Five Electronic Albums of the Year

Putting together these lists is always exceedingly difficult. Usually just remembering every record of note from a year is a challenge in itself but to pick just a handful and bestow some sort of special honour on those is practically impossible, this year more than most. For this year has seen some utterly fantastic records. 2007 was a great year due to a few select releases whereas 2008 had a massive breadth of fantastic releases.

A few that deserve mention that fail to make our list: The sophistication of Morgan Geist (and Junior Boy's Greenspan's) sophisticated Double Night Time. Midnight Juggernauts' Dystopia, which successfully paints another chapter in mixing rock music with dance. Metronomy's beautifully wonky Nights Out, a criminally overlooked pop re-birth. Gang Gang Dance's Saint Dymphna didn't even get a BlackPlastic review (we struggle to catch them all) but trust us - it barely misses out getting in our top five, as do the similarly unreviewed Third by Portishead and Los Angeles by Flying Lotus. The Presets grew to be more than just an also ran with Apocalypso - showing a new level of emotion that was missing off of their debut. M83's ode to Donnie Darko teenage kicks, Saturdays = Youth was another terrific addition to Anthony Gonzalez' cannon - it may lack Before The Dawn Heals Us' more ecstatic moments but it did demonstrate an growing level of focus and a refinement of the overall sound.  Hercules & Love Affair's eponymous album has been credited with the rebirth of disco - BlackPlastic isn't sure that has actually happened but that's nothing to do with the quality of this album, which has a level of maturity and sophistication that should ensure it a place in your collection next to Morgan Geist's 2008 album. Hot Chip failed to make the list, possibly purely due to their own desire for experimentation - in places Made In The Dark matches anything the group have previously released, it just suffered for being unfocused (but hey, focusing IS difficult in the dark).

So here is what DID make the list:

5. Hlllyh - The Mae Shi

Not a perfect record by any stretch, but that is the point in the Mae Shi.  Much to the bemusement of his companions BlackPlastic had the luck to catch them live earlier in the year and it was an unfocused, chaotic mess.  And it was fantastic.  Hlllyh is a record that does everything at once and just about makes it work and for that it deserves applause and love.  It's a rambunctious, noisy, angry-punk-pop-hippie-love-in and it gets a big hug from us.

4. Crystal Castles - Crystal Castles

As BlackPlastic suspected back when it was reviewed, Crystal Castles' debut was an album that gets better with repeat listens.  Lonely, cold and yet never anything other than totally, uncompromisingly experimental, Crystal Castles have pushed the envelope for all those within the chiptune genre.

3. Friendly Fires - Friendly Fires

A record that is already seemingly suffering from the "Oh I'm slightly embarrassed I got so excited about that one" treatment for some journalists: Fact magazine's songs of the year list contained a snide comment about this album's failure to 'save indie dance'.

BlackPlastic loves Fact but to that we say a big "fuck you" because this album is so platinum-five-stars it's not even funny. If it has failed to set the world alight it is the failure of Fact, BlackPlastic, music publications everywhere and the general public at large for choosing some talent-less twat off X-Factor EVERY SINGLE TIME. It certainly is not a reflection of the ten gloriously produced punk-funk house-jams hear: this is a record to skip a heart beat too.

2. Fantasy Black Channel - Late of the Pier

Like waking up from a 70s slasher porn flick nightmare Fantasy Black Channel sounds like Bowies' imagined future.  The sound is far more cutting edge than the Klaxons managed on their debut and yet it is filtered through a glorious haze of thick chunky basslines from the aforementioned decade that just make it sound sexier than their contemporaries.  By the album's close, Fantasy Black Channel should have you on your knees with a lighter in the air.

1. In Ghost Colours - Cut Copy

If, for some reason, you are in any doubt as to what makes Cut Copy one of the best acts of our time go and grab their superb So Cosmic mix (alternative link) and, if you can't wait, scan forward to 29:30, where they mix Fleetwood Mac's 'Never Forget' with Lifelike's 'So Electric' and create a hands-in-the-air-tears-in-my-eyes anthem that deserves it's own release, the warm electronic waves of Lifelike's tracks gradually surrounding Stevie Nicks' vocals in a beautiful swell.  It is this mixture of old and new that makes Cut Copy so utterly charming, their ability to combine seemingly disparate sounds into one fantastic piece of music, and in the hands of the DFA's Tim Goldsworthy this ability truly shined.  Just check the glorious combination of the shoe-gazing guitar line of 'So Haunted' with the floating-in-space chorus and the final New Order-esque outro.

