You are currently browsing the tag archive for the ‘Ian Parton’ tag.
For some odd reason year-end lists seem to be getting a bit of a rough trot this time around, but I’m not dissuaded from their worth. I enjoy them, for the simple reason that I find new books to read and new music to listen to; ultimately they help to diversify and enrich my life. So, in terms of music, what follows are the records I’ve enjoyed this year. I make no claim to being a critic, so there’s nothing that says ‘the best’; I just want to share what I’ve been listening to. As always, not all albums were released in 2015 – one (the Max Richter) first came out in 2012.
The Bronze Medal’s first long-player is a treat from start to finish. A young band from Bristol, and clearly inspired by The National, Darlings is filled with beautiful melancholia and rich instrumentation. ‘Life Plans’ is worth the price of admission alone. It will be very interesting to hear what these guys do next – as a debut Darlings is as stunning as it gets.
The Acid is a band comprising British DJ and record producer Adam Freeland, a professor of music technology Steve Nalepa, and the Australian singer-songwriter Ry Cuming. With Liminal the trio has created a slice of intimate electronic – it’s one part Bon Iver, one part The xx, and one part The Breeders (for those of a certain age). The production and dynamics are sublime; here’s ‘Fame‘. Fascinating to read that they have been performing at experimental music festivals, which makes sense as on this record they go far beyond the comparisons listed above.
I’ve been following Lamb since their drum-and-bass beginnings in 1996. They have never been afraid of getting metaphysical and filmic on us and, at times, just a little twee, but Backspace Rewind Lamb is a highlight of their career. ‘In Binary’ is an absolute thumper and I play it often and I play it loud, and the song blew the roof off the Enmore in Sydney when I saw them live earlier this year – it was one of the most enjoyable gigs I’ve ever attended.
On Blank Project, Neneh Cherry has done what mega-selling recording artists should do: break free of all preconceived notions. Produced by Keiran Hebden (AKA Four Tet, someone else I’ve been following for quite a while) Blank Project is daring, experimental, and sounds utterly fresh. Sure it’s raw in parts, and it’s not entirely comfortable, but it deserves a stack of praise. Start with ‘Out of the Black‘. (Side note: I’ve made a mix-tape of the albums in this list for the car and Cherry’s songs are the strongest and most urgent.)
Pet Shop Boys are master songwriters but their output can be patchy. Electric, which was produced by Stuart Price (who worked on Madonna’s surprisingly excellent Confessions on a Dance Floor), is a ripper. Filled with melody and wit and worldliness – they cover Bruce Springsteen’s ‘Last to Die’ – there is never a dull or half-formed moment. ‘Love is a Bourgeois Concept’ deserves a video, and ‘Vocal’ is one of the finest album closers I’ve heard in years (wonderfully nostalgic video too).
Changing the pace, the record I have listened to the most in 2015 is Max Richter’s recomposing of Vivaldi’s Four Seasons. Not only do I love the idea of a minimalist like Richter unpacking and then rebuilding a work as iconic as Vivaldi’s, it is also extraordinary to listen to. Richter has stated that if his reimagining makes more people discover the original, then he has done his job. Start with ‘Summer 1’.
A band that in my opinion simply can’t put a foot wring is The Go! Team, which is essentially Ian Parton, a one-man song-writing genius. Discarding the basement samples of previous albums, this time around Parton has used real instrumentation as well as collaborating with a fresh batch of vocalists. It’s true that Parton has a formula – infectious pop is his thing – but there is always such joy in his music. (And there’s more melody packed into any one Go! Team song than some bands manage across an entire album.) ‘The Art of Getting By’ has a coda that is so jam-packed with interweaved harmonies it’s hard not to throw you hands up in the air and cry.
Belle and Sebastian is one of those bands that have been around for years (since 1996 to be precise) but I’ve never quite managed to connect with them – perhaps the whole shy-bedroom-poetry-pre-hipster vibe put me off, or I was too busy listening to DJ Shadow. Hearing that after a 7-year hiatus they have come back with what they call their dance album, I thought I’d check them out. Girls in Peacetime want to Dance is wonderful: it’s clever, politically aware, and meticulously put together (as others have said, it sounds a little like Electric by Pet Shop Boys; case in point: ‘Nobody’s Empire‘). By no means is this record for everyone – with ‘Enter Sylvia Plath’ they enter Eurovision territory – but they know what they’re doing and there’s a lot of good listening to be had here.
