2021 Albums

1) John Dwyer - "Moon Drenched"

Welcome to my favourite albums from 2021

Here are some of the albums that resonated with me throughout 2021, along with some relevant thoughts about the first 10, some quotes about the next 10 and a bit more along with links for all of them. Where possible, I have linked to Bandcamp to make it easier for you to support the artists, and youtube or the record company where that wasn’t possible… Enjoy!

The top 10 (1-10): The next 10 (11-20): 21 and 60 more… (21-81):
My own reviews and linksQuotes and details and linksMostly just the links

The top 10 (1-10)

The following are reviews that I have written for each of these first 10 albums that I have connected with deeply over the last year for various reasons;

  • 1) John Dwyer – “Moon Drenched”
  • 2) Pino Palladino / Blake Mills – “Notes with Attachments”
  • 3) Floating Points, Pharoah Sanders & The London Symphony Orchestra – “Promises”
  • 4) BadBadNotGood – “Talk Memory”
  • 5) Portico Quartet – “Terrain”
  • 6) Jaala – “Gap Tooth”
  • 7) Dans Dans – “Zink”
  • 8) Elephant9 – “Arrival of the New Elders”
  • 9) Mt. Mountain – “Centre”
  • 10) Tangents – “Timeslips & Chimeras”

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1) John Dwyer – “Moon Drenched”

Moon Drenched by Dwyer, Sawyer, Kerlin, Dolas, Caulkins, Malone, Rodriguez, Boye, Soubiran, Myers-Ionita, Renteria

This year, John Dwyer (Osees, etc) has released four albums under his (and his collaborators) direct names(s): Witch Egg, Endless Garbage, Moon Drenched, and Gong Splat. Having started this trajectory of jam-based improvisations with Burnt Arcana (Aug 2020), all of these psychedelic instrumental experiments, which take their cue from the likes of Miles Davis’s Bitches Brew/In A Silent Way or The Jimi Hendrix Experience’s Voodoo Chile from Electric Lady, are informed by distinctly sonic and mood focussed grooves, allowing Dwyer to let his fuzz-infused guitar screech and scrawl atop thick, wet and pulsating textures. The musicians on this recording are; John Dwyer, Ryan Sawyer, Peter Kerlin, Tom Dolas, Brad Caulkins, Kyp Malone, Marcos Rodriguez, Ben Boye, Joce Soubiran, Laena Myers-Ionita, & Andres Renteria. Other collaborators from this year’s releases have also included Ted Byrnes, Greg Coates, Nick Murray, and Wilder Zoby. That’s a whole lot of drums, bass, guitar, keys, brass and effects to play with!

While all of these collections share balanced combinations of freedom and restraint, the exotic and the familiar, wandering variation and commitment to theme, to my ears, Moon Drenched does it best. While both its more jazz and its more punk elements have heritages that are often associated with an ostentation that imposes its will upon the ears, Moon Drenched is a far more humble creature. While capable of abrupt outbursts, awkward glitches, and flourishes of musicianship, it is approachable and inviting to the casual listener, infecting a desire to explore the magic that binds the steadily evolving meanderings of the improvising horde.

Favourite Track: The War Clock

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2) Pino Palladino / Blake Mills – “Notes with Attachments”

An extraordinary confluence of musicians and influences produces this flowing and everchanging texture of nylon and electric guitars with rolling, swinging, grooving bass, drenched in lush and crunchy choruses of saxophones and strings, punctuated with keyboards, drums and a variety of other percussive devices. Notes with Attachments was recorded in stages over two and a half years by Pino Palladino (bass) and Blake Mills (guitarist/multi-instrumentalist/producer) with Chris Dave (drums), Larry Goldings (keyboards) and saxophonists Sam Gendel, Marcus Strickland, and Jacques Schwartz-Bart; and others … To me, this music seems simultaneously ancient and futuristic, jazz and electro, Classical and Cuban, improvised and composed, casual and profound.