What's more, In Ghost Colours is a beautifully sequenced album. Ditch the bonus track bundled with the UK CD version and you have a record that fits together just perfectly, tracks bridged with a series of not-inconsequential interludes.

Cut Copy's debut, Bright Like Neon Love, was a fantastic record.  That In Ghost Colours represents a complete step change in everyone's perceptions of their abilities is a testament to the record: You won't hear a better collection of electronic pop songs from 2008.

BP x

Album Review: A Cross The Universe - Justice

Earlier this year Soulwax unleashed the glorious live CD / DVD / Documentary Part of the Weekend Never Dies and it is very difficult not to view and critique A Cross the Universe, itself a live DVD and Documentary / Film, in the same context. And if you do you are left with a far more two dimensional experience: unlike the Soulwax documentary the Justice 'film' is deliberately obtuse. So much so in fact that you will probably feel you know less about the Gallic duo when it is finished than when it began.

Part of the Weekend was an insightful peek into a band that became part of a scene with no name, their influences, their peers and those they have themselves inspired, not to mention life on the road when on a (very) long tour. A Cross the Universe is exclusively a look at the last of these elements and whereas the Soulwax package featured live recordings here there are no full length tracks, just snippets. There is no real insight beyond an anecdotal look at just how weird it is to be a pair of young musicians thrust into fame in a foreign land and at times BlackPlastic was genuinely unsure whether the content on screen was genuine or scripted.

This last fact is probably particularly telling. Real or not, A Cross the Universe is a commentary not on THIS band, but a commentary on being in bands in general and the bizarre and twisted life it leads to. If nothing else, this DVD goes someway to explaining how you end up like Ozzy Osbourne.

So is it any good? BlackPlastic genuinely has no idea.

The CD is a little easier to comment on. You may or may not be aware of the recent controversy surrounding a photo that appeared to show Justice 'playing live' despite that fact their equipment was not plugged in. In good nature the band joked about performing 'unplugged' and argued that the error was noticed when the particular piece of equipment failed to work and there are indeed later shots from the evening that show the equipment with power. This in itself is evidence of the barmyness of being on tour - the fact that such a thing could go unnoticed for long enough that photographic evidence survives.

It also raises a question over whether the recording here is anything more than a studio tweaked version of Cross played to an audience. But it is important to remember that this doesn't actually matter. Firstly because the act of listening to a recorded 'live' event in your home is stupid anyway and secondly because live electronic music is often about little more than spectacle. With none of the vocalists present, what Justice are delivering is the shared experience of enjoying their music with like-minded individuals and, to be honest, putting Cross on shuffle in a big room would work almost as well.

So the tracks are suitably adjusted and there are a couple of re-edits for the die hard fans but the main point off this recording is the audible excitement of the crowd as they cheer and join in. The audio quality is questionable and in BlackPlastic's opinion it isn't as consistent a set as the Soulwax one on Part of the Weekend but there is still enough here to keep you going until the follow up to Cross.

BP x

Five Non-Electronic Albums of the Year

Lists of the year are lame, everyone knows it and yet everyone loves reading and writing them. Given that there is very little else to right about at this time of year it makes sense to take the time to take stock.

2008 has been, without doubt, a vintage year for music. The number of fantastic albums released within the first few months is testament to that, especially when the pace didn't let up all year.

This is the first of four separate lists - generally BlackPlastic concerns itself with electronic music but there have been some fantastic releases outside of this area. Here are the five best non-electronic albums from 2008:

5. Dear Science - TV On The Radio

BlackPlastic is still not sure this trumps Return To Cookie Mountain but what is does do is snap, crackle and pop with sheer verve and ambition. Cookie Mountain may win out on emotional depth and angsty retribution but Dear Science is a sign of the times bill board for a generation's confusion at the state of the world. This is a celebration of our times - the problems may seem insurmountable but our achievements also seem to be getting greater every day.

4. Stay Positive - The Hold Steady

Like a rowdy night on the sauce The Hold Steady's 2008 release is an exciting and heady rush that feels like you just don't care any more.  Never less than thoroughly charming Stay Positive is like the badly behaved friend that everyone seems to find too endearing to ever get offended by.  This record is an absolute ball with the emotional journey of a buddy-movie-road-trip. Grab yourself some ice 'n' bourbon and slam this on the jukebox.

3. Falling Off The Lavender Bridge -Lightspeed Champion

Fresh out of the energetic yet nihilistic Test Icicles, Dev Hynes was left directionless and drifting. Lavender Bridge is the sound of recovery and growth. A fantastically timeless record that mixes a mature-yet-contemporary country sound with lyrics that reference crunk. A record to be hung-over and to feel sorry for yourself to.