Sarah Blasko’s latest album, Eternal Return, is a sublime piece of work. With an electro feel overall, the selection comes across as a paean to love in the digital age, and while there is some darkness and loss there is never cynicism. There are no weak tracks, though ‘I’d Be Lost’ and ‘Only One’ are the stand-outs – both are gorgeous – and ‘Luxurious’ is exactly that. Here’s hoping this record does wonderful things for Blasko. It’s certainly done wonderful things for my car trips.
Another album that has hugely enriched my life is In Colours by Jamie xx, the ‘xx’ linking him to the wildly successful band of that name, for which he is the eletronica artist and producer. In Colours sees Jamie step well and truly onto the dance floor; the single ‘Loud Places’, which features Romy from The xx, is a hymn to nightclub possibilities, and the raga-esque ‘There’s Gonna be Good Times’ is ridiculously upbeat. In Colours was shortlisted for the prestigious Mercury Prize and it’s not hard to see why.
I’ve also enjoyed No No No by Beirut (not Condon’s best release – it’s his first for the iconic 4AD label so perhaps the pressure got the better of him – but there’s still a lot to like, especially the single) and Features by the German producer Kris Menace (check out ‘Higher Love’, which has a vocal by Julian Hamilton from The Presets). Although I’ve not yet been able to hear full albums, I like what I’ve heard of Mercury Prize-winning Benjamin Clementine, and Floating Points and Majical Cloudz have been exciting new finds.
I’d be lost without music, I really would. It underscores everything I do, everything I care about. It makes the highs higher, the lows lower, and the mundane bearable. If you said that I had to spend the rest of my life on a deserted island and could take my book library or my CD/LP library but definitely not both, I’d take neither and rely on my memory. On this little blog-shaped pamphlet with the silliest title you’ve ever come across, I’ve written about albums so terrible that I’ve felt bruised for weeks, and albums so extraordinary that I’ve needed to sit with the chooks for half an hour, sometimes longer. But here are three records that have snuck up on me until I’ve realised that I haven’t been playing anything else.
I’ve been following CocoRosie ever since I saw their videos on Rage about five years ago – Antony from Antony and the Johnsons had guest-programmed the show, which is a clue to where this is going. There’s no doubt that the music these two sisters make isn’t for everyone. For a start, one of them sings like a little girl, the other like an opera singer, which makes sense because that’s how she was trained. They’re also fond of chucking everything into the mix, including…erm…toys, so that a song can sound like they’re cleaning their teeth while strangling a cat, all the while a carpenter’s in the background fixing the shelving. And that’s in the first sixty seconds. But when they get it right, which is more often than not, it’s an intoxicating concoction. I take my music – my art in general – with a generous dose of risk-taking, bravery and heart, and you get all three on Grey Oceans (2010). This is the sisters’ best record, and they’ve not compromised one bit. In a more adventurous – and just – world, CocoRosie would be royalty. Shit cover art though.
As you may know, I’m more than a little fond of melancholia. Which means that Icelandic minimalist composer Johan Johannsson spins my nipples big-time. His latest record, The Miners’ Hymns (2011), is the soundtrack to the movie of the same name by Bill Morrison. The music reflects North-East England’s strong tradition of brass band music and its association with the mining unions. Recorded in Durham Cathedral, these six pieces are slow, breathy, mournful and you can’t help feeling damp and pessimistic and that human beings really can treat each other apallingly. However, this collection contains some of the most climactic music this side of Arvo Part, particularly ‘The Cause of Labour Is the Hope of the World’, which does nothing less than give me goose-bumps every time I hear it. PS. This is definitely not marching band stuff. It’s more like the sort of music you might listen to in a coffin as you say to yourself, Well, I had a crack at life but in the end I was a bit rubbish at it.
At the opposite end of the spectrum is the completely delightfully The Go! Team. I’ve been following this Brighton-based collective (though really it’s just one person, the pop-music genius that is Ian Parton) since Thunder, Lightening, Strike (2004). This is the Spice Girls crossed with Sonic Youth crossed with advertising jingles crossed with surf songs crossed with school-yard rap, all of it recorded on a boom-box from the 80s, but it’s ridiculously infectious. On the first couple of listens, I wasn’t taken with Rolling Blackouts, because Parton and his cohorts seem to be treading old ground. But then I realised that this ground is just so god-damn good; it’s as if the band is saying, Look, we know we can only do one thing, but we’re kinda good at it, plus it makes us smile, and that’s what matters huh? In every one of these thirteen songs is so much tune and craft and sheer love that it’s difficult not to conclude that, actually, everything might be okay with the world. If you’re anything at all like me, The Go! Team is the best drug imaginable. Go buy it, slip it into your car stereo, and go for a drive in the country – you might end up never being happier.