Favourite Track: Ekuté

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3) Floating Points, Pharoah Sanders & The London Symphony Orchestra – “Promises”

Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra

Another extraordinary confluence of musicians: Minimal, Moving, and Masterful …

Sam Sheppard (aka Floating Points) provides an almost constant, subtly varying, spacious ostinato of crystalline electric piano, along with occasional and delicate modular hums, warbles and whistles, accompanied by the softly sweeping strings and things of the LSO, giving the inimitable Pharoah Sanders a generous canvas upon which to float and finesse his expression of woe and wonder, grief and gratitude, vulnerability and vigour, through his saxophone and voice.

Just what was needed to navigate the year that was 2021

Favourite Track: Movement 5

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4) BadBadNotGood – “Talk Memory”

Talk Memory by BADBADNOTGOOD

Canadians, BADBADNOTGOOD, Alexander Sowinski (Drums + percussion), Chester Hansen (Bass + Guitar, Organ, Piano, Synthesizer) and Leland Whitty (Soprano & Tenor Saxophone + Guitar, Bass, Flute, Piano, Synthesizer), are such nice humans … along with guests Laraaji (Zither), Terrace Martin (Alto Saxophone), Brandee Younger (Harp), Karriem Riggins (Percussion), and the almost persistent fourth member on this album, Arthur Verocai (Arranger) and his string ensemble.

“Talk Memory” is BBNG at their most accessible, reflective and jazzy: sensitive yet scintillating drums, muscular yet melodic basslines, delicate yet dancing woodwinds, keys and strings. It is their first album without founding member Matthew Tavares (Piano/Synths) and is a change in trajectory for the band away from more hip-hop-informed, futuristic, genre-defying explorations and a return to more nostalgic, expansive, organically dynamic compositions. While the synths and street-wise sensibilities are still present, here they give way to a more human expression of humility and hope.

Favourite Track: Signal to Noise

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5) Portico Quartet – “Terrain”

Terrain by Portico Quartet

“Terrain” is the first of two albums released by London’s Portico Quartet this year, and, by my reckoning, is their most cinematic to date. Jack Wyllie (Saxophone, Piano, Synthesizer, Sampler) and Duncan Bellamy (Drums, Bass, Hang Drum, Synthesizer, Piano, Voice, Sampler, Vibraphone) with support from Francesca Ter-Berg (Cello #1, #2), Pete Bennie (Double Bass #1) and Simmy Singh (Violin #1) provide a minimalistic journey across unknown and undulating lands. The steady drum, hang-drum and/or piano ostinatos that permeate each piece are softened and imbued with depth from the vast array of instrumental voices that sweep steadily across the rising and falling percussive dynamics of the landscapes of these three electro/classical/jazz/ambient pieces.

Favourite Track: Terrain 1

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6) Jaala – “Gap Tooth”

Gap Tooth by Jaala

The third album by this “off-kilter art rock” Melbourne band Jaala, their first as a trio of Cosima Jaala (Singer/Songwriter, Guitarist), Maria Moles (Drums) and Carolyn Schofield (Synth, Piano, Violin) with guests, Asha Trips (Bass, #2, #4, #5) and Hannah Macklin (Vocals, #8). While Gap Tooth is far more mellow compared with 2018’s enthusiastically excellent Joonya Spirit, it is a more sensitive collection of introspective humour-hope poems. The result sounds at times, to my ears, like a meeting of Julie Cruise and Angelo Badalamenti’s Twin Peaks soundtrack with Karate‘s casual angst fusion of slowcore and jazz, yet manages to affirm itself as authentic and unique.

Favourite Track: Workhorse

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7) Dans Dans – “Zink”

Zink by Dans Dans

The Belgian Trio of Fred Lyenn Jacques (Bass, Baritone Guitar, Synth), Steven Cassiers (Drums, Percussion, Synth) and Bert Dockx (Guitar) deliver a surprisingly intimate collection of jazz noir, psychedelic blues and space rock pieces that have as their common focus the delicate yet definite connection between the musicians alternating between idyllic pastoral and epic triumphal waves. So often, with each instrument doing so very little, the whole-is-more-than-the sum-of the parts gestalt instantly emerges: delicate percussion ideas full of space, simple bass notes or riffs, and guitar volume-swells, vibrato strums or gentle lyrical melodies tied together by their locked-in commitment to the music. Eventually, these lace-work structures thicken and condense into boisterous tapestries of overdriven guitars with sustained chords and squealing solos amidst crescendos of full-kit drum patterns crashes and rolls, spurred on by emphatic bass riffs that provide the warp and weft that link the heavier to the lighter moments through their steady evolution.

