the center of his performances in any situation remain strong. Gira has put his life into his art and his art pulses with life, never lagging and never relenting. - John Kealy
Gira is an institution and a testament to perseverance. Could you have predicted anything close to his current career trajectory from the first time you listened to Filth or Cop? He's fared so well in these past few years since reforming Swans and touring constantly, and he seems more inspired and aggressive than before, like all he needed was a break to catch his breath. Being younger than most of the people I know who love Swans, I feel an odd sort of mirror image evolving for me, sharing the same exact feelings about the band they had felt years ago like they were brand new. Seeing them live last year and watching The Seer unfold was revelatory; I witnessed first-hand proof of a man who had stayed irreverent, resourceful, and forward-thinking well into his 50s and never stopped putting out incredible work all the while. The idea of a musical legend eluded me until I saw one in person. That is Michael Gira. – Adam Devlin
Michael Gira's mark on the world of music is immeasurable. For three decades he has been a beacon of all that is pure emotion musically: unfiltered, unapologetic, and uncompromised. Swans alone have influenced numerous careers spanning multiple genres. As a businessman, Gira has supported some incredible and diverse acts through Young God Records, releasing some fantastic albums, dismissing all limitations of sound or style. Gira hasn't ever resorted to self-reinvention; he has always been himself, and has never had to rely on self-parody or capitalized on any nostalgia. Michael is one of the hardest workers in the business and is always respectful and generous to his fans and supporters. He continues to make music available for those who take the time and effort to listen and invest. This year saw a massive three LP album and a live compilation—both heavily funded by overwhelming fan support—and more exhaustive touring. The younger people who weren't available to see Swans in the '80s or '90s are not getting some group of old guys paying tribute to their heyday, they're getting the real thing. The proof is, and has always been, right there. - Jon Whitney
I am a bit of a casual Swans fan by Brainwashed standards, but my appreciation for Gira as a bulwark of integrity, passion, will, and perfectionism in recent years cannot be overstated. Since Swans' return in 2010, he has seemed like a man possessed, delivering absolutely brutal live shows and releasing albums that threaten to eclipse everything he's done before. With The Seer, he may have actually succeeded in that (though I personally still stubbornly cling to Soundtracks for the Blind as favorite Gira album). After three decades of making and supporting great and uncompromising art, he is not merely one of the last men standing from the '80s underground, he is actually thriving. (Also, Young God is responsible for bringing Fire on Fire into my life, for which I am eternally grateful.) -Anthony D'Amico
Swans contributions to heavy, difficult music for the past three decades is undeniable, but Gira has shown himself to be an artist that can not sit still, and is never afraid of completely changing his sound at a moment's notice. In recent years, he has shown no signs of relenting, and besides curating the Young God label he managed to resurrect Swans with the same power and complexity that they had during their entire career. Additionally, his funding of these recent two albums was essentially embracing "crowd sourcing" before it became common knowledge, on his own terms and quite successfully. Adding that to a relentless touring schedule playing intense shows that artists a third of his age could only dream of doing, and I think his recognition is more than appropriate. - Creaig Dunton
Worst Album
Amanda Palmer and the Grand Theft Orchestra, "Theatre Is Evil" (8ft Records)
I always come back to my Elie Wiesel, who said: "The opposite of love is not hate, it's indifference. The opposite of art is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, it's indifference." THANK YOU BRAINWASHED READERS, FOR KEEPING ME A LITTLE MORE ALIVE THAN IF YOU'D SIMPLY IGNORED ME!!!!!! - Amanda Palmer
Honestly there's a buncha haters out there and Amanda Palmer is too easy a target. I bet next to none of these detractors actually heard this record as the #2 entry is easily the worst album of the year. - Jon Whitney
Hey, wait, I heard it! All Kickstarter drama aside, this album is cluttered and annoying. It's not the worst album of the year, just bloated and pointless. – Adam Devlin
The xx, "Coexist" (Young Turks)
It's so boring even the singers sound bored. How on earth do people get away with this crap? - Jon Whitney