2. Twenty One - Mystery Jets

Destined to top this list right up until the last month or so when the actual number one won over BlackPlastic's heart, Twenty One is still a fantastic record.  From the opening air-raid siren of Hideaway to the closing piano refrain of the ghost track (the source of the album's title) and its Joy Division referencing lyrics ("even Love Will Tear Us Apart don't ease the pain" - what a line) there is never a dull moment.

Already criminally overlooked in most end of year lists this album has it all - whether the emotional gravitas of 'Flakes' or the sheer pop ambition (not to mention the best use of a saxophone in years) of 'Two Doors Down', Twenty One is a glorious record that is destined to age like fine wine.  A proof not just of producer Erol Alkan's ability but also that Mystery Jets are one of this country's finest.

1. For Emma, Forever Ago - Bon Iver

One of those records that it was all too easy to miss at the time it is now getting some of the attention it deserves. The basic facts everyone seems to love to repeat:

• The band name would mean 'good winter' in french if it was spelt correctly.
• This is actually a chap called Justin Vernon.
• The album is the result of Vernon's break-up with the eponymous Emma and his previous band.
• The sound that ensues is what happened following this breakdown, a bout of sickness and a winter in a log cabin in Wisconsin.

Now that the above is out of the way, here is what is important: This record is absurdly beautiful, in a 'clinging to the edge of this spinning chunk of rock as we hurtle through space' type way - just listen to the thrum that builds in 'Creature Fear', it sounds like life itself.

It's difficult to do the songs on this short little record justice because the sound of this album transcends anything that can be put into words - For Emma, Forever Ago is all the longing and regret that gets pushed down in our daily lives erupting like rainbow coloured magma on a background of snow and ice.  It is the perfect soundtrack to winter days.  It is the soundtrack to nights on the bourbon with the fire raging.  It is the words BlackPlastic would never be able to find to convey what goes on behind these eyes.

This is probably not just the best record this year, but one of the best records this decade.

Comment: Teen Creep - James Kane

Twin Peaks' Agent Dale Cooper advised his partner on the show, Sheriff Truman, that you should give yourself one treat a day, even if that treat is just a real cup of coffee. It's a mantra BlackPlastic tries to stick to and today, dear readers, you can start living the life of glory that I do by downloading James Kane's glorious Teen Creep mix from fellow blogger Kitsune Noir.

Aside from a couple of ever so slightly rough transitions the only criticism that could be levelled at this mix is that it is too damn short. In less than 40 minutes you will have taken in some recent destined-to-be-classics (Appaloosa) and some genuine-classics (Roy Parker Jr.'s 'Ghost Busters' or Prince's 'Erotic City') and the result is always pleasingly consistent. This mix has an electronic dream-like vibe throughout that really is fantastic so go and check it out.

James also has some more music and remixes (some of the tracks on this mix have felt his loving touch already) over on his MySpace and at his site and I would recommend checking them out.

BP x

News: Sony World Photography Awards

BlackPlastic is a obviously a big music fan but when not rocking out to some heavily distorted electro you just might find a camera in our hands and a finger on the shutter release because photography is one of our favourite things.

Why this divergence from our usual coverage? Just to tell you that Sony have launched their second annual World Photography Awards and where is gets interesting is the face that there is a music category so any of you that are fans of capturing music visually might want to consider entering. The competition culminates in a week long exhibition event in Cannes between 14-19 April - the Festival @ The Sony World Photography Awards.

There is both a professional and amateur category and you can enter here. One rule to be aware of - the photo must have been taken in 2008.

To give you some inspiration this is the photo BlackPlastic is considering submitting, taken at Simian Mobile Disco's live set at Field Day it encapsulates the volume / pleasure ratio that the duo managed to establish in their fairly ruthless set over the summer:

For further inspiration, last year's winners in the music category (Professional first, then Amateur):

© Eduard Meltzer, courtesy of Sony World Photography Awards 2008

© Kerry Grainger, courtesy of Sony World Photography Awards 2008

The closing date is 31 December 2008 so get uploading if you fancy a shot at winning!

BP x

Video: Feelings Have Changed - The New Sins

BlackPlastic has a big wobbly crush on The New Sins.  Spin off side project from New Young Pony Club's Lou Hayter, first single 'It Doesn't Work Like That' quickly demonstrated where the talent is in NYPC whilst simultaneously bettering their entire first album in 3:13.

'Feelings Have Changed' has the same post-feminist self-assurance and another great 80s video.  It benefits from space and poise.  BlackPlastic says it too often but this is what pop music should be - it sounds like pure extravagance, and Hayter manages to be the shiny gift you know you just haven't been good enough for this Christmas.