Favourite Track: Ravine

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8) Elephant9 – “Arrival of the New Elders”

The Norwegian trio of Torstein Lofthus (Drums, Percussion), Nikolai Hængsle (Bass, Guitar) and Ståle Storløkken (Keyboards), Elephant9, usually hold the unique place in my listening catalogue connecting Deep Purple and the Necks. This year’s “Arrival of the New Elders” fills a new slot between late-era Soft Machine and Jagga Jazzist. Much of the jazz-rock jam-band element has been left behind (though occasionally rearing its bombastic head), for a more composed and synthesised nu-jazz electro-fantasy. The end result could easily have been “proggier-than-thou” but, to my ear, the sensitivity that the musicians have for each other and their compositions help make this a repeatably listenable collection of refined experiments.

Favourite Track: Rite of Accession

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9) Mt. Mountain – “Centre”

Centre by Mt. Mountain

The dreamy psychedelic rock band from Perth, Australia, Mt Mountain, have delivered an album, Centre, that I have found myself returning to in times of relaxed reflection, and there have been many this year. Together, Steve Bailey (Vocals, Organ, Flute), Derrick Treatch (Guitar), Glenn Palmer (Guitar), Brendan Shanley (Bass), and Thomas Cahill (Drums), seem to have a distinct clarity about the sound they are aiming for and they consistently succeed in making it happen. Pulsating basslines with gentle distortion, rolling drum patterns with cymbal washes, jangling guitars with staged melodic incarnations and falsetto whispers of slowly stated lyrical fragments that ebb and flow as the music unfolds.

“The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.”

– Steve Bailey

Favourite Track: Peregrination

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10) Tangents – “Timeslips & Chimeras”

Timeslips & Chimeras by Tangents

This is a rerelease and augmentation of one of my favourite albums from last year. Sydney electro-jazz experimentalists, Tangents, with Ollie Bown (software, field recordings, synths), Evan Dorrian (drums, percussion, voice), Peter Hollo (cello, fx) and Adrian Lim-Klumpes (piano, prepared piano, Rhodes, mallet percussion, organ, synths, fx), have remastered their tracks from last year’s “Timeslips” and added a second album’s worth of material from the same sessions “Chimeras”. As I wrote last year (Albums in 2020) for the original release of Timeslips: “Unexpected combinations of unexpected elements in improvised instrumental inquiry. At times it feels as though it is only held together by the drums/percussion but on closer inspection, there is no doubt that each musician is listening to, apprehending and contributing to a greater whole. Ambient, jazz, glitch, classical, electronica, fusion! The surface minimalism gives way as the more you listen, the more you notice.”

“Chimeras” is both more mysteriously gentle and more forebodingly dark, although there are at times glimpses of clarity and hope (e.g., ‘Lost Track’).

Favourite Track: Lost Track

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The next 10 (11-20)

I haven’t written my own reviews of these but have cobbled together quotes and details to whet your interest. These albums have been on high rotation on my playlists throughout the year and have provided the background to much of my experience …

  • 11) The Grid & Robert Fripp – “Leviathan”
  • 12) Trees Speak – “PostHuman”
  • 13) Camera – “Prosthuman”
  • 14) Godspeed You! Black Emperor – “G_d’s Pee AT STATES END!”
  • 15) Steve Moore – “Analog Sensitivity”
  • 16) Zombi – “Liquid Crystal”
  • 17) Six Organs of Admittance – “The Veiled Sea”
  • 18) Luminerians – “Fuzz Club Session”
  • 19) Hedvig Mollestad – “Tempest Revisited”
  • 20) Pharaoh Overlord – “Circus”

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11) The Grid & Robert Fripp – “Leviathan”

New collaborative album from electronic duo The Grid (aka Richard Norris & Dave Ball) and Robert Fripp, combining Fripp Soundscapes with synth, drums, programming and effects by The Grid.