Their first album, xx, stood on the strength of its songwriting—paeans to love highlighted by sparse, stripped-back arrangements that earned comparisons to Young Marble Giants. I don't find Coexist nearly as offensive as Mr. Whitney, but its lack of well-written songs does make it sounds boring. "Angels" is fantastic, but nothing else stands up to the debut. – Stephen Bush
Animal Collective, "Centipede Hz" (Domino)
Does Animal Collective still sound like Animal Collective? If so, I guess I probably don't like this very much either. -Anthony D'Amico
I'll get flak for saying I loved most of what Animal Collective put out up until now. At least with this record I can stand in solidarity on the people saying they don't understand why this band is so popular. This was a hollow effort. – Adam Devlin
Historically, Animal Collective are at their best when their arrangements have room to breathe and flow (they still haven't topped the acoustic-inflected beauty of Sung Tongs). Even records like Strawberry Jam were jam-packed full of ideas, but didn't feel cluttered and overproduced. Centipede Hz sounds like AC couldn't decide how to arrange most of these songs; the result is too many cooks in the kitchen throwing ideas into the mix. The only redeeming song, "New Town Burnout," was actually a leftover from Tomboy. – Stephen Bush
Of Montreal, "Paralytic Stalks" (Polyvinyl)
Hot Chip, "In Our Heads" (Domino)
I had high hopes on the whole album after hearing "Let Me Be Him," which I have listened to quite a lot, but the whole thing is a severe let down. - Jon Whitney
David Byrne and St. Vincent, "Love This Giant" (4AD)
Completely full of itself and NPR-ready. - Jon Whitney
What's wrong with their faces? – Adam Devlin
Little did I know, when Talking Heads released their still-excellent Fear of Music LP, that they were actually forecasting my feelings toward David Byrne's music a few decades later. – Stephen Bush
Grizzly Bear, "Shields" (Warp)
"A Simple Answer" was nice. – Adam Devlin
I would sooner slice off my own ears with a dull machete than listen to music that is predominantly "nice." – Stephen Bush
Inade, "Audio Mythology One" (Loki-Found)
I'm surprised that such an obscure releases was able to elicit so much vitriol- now I am morbidly eager to hear this. The label's description says that "these are essential pieces of the vast network of sound manipulation that fills the blackened soul of night, the heart of primal urgency, haunting and dramatic, abounding with the ethereal mist of unease and dense ruminations that breathe and exhale awe with every resonant pulse." If all that turns out to be true, I think you guys owe Inade a big apology. -Anthony D'Amico
Dirty Projectors, "Swing Lo Magellan" (Domino)
I didn't hear a single song from this album, but I didn't need to. I know it's one of the worst albums of the year. Thanks for confirming my convictions! - Lucas Schleicher
The Big Pink, "Future This" (4AD)
I actually like that tune ("Hit the Ground") that samples Laurie Anderson's "O Superman." - Jon Whitney
Artist: Schloss Tegal Title: Oranur III "The Third And Final Report" Catalogue No: CSR174CD Barcode: 5060174954092 Format: CD in jewelcase Genre: Dark Ambient Shipping: Now
Based on the work of Wilhelm Reich and his encounters with UFOs, this influential album has been remastered and reworked from the original recordings, with new bonus tracks and new remixed versions. Originally released in 1997 on CD by Tegal Records (Ltd x 1000) and LP by Artware Productions, Germany (Ltd x 1000), all of the original subject matter has been taken to a new level with this digital recording from the analogue sources. This is the third and final warning to the sleeping beings of the earth. This album influenced many other electronic artists and has been hailed as one of the first recordings to be labelled “dark ambient”.
Artist: RMEDL / K11 Title: Chthonian Music Catalogue No: CSR176CD Barcode: 5060174954122 Format: CD in jewelcase Genre: Ritual / Drone / Dark Ambient Shipping: Now
Reissue of an extremely limited 2010 release (x50 private copies). This multi-dimensional collaborative opera (audio installation and concept album) is a bridge between the conception of sound within the contemporary art scene, post-industrial culture and the avantgarde black metal musical scene. It focuses on creating a dialogic development between radical forms of concrete music, unorthodox sounds, conceptual arts and experimental recording practices of acoustic phenomena. The following artists participated on the release:
Aderlating, Andrea Marutti, Burial Hex, Christina Kubisch, Deadwood, Francesco Brasini (Sevenguitars), Francisco Lopez, Gianluca Becuzzi, L’Acephale, Luciano Maggiore, Massimo Bartolini, Nordvargr, Philippe Petit, Seth Cluett, Utarm, Y.E.R.M.O..
