Denmark’s Mew also continued their relentless pursuit of near-perfection with the magnificent No More Stories Are Told Today. Yes, that was a long time ago and this is now way too late to fascinate anyone but I went to the trouble of making a crap montage for it – so here it is.Ģ009 will undoubtedly be remembered for the emergence of a new generation of bankable female talents – not simply manufactured, flash in-the-pan commercial successes, but genuine artists who released albums of enduring influence and integrity.įoremost was, of course, Florence and the Machine, with the eponymous Ms Welch’s debut, Lungs, exceeding many expectations in terms of quality and sales.īut bubbling under were many works with perhaps less commercial appeal but at least equal resonance: prodigious Austrian teenager Anja Plaschg, under the name Soap & Skin, gave us her spooky, gothic opus Lovetune For Vacuum mucky rapper Amanda Blank’s I Love You persuaded me she’s one for the future as well as the present Brooklyn duo Telepathe’s debut Dance Mother gave Animal Collective’s avant-garde dance niche some serious competition and St Vincent‘s beautiful and joyfully inventive second album Actor pipped everyone else to be my album of the year.Įlsewhere, Brooklyn’s critically untouchable Grizzly Bear gave us perhaps the indie-cool revelation of the year with their masterwork, Veckatimest, while electro noise rock experimentalists Health regaled us with their thoroughly rewarding second long player, Get Color. Johnnie on That music’s lost its taste, so try another flavour: Chart MusicĪn article not too dissimilar to this one appeared in The Sunday Business Post on 19th December. Zara on Why is a taxi driver’s time more precious than anyone else’s?.
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