‘Robert (Fripp) turned up with a truck load of amps and effects, two great big stacks including delay units with a 76 second delay and played and played and played.’

Shop DGM Live

Favourite Track: Pulse Detected

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12) Trees Speak – “PostHuman”

“PostHuman” is an album by Trees Speak who are Daniel Martin Diaz and Damian Diaz…
Trees Speak’s new album ‘Post-Human’ once again blends 1970s German electronic and ‘motorik’ Krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), Haunting and powerful 1960s & 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York No Wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz’s New York Noise series or Eno’s New York No Wave)!

TREES SPEAK MUSIC

Favourite Track: Divided Light

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13) Camera – “Prosthuman”

Prosthuman by Camera

Camera are Andreas Miranda, Michael Drummer, Michel Collet (5), Steffen Kahles, Timm Brockmann:

“Prosthuman”, their fifth studio album in February 2021. As befits an age in which realities can change in the blink of an eye, from one day to the next, the Berlin band never tire of changing themselves, their music or personnel. As Karlheinz Stockhausen noted: “New methods change the experience. New experiences change man.” Taking this as their lead, Michael Drummer (the drummer) and CAMERA surprise us once more on “Prosthuman” as they reinvent and reformulate their sound without sacrificing the project’s identity which has matured over the past decade.

tapeterecords

Favourite Track: Harmonite

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14) Godspeed You! Black Emperor – “G_d’s Pee AT STATES END!”

G_d’s Pee AT STATE’S END! by Godspeed You! Black Emperor

GSYBE are; Aidan Girt (drums), David Bryant (guitar) Efrim Manuel Menuck (guitar, radio), Mauro Pezzente (bass), Michael Moya (guitar), Sophie Trudeau (violin, organ), Thierry Amar (bass), and Timothy Herzog (drums, glockenspiel) with Karl Lemieux and Philippe Leonard (16mm projections)…

“A ferocious, thrilling blast of energy…impossibly dramatic music with a symphonic sense of scale. Though Godspeed works with specific structural parameters – long compositions, gradual builds and titanic, cathartic climaxes – it finds untapped expressive possibilities. This excellent record from this one-of-a-kind project might require time for its lengthy pieces to sink in, but the stirring and emotionally resonant music more than rewards the effort.”

– Mark Richardson, Wall Street Journal

Favourite Track: A Military Alphabet (five eyes all blind) (4521.0kHz 6730.0kHz 4109.09kHz) / Job’s Lament / First of the Last Glaciers / where we break how we shine (ROCKETS FOR MARY)

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15) Steve Moore – “Analog Sensitivity”

Analog Sensitivity is a music library album by Stephen James Moore:

Filmic, enigmatic analog synthscapes from contemporary synth master Steve Moore. Steve Moore is a New York-based multi-instrumentalist/producer/film composer, best known for his synthesizer and bass guitar work with the band Zombi. Moore also plays bass guitar for Brooklyn progressive rock band Titan, and has worked with Microwaves, Red Sparowes, Lair of the Minotaur, Ghost, Goblin, Maserati, Municipal Waste, Sally Shapiro and Panthers. His solo work also includes film scores, predominantly cult horror films.

KPMmusic

With the clue right there in the title, Analog Sensitivity is built up from the quieter aspects of the sound Steve has been exploring and evolving for over 20 years. It’s a layering of ambivalently dense and airy, muffled and echoing sounds created on his collection of synthesizers and other electronic music hardware. And whilst some of Steve’s other work uses this vintage equipment to conjure the past, that wasn’t his intention here. Steve explains “I wanted Analog Sensitivity to feel atemporal, as though it could have been released any time over the past 30 or 40 years. While not specifically in the spirit of any particular album, I’m really into old KPM artists like Alan Hawkshaw and Brian Bennett”.