Tracks: Mvndvs / 2. Katàbasis Pt. I / 3. Katàbasis Pt. II / 4. Katàbasis Pt. III / 5. Katàbasis Pt. IV / 6. Katàbasis Pt. V / 7. Nuktèlia
This album from Egan Budd's solo noise project is one that comes together splendidly at the intersection of a multitude of sounds, approaches, and structures, although the mood remains consistently dark throughout. While at times the bleak atmospherics at times become a bit too much, overall it is a strong and aggressive album.
Opening with "Abortion Rites," a mess of slowly undulating and distorted tones, there is a sense of restrained malignancy, like a dark apparition closing in.The addition of mangled strings and increasing volume builds upon this tension until it is engulfed by a grinding layer of digital noise, pairing the distortion with an almost hymnal layer beneath.The closing ends up a battle of dark synth passages and unrestrained power electronics harshness taking turns in bludgeoning one another.
"My Time Will Never Come" has a different approach, mixing keyboard passages with metallic, clattering objects that alternate between pure dissonance and structured melody, carried over into a pairing of distorted electronics and an insinuated rhythm.The closing passage of tolling bells and keyboards results in something that leans a bit too far into goth cheesiness for my liking, however.
"What You Believe" is less about hinted melody and more focused on atmospheres.Rhythms that resemble an idling engine mixed with booming, reverberated thuds and crashes results in an expansive, although bleak ambience that begins to be filled with creaking objects and humming electronics, eventually collapsing into an abyss of junk percussion and overdriven noises.
The final track, "Breathe," is all about pulsing electronics and lower frequency passages.What sounds like pieces of indecipherable words and electronic passages become darker and heavier with time, again insinuating malignancy more than being outwardly aggressive.The latter moments bring back the overdriven electronic squalls and harsh feedbacked bits, but with a certain level of restraint that keeps things from becoming a full on noise fest.
On his third album as Bionulor, Sebastian Banaszczyk has made an even greater leap into personalizing his sound. While he still focuses on the use of processed and recycled sounds, here there is a sense not only of consistency from piece to piece, resulting in a cohesive album of material, but also a more personal touch, a human element all too often missing from this sort of music
Pieces like "ST.001" and "ST.008" add to the vintage feel of the album.The former's aged crackles obscuring melody and miniscule changes result in an overall intimate sound, while the latter's use of silence with processed melody comes together with a complexity that belies its overall basic structure.
"ST.007" leans more into conventional music sounds, with mangled tones providing the foundation for mostly untreated piano and a dissonant, unidentifiable accompaniment.Similarly, "ST.004"'s seemingly random outbursts of static and music come across like the dying pulses of a radio tower, covering a lot of ground in its rather short duration.
The longest piece, "ST.009", makes good use of its extended duration.Fragile melodies rise and fall before being mangled and pulled together, resulting in a more dissonant, but not overly raw piece.This becomes a cyclic process that keeps a high level of diversity throughout.The following piece also exemplifies this greater sense of complexity, bouncing extremely tiny sounds around a mix together resulting in a piece that feels a bit more collage-like in comparison, but not sloppy or inconsistent.
The only tracks that come across as less engaging are the ones that show little change or variation in their structure, such as the third and final pieces.However, given their short lengths it comes across more like an interlude or a brief experiment rather than an attempt at a fully realized track, so it does not detract from the album as a whole.
I compared the first Bionulor album to the earlier works of Aube, but on Erik, Sebastian Banaszczyk has developed a much stronger identity and personal sound.While the extreme processing and dissection of preexisting sounds can make for an interesting experience, it does not necessarily make for an enjoyable one, but on here it results in a pleasant, but also bold album that hits all the right notes for this kind of sound art.