Stop drip feeding these releases please - three songs a year is not enough.

BP x

Album Review: They Live! - Evil Nine

Back when BlackPlastic first reviewed Evil Nine's FabricLive album it was a pleasant surprise: this wasn't some boring, breaks-fueled yawn affair, it was a Facebook Republican Army-lead riot.

The more BlackPlastic listens to that album the more it becomes apparent that this is a mix album that helped define a genre. It is one of the first mix albums to put Justice, Test Icicles, Mystery Jets and Digitalism into a pot and turn the heat up and it still sounds fresher than most albums that have tried to do the same thing since.

They Live! is the realisation of the dream launched with that mix. This isn't breakbeat but it has breaks. It's not rock msic but it certainly rocks. Previous album You Can Be Special Too had some great crossover moments (the hip-hop influenced 'Crooked' for one) but They Live! works by being more extreme and more appealing at the same time. As if that weren't enough it even has an undead zombie theme.

They Live! does so much that it is one of the finest crossover albums released this year. Title track 'They Live!' is a zombie national anthem, its cold auto-tuned vocals sounding like a clinical and mechanical observation of the apparent futility of human existence.

There are also guest spots (as there were on the last album). El-P turns in a spot on the hard on the outside, soft in the middle 'All The Cash', melancholic in a "I'd throw myself to the zombies to save you" type way. Emily Breeze sounds all goth rock chick in a nineties way that should suck but Evil Nine's minimal approach to thrash metal makes it very, very right.

Concept albums are risky business and, to be honest, BlackPlastic isn't sure this really counts as one because the references are subtle and generally only apparent in tone. Having said which, if They Live! is a concept album then it succeeds with aplomb; this is a blast of a record. If there are any concepts deserving of albums they are surely zombies and / or space. Zombies IN space? We can dream - in the mean time pick up this year's darkest crossover record.

BP x

Video: Kermit I love you but you're bringing me down...

Too good not to share.

Those that have followed BlackPlastic long enough may remember our affection for 'New York I Love You But You're Bringing Me Down' and those that were paying close attention may recall a certain anonymous commentor's assertion that the opening verse sounds like Kermit the Frog.

Well the Guardian's Music Blog have posted a video in which Kermit performs said song, on location in New York. This is, frankly, genius - stay tuned for the bridge at 3:20 and even better, the twist at the end.

BP x

Competition: Win tickets to New Year's Eve at the O2

There are actually three different events going on at the O2 for New Year's this year and whilst Elton John or Hed Kandi may not take your fancy the party at matter just might, featuring as it does 2 many DJs, The Whip live, Joakim and Riton amongst others.

O2 are giving away tickets to their customers through an image capture competition where you can take a photo of one of their current unbranded 'Priority' ads and send it from your phone for the chance to win.  Rather than forcing you to trawl the streets looking for a billboard we thought we would just post an exlusive image they let us have here - if you fancy a chance at winning you can apparently just take a photo of it and text it to 63333.  There's also an iPhone app coming for those that are a little MMS-deprived.

Click the image for full size...

Good luck...

BP x

Album Review: Fabric 43 - Various selected and mixed by Metro Area

Metro Area's breed of obscure disco and raw 80s funk is always a little in danger of coming across as chin stroking wankery. When it works, as on the sublime 'Caught Up' on their self-titled début (in reality a compilation of EPs), it is utterly fantastic but a mix album just might be a case of over-egging the pudding if it takes itself too seriously.

Which is why Fabric 43 is odd, on two counts. Firstly it features a Fabric first as far as BlackPlastic is concerned: a comedy intro. And secondly because, despite this, it still falls flat.

There are glorious moments - World Premier's 'Share The Night (Breakdown Mix)' is everything that can be right about Metro Area. It is light, funky and impossible to not dance too. The instrumental of Disco Four's 'Move To The Groove' is so ridiculously camp that it is irresistible and the juxtaposition of the pop of Heaven 17's 'Penthouse and the Pavement' plays off the inherent disco of one of Sheffield's whilst loosening up the mix.

The problem is really one of sequencing. BlackPlastic hates to say it but there is too much here and too much of it sounds the same. These cuts are ALL good and within the right mix could standout and be a high point. The problem is that there is a lack of navigation, no peak and no development.

On a more positive note the mixing goes some way to making up for this as the blending between some fairly different tracks (in terms or rhythm and melody if not always style) is considered and smooth.

And so Fabric 43 is good.  It will happily see you through a car journey or a dull morning in the office. It just isn't as great as a mix from Metro Area should be.

BP x