Be WIth Records

Favourite Track: Analog Sensitivity

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16) Zombi – “Liquid Crystal”

Liquid Crystal by Zombi

Zombi are A.E. Paterra (Drums) and Steve Moore (Guitar, Bass, Synthesizer) from Pittsburgh USA:

ZOMBI return with their new EP, Liquid Crystal! A 5 track EP, Liquid Crystal sees Steve Moore and A.E. Paterra continue to explore the very melodic sensibilities, synthscapes, and driving rhythmic section that propelled the band upon the release of their latest critically acclaimed full-length, 2020. Tracks such as “Black Forest” finds the band leaning on heavy grooves alongside soaring leads, while the opening “Mangler” oozes with ominous synths as crescendos build and build. Don’t miss out on one of the year’s most compelling companion pieces to the band’s already stellar full length!

https://zombi.bandcamp.com/album/liquid-crystal

Favourite Track: Chant

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17) Six Organs of Admittance – “The Veiled Sea”

The Veiled Sea by Six Organs of Admittance

Six Organs of Admittance is the Northern California guitarist Ben Chasny:

Though Chasny’s compositions typically blend the edges of close-miked guitars into vast, low-lying washes of sound, the instrument looms especially large over his latest album, The Veiled Sea—though not, of course, in a way it has before. It’s the rare, and perhaps only, Six Organs of Admittance LP that features no acoustic guitar. It is an eloquent series of essays on the electric guitar solo—as Platonic object, as mythic measure, as harmonic structure and cultural construct. Each of these five tracks (after a brief prelude, “Local Clocks”) sounds like a rock god’s spontaneous outpouring as heard by some superior being, with seconds stretching into minutes, turning impulses into decisions. It’s a creative choice that would probably feel tiresome if Chasny weren’t such a skilled guitarist and tactful composer, and he mostly manages to boil down the macho bloat of his sources to graceful essences without underplaying the pomp.

Pitchfork

Favourite Track: All That They Left You

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18) Luminerians – “Fuzz Club Session”

Fuzz Club Session by Lumerians

San Fransico’s Luminerians are Tyler Green (guitar, keys, synth), Marc Melzer (bass, vocals), Jason Miller (keyboard, synth, guitar, vocals), and Chris Musgrave (drums);

What might very well be the final Lumerians LP comes in the shape of a new live session recorded for Fuzz Club Records when the band stopped off in London as part of a European tour in 2019. Recorded live at Love Buzz Productions and pressed to 180gm vinyl, Lumerians’ Fuzz Club Session LP – due for release January 29th – is comprised of four tracks, new and old. ‘Longwave’ and ‘Corkscrew Trepanation’ are lifted from the band’s 2011 Partisan Records-released ‘Transmalinna’ LP and their 2008 self-titled debut EP, respectively. On this record, though, we hear the songs take on a whole new life: “Both of these songs had mutated into different animals over the years and were frequently played together as a finale during our live shows. We wanted to document their transformation since we really liked what they had become”, the band reflect.
As well as those reimagined Lumerians cuts, the Fuzz Club Session also features two previously unreleased jams. They describe ‘Light The Beacon’ as “a snapshot of a piece of music we had been using to open our shows for tours in 2018 and 2019. It started as a simple oscillator drone that would lead into the first song but eventually became a song in and of itself. The song never really had a name, but since we used it as a way to signal the show was beginning and draw people towards the stage, ‘Light the Beacon’ seemed appropriate for this version.” ‘Transmission Overture’, on the other hand, was a spontaneous composition that they’d never played before and haven’t since: “This is basically the process by which we wrote all of our songs. We’d record our improvisations, listen back and then select the parts that stood out most and learn how to play it again. Some seemed so fully formed out of the gate that we’d call them “transmissions” as documented on our ‘Transmissions from Telos’ EP series.”

Fuzz Club

Favourite Track: Longwave

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19) Hedvig Mollestad – “Tempest Revisited”

Hedvig Mollestad Thomassen (Guitar, Vocals, Handclaps, Upright Piano) is joined by Karl Nyberg (Alto Saxophone), Trond Frønes (Bass), Ivar Loe Bjørnstad (Drums, Percussion), Per Oddvar Johansen (