Performed, composed, and recorded over a period of 14 months, Crosshatches is a massive and exquisitely constructed 85 minute piece stretched across two compact discs. On it, Pisaro and Tsunoda sketch and blend non-musical sounds into musical ones, erasing the seemingly natural distinction between them as they go. The vehicle for that transformation is crosshatching, which the duo elegantly transforms into a musical mode.
Hatching is a technique used in the visual arts that consists in placing roughly discrete parallel lines next to eachother at various distances. Cross-hatching is a similar technique. By varying the angle, closeness, thickness, and lengths of their lines, artists such as Albrecht Dürer used it to create the illusion of volume, texture, and contrast in his drawings, woodcuts, and engravings. I keep thinking about these qualities when listening to Michael Pisaro and Toshiya Tsunoda's Crosshatches on Erstwhile. Beside the pleasure of hearing the album, which is subtle, sometimes delicate, and quite beautiful, I've enjoyed thinking about the ways Pisaro and Tsunoda translate this visual technique into a musical one.
Crosshatches is made up primarily of sine tones and field recordings. The field recordings come both raw and in a manipulated state, whether they're chopped, looped, distorted, or otherwise. Guitars are used briefly in a few passages on the first disc, and a piano shows up near the end of the second. I assume that Michael plays both and that Toshiya provides the field recordings, but there are no credits to confirm that suspicion and no other information online. Static, interference, and possibly other sources are also used.
Initially, the music sounds one-dimensional. Michael and Toshiya's contributions bleed into one another, forming a hard, smooth surface. It's the musical equivalent of seeing a polished marble block or rolling a glass bead around in your hand. With time, variations and contrasts emerge. Instruments rise above the surface and draw shapes in the air, and tiny imperfections, little details previously unnoticed, come into focus. I hear people laughing in the distance, insects, and maybe the shuffling of equipment in a studio. The music branches out, diversifies, and confuses simultaneously. There's a beautiful crescendo on the first track of the first disc that culminates in little bursts of guitar and a heavily plucked bass. Buzzing tones continue underneath, but I can no longer distinguish which of them are recorded and which are performed, and I can't even be sure that the guitars themselves aren't a kind of modified field recording—maybe just the sound of someone warming up.
One of my favorite sections is on the second track of the second disc. It is, as far as I can tell, a mostly untouched recording of a storm. The recording captures the sound of rain, wind, and the whipping of tree limbs; I can close my eyes and half imagine the bushes outside my window bending and dancing in the downpour. Only after listening to the album a couple of times did I notice the sine waves shimmering at the edges of the storm. They were there when the recording started, but I thought they had disappeared. Were they invisibly present the whole time? Or deftly re-inserted into the mix? It isn't easy to tell and since the wind and waves pair so well I can't be sure what would happen if any of the elements of the recording were taken away. I also can't be sure there aren't more invisible elements swimming quietly in the background.
There's a corresponding section in "1.1" where Toshiya and Pisaro combine apparently random static with more obvious field recordings. Listening to the static closely, it sounds like a heavily modified version of the storm recording; the rhythmic character of the water is at least intact. There's some fun in trying to guess which sounds come from which sources and I enjoy the way the music draws connections between cricket sounds and the crack of water on the ground, or between plucked guitar strings and the sound of far off voices. But that says only a little about why the album is beautiful. The way the sounds are combined and folded into each other is pleasing in its own right, as are the moments of near silence and melody that dot the album under different guises.
As with any piece that uses crosshatching, the music on Crosshatches is spun out of elements that are invisible from a distance but discernible with attention. I think of Albrecht Dürer's engravings and notice that his lines rarely call attention to themselves. I notice the subjects in his work first: the people and the shading, the scene and the illusion of depth. Only later do the lines come to the fore and only if I choose to look. Nearly the same thing happens on Crosshatches, except Pisaro and Tsunoda also work with duration, so elements of their work pop in and out of focus over time. Translating a visual technique into an musical one forgoes the unveiling of a completed work. Unlike Dürer, Michael and Toshiya don't build up familiar images with their lines. What we get instead are illusory scenes that converge and fall apart; the coming and going of sounds produced, recorded, rent apart, and blended together again.
Ben Chatwin's latest effort is an experiment gone awry in the best possible sense, as his initial plan to make an album in a single week ultimately turned into his spending more than a year trying to abstractly replicate the creation of the world using The Seven Days of Creation as a guideline.  Unsurprisingly, the resultant album is considerably brighter than its brilliant predecessor (Day One being the creation of light, after all) as well as more structurally complex and dynamically varied, but Ben's compositional talents thankfully seem to have had no trouble matching his daunting ambition.
With this album, it no longer seems right to describe Ben Chatwin as a guitarist anymore, as he has most definitely made the leap to "composer."  And It Was So is certainly still guitar-based, but Ben also prominently plays organ, synthesizer, and bells and enlists a number of other musicians to contribute strings and percussion.  Also, Chatwin's most impressive achievements here are overcoming the production and compositional challenges inherent in such a massive and difficult undertaking.  After all, the Genesis creation narrative is all about nothingness and entropy gradually taking shape.  Evoking nothingness in a compelling way is not easy.
For the most part, Chatwin wisely chooses to depict that unformed chaos with murky, moody synths and darkly gnarled guitars, which reprises a lot of what he did so wonderfully on Descent Into Delta.  He does it wonderfully again here, but I was most impressed with how varied and multifaceted some of the drone sections are this time around.  The opening "Let There Be Light," for example, creates its droning bed from a number of divergent textures: brooding and throbbing synths, twinkling guitar shimmer, distantly chattering voices, and harsh distorted strums.  Also, the whole complexion of Ben's drones changes dramatically from song to song.  For example, "The Two Great Lights" is built upon a restrained, melancholy organ motif, while the following "Swarms of Living Souls" has a much harsher bed of buzzing and grinding guitars.  Despite their similar bases, none of these seven pieces have the same atmosphere at all.
Of course, what makes Talvihorros so great is that Chatwin is not content to merely make an excellent drone album: the real magic occurs when form emerges from the chaos.  Interestingly, it is generally not the emerging motifs themselves that make And It Was So so mesmerizing, as most of them are too understated to make a strong impact as melodies (this is by design).  Rather, the beauty lies in how the new motifs wrestle and contrast with the underlying thrum or in how the songs' original musical thread seamlessly falls away altogether.  This feat is executed most dazzlingly in "Let There Be Light," as Ben uses Hecker-esque crackles and stutters to make it seem like the titular light is actually tearing through the previously existing music.  That success is not a wild fluke though, as many of the other songs develop in equally inventive ways, such as the slowly emerging and abruptly warping synth pattern that builds within "The Two Great Lights."
Chatwin has made a near-perfect and wholly unique album, all the more impressive given its bold scope.  No one else could have made this.  My sole critique is more of a personal preference rather than a shortcoming: sometimes the rare appearances of drums or an actual riff remind me that there are actual people in a room somewhere playing this music, which  causes the dreamlike spell to flicker a bit for me.  That is an extremely minor quibble in the face of such a massive accomplishment though.  And It Was So is truly a compositional tour de force, seamlessly weaving seven individually impressive narratives into one wonderfully absorbing and listenable arc.  Whether it is actually a better album than Descent Into Delta is hard to say, but this is unquestionably Chatwin's artistic zenith to date.
The use of Daphni as a distinction between the bulk of Dan Snaith's work done as Caribou is more than just an attractive new coat of paint or the result of yet another frivolous lawsuit. As Daphni, Snaith takes the elements of electronic music and dance that inspired much of 2010's Swim and extracts all semblance of outside influence, leaving a pretty faithful, smirkless take on house music. To me, Daphni is a way for Snaith to immerse himself into a subculture he's only been a tourist to. Here he can be a face in a crowd, playing freely with ideas instead of living up to a reputation.
The best moments are the small wonders. The subtle drum fills between the choruses in Dan's take on afrobeat group Cos-Ber-Zam's minor hit "Ne Noya," for example, outweigh most of the song's other parts. The incessant escalating melody that colors the break is a means to an end, a tiny little punctuation which makes the stuff before it worthwhile. This is what I usually like best about Dan Snaith's work as of late. He understands how to have a conversation between instruments that seems natural even when they're becoming more predominantly sequencers and samplers than live drums and guitars. When put into the role of a strictly electronic producer, you have to do something besides layer sounds dispassionately. He knows, as a drummer, that timbre and dynamics have to change to keep a song interesting.
Having said that, however, there is a fair amount of fluff in a record like Jiaolong, as there is bound to be while Snaith learns to understand the nuances of the genre he's tackling. While not a totally new conception—Dan has been playing in night clubs under the name since last year—it does bear some level of amateur naivety to how he assembles his songs. I said that the majority of these songs are a means to an end, and I mean it; depending on the song, the core melodies here can be subtly pretty or mostly ignored. When those small wonders decrease in quantity, it is easy to feel like some of the songs are overlong."Pairs" is especially guilty, where it takes over half the song for develop any kind of rhythmic variation. Once it does, I found myself clinging on, mesmerized by the scarce hand drums and singular claps. "Ahora" works similarly, introducing some distant drones over polyrhythms in a rudimentary way but evolving just enough as to avoid being pigeonholed as background noise. "Springs" is more active with its abusive synth bursts and frantic loops, which I imagine makes for an impressive live performance.
Those minor bits of inspiration are what I treasure in electronic music, and I think Dan Snaith realizes that his knack for finding them sets him apart. I like listening to Jiaolong because it's like solving puzzles: there's little quirks and bumps that make it all work, and I have to listen over and over to catch how those pieces fit. I just wish there were more pieces here.
The trajectory of Natural Snow Buildings continues to amaze me with each new album, as Mehdi and Solange seem to grow more and more inventive and skilled at composition every single time they surface.  Mehdi's last solo effort, the drone-heavy Then Fell the Ashes... was one of favorite albums of 2011, but Bogyrealm Vessels is a completely different (but no less wonderful) animal: an enigmatic and weirdly beautiful song-based concept album involving a space invasion, schoolgirls, and giant plants.
One of the more endearing aspects of Natural Snow Buildings is immediately evident here: while this is musically a Mehdi Ameziane solo album, Solange Gularte's cover art is absolutely crucial.  In fact, what little I can piece together about the album's concept is taken almost entirely from the accompanying art (though the evocative song titles help a bit too).  I wholeheartedly appreciate how cryptic Bogyrealm Vessels narrative is left, as it is an intriguing challenge to try to figure what it all means.  Also, I generally hate rock operas and concept albums, so I would probably have flung Bogyrealm across the room if Mehdi had done something as uncharacteristically ham-fisted as spelling everything out with clumsily expository lyrics.  I am a huge fan of vague, unexplained menace though, so this approach works just fine for me.
Curiously, most of that sense of menace stems from the album's apparent narrative, as the actual music is much less heavy and dark than I historically expect from Twinsistermoon.  Also, when Mehdi sings, the lyrics that I can make out would not seem disturbing at all if decontextualized from the art and song titles.  That lighter touch works beautifully here, as Bogyrealm Vessels has the gently hallucinatory feel of a deeply strange, warm, and beautiful dream that seems fragile enough to dissipate at any moment.  That perfect surreal reverie is threatened slightly by the brief, but relatively straightforward, acoustic balladry of "Bogyrealm" and a few other moments, but Mehdi is otherwise infallible in keeping me fully immersed in his alternately uneasy and blissful alternate world.
Roughly half of the album is still devoted to drone pieces, but they are uncharacteristically short and shimmering, acting mostly as pleasant interludes between the folkier "songs."  The sole significant exception is the grindingly heavy "Interferences From Extincts," which favorably recalls some of Mehdi's more crushing work from the past.  All of the drone pieces on Bogyrealm Vessels are quite good despite their brevity.  That came as no surprise to me, as Mehdi has long ago proven himself to be a master of the form.  However, I was caught off-guard by how much I loved some of the vocal pieces.  While Mehdi's singing does not depart much from the eerie child-like dirges of past efforts, his lazily cascading and off-kilter guitar playing on pieces like "In Deep Waters" and "Prisms" is absolutely ideal for the album's dreamy, not-quite-there fantasia.
This is a very unusual effort within the Twinsistermoon oeuvre due to its lightness and relative insubstantiality, but I see both of those traits as definite assets.  This is a great album, all the more so because Mehdi avoids both repeating his previous successes or plunging too deeply into the sadness that pervades some of his earlier work.  As aforementioned, a few of the songs here do not quite sustain Bogyrealm Vessel's lysergic trance as well as they could have, but they are easily eclipsed and forgotten by the album's end.  It is funny to think that an album this deeply weird can be considered "accessible," but it feels like it is...comparatively, anyway.  While I personally prefer some of Mehdi's heavier, long-form drone pieces to any of the individual pieces here, this is a strong candidate for Twinsistermoon's finest complete work.  At the very least, it is the most endlessly listenable.
I have fallen in love with Bob Mould again. I had the amazing opportunity of seeing Hüsker Dü as a teenager on their final tour and Mould's first two solo albums have a lot of outstanding songs, but for me it wasn't until Copper Blue that I became more in touch with his music. Twenty years ago, Mould was able to thread a collection of great songs into something much more magnificent. With Silver Age, he has finally, for me at least, been able to do this again.
I have always admired Bob Mould as an incredible songwriter and player, singing straight from his bleeding heart, pulling no punches. Each album since the demise of Sugar—yes, this is 18 years in a row—seems like an experimental new direction. Bob got tired of the "rock" thing and made the eponymous hubcap album, got tired of the "rock" thing again and vowed to stop playing loud after The Last Dog and Pony Show. After discovering techno and loading albums with too much material, he found a vocoder, making his last release, Life and Times, almost completely unlistenable.
With the 20th anniversary of Copper Blue, perhaps he has rediscovered how much a simple and direct rock record with a lot of guts, hooks and melodies, threaded together with appropriate transitions works masterfully. He did do it before, so it's not as if he can be accused of ripping himself off. Silver Age is once again an extremely personal statement, as almost all of his songs are presented with the angst of a vicious rocker in the prime of his life, even though, at 18, Bob enters his own silver age.
It is impossible to avoid comparison to Copper Blue, as it follows the exact same trajectory: open with a slow, but driving introduction—"Star Machine" provides an "Act We Act" type intro—before launching into a sequence of three prime-time-ready hit single types, reaching cilmax in the middle—"The Descent," a "Changes"-caliber gem—and coming down to close side one on a slow, but majestic loud masterpiece. "Stream of Hercules" probably won't find as many worshippers as "Hoover Dam," but it sure is a fine contender.
Side B once again isn't as much of a hit factory. For me, the second half gets progressively better, with the last two songs leaving the largest impressions. It's no surprise that a song bearing the title of "Keep Believing" is probably the song most reminiscent of Hüsker Dü that Mould has possibly ever made in his career since. Closer "First Time Joy" has a cadence like a memorable final sequence in a tense but enjoyable film and over the few months of listening to this album, it has been strong enough to make me start again from the beginning numerous times.
Silver Age has not worn thin on me in the last since I first got it, and it has most definitely earned my admiration as one of my top albums of the year. What I do miss is having the physical album, looking at the lyric sheet, but that's probably more of a time issue than an actual physical product issue. (The most time I spend with these days is spent commuting, rather than attentive at home or out in the live scene.) I would like to feel as intimate with the album as I have been with many of Mould's other records. With that in mind, it's almost a disservice writing this review before I have truly soaked it in as much as I want to. This will take some more time, however, but it will at least be an enjoyable time.
(Possibly) the final record by Broadcast featuring the late Trish Keenan, this is less of a proper follow-up to ...Investigate Witch Cults Of The Radio Age than it is a sparse collection of novelties and scraps assembled for the movie it was scoring. Berberian Sound Studio does tend to follow faithfully in the same path that Broadcast's previous records set out for them, namely the increasingly ambient moods which pulse throughout, but I can't help but feel longing for what could have been.
Swans, "The Seer" (Young God)
Scott Walker, "Bish Bosch" (4AD)
X-TG, "Desertshore/The Final Report" (Industrial)
Andy Stott, "Luxury Problems" (Modern Love)
Om, "Advaitic Songs" (Drag City)
Earth, "Angels of Darkness, Demons of Light II" (Southern Lord)
Godspeed You! Black Emperor, "'Allelujah! Don't Bend! Ascend!" (Constellation)
Windy and Carl, "We Will Always Be" (Kranky)
Tim Hecker and Daniel Lopatin, "Instrumental Tourist" (Mexican Summer)
Dead Can Dance, "Anastasis" (PIAS)
Vatican Shadow, "Ghosts of Chechnya" (Hospital)
Myrninerest, "'Jhonn,' Uttered Babylon" (The Spheres)
Burial, "Kindred" (Hyperdub)
Swans, "We Rose from Your Bed with the Sun in Our Head" (Young God)
Porter Ricks, "Biokinetics" (Type)
Antony and the Johnsons, "Cut the World" (Secretly Canadian)
"The Minimal Wave Tapes Volume Two" (Stones Throw)
Can, "The Lost Tapes" (Spoon/Mute)
William Basinski, "The Disintegration Loops" (Temporary Residence)
Pauline Oliveros, "Reverberations: Tape and Electronic Music 1961-1970" (Important)
Swans
Amanda Palmer and the Grand Theft Orchestra, "Theatre Is Evil" (8ft Records)
Animal Collective, "Centipede Hz" (Domino)
David Byrne and St. Vincent, "Love This Giant" (4AD)
This album from Egan Budd's solo noise project is one that comes together splendidly at the intersection of a multitude of sounds, approaches, and structures, although the mood remains consistently dark throughout. While at times the bleak atmospherics at times become a bit too much, overall it is a strong and aggressive album.
On his third album as Bionulor, Sebastian Banaszczyk has made an even greater leap into personalizing his sound. While he still focuses on the use of processed and recycled sounds, here there is a sense not only of consistency from piece to piece, resulting in a cohesive album of material, but also a more personal touch, a human element all too often missing from this sort of music
Performed, composed, and recorded over a period of 14 months, Crosshatches is a massive and exquisitely constructed 85 minute piece stretched across two compact discs. On it, Pisaro and Tsunoda sketch and blend non-musical sounds into musical ones, erasing the seemingly natural distinction between them as they go. The vehicle for that transformation is crosshatching, which the duo elegantly transforms into a musical mode.
Ben Chatwin's latest effort is an experiment gone awry in the best possible sense, as his initial plan to make an album in a single week ultimately turned into his spending more than a year trying to abstractly replicate the creation of the world using The Seven Days of Creation as a guideline.  Unsurprisingly, the resultant album is considerably brighter than its brilliant predecessor (Day One being the creation of light, after all) as well as more structurally complex and dynamically varied, but Ben's compositional talents thankfully seem to have had no trouble matching his daunting ambition.
The use of Daphni as a distinction between the bulk of Dan Snaith's work done as Caribou is more than just an attractive new coat of paint or the result of yet another frivolous lawsuit. As Daphni, Snaith takes the elements of electronic music and dance that inspired much of 2010's Swim and extracts all semblance of outside influence, leaving a pretty faithful, smirkless take on house music. To me, Daphni is a way for Snaith to immerse himself into a subculture he's only been a tourist to. Here he can be a face in a crowd, playing freely with ideas instead of living up to a reputation.
The trajectory of Natural Snow Buildings continues to amaze me with each new album, as Mehdi and Solange seem to grow more and more inventive and skilled at composition every single time they surface.  Mehdi's last solo effort, the drone-heavy Then Fell the Ashes... was one of favorite albums of 2011, but Bogyrealm Vessels is a completely different (but no less wonderful) animal: an enigmatic and weirdly beautiful song-based concept album involving a space invasion, schoolgirls, and giant plants.
I have fallen in love with Bob Mould again. I had the amazing opportunity of seeing Hüsker Dü as a teenager on their final tour and Mould's first two solo albums have a lot of outstanding songs, but for me it wasn't until Copper Blue that I became more in touch with his music. Twenty years ago, Mould was able to thread a collection of great songs into something much more magnificent. With Silver Age, he has finally, for me at least, been able to do this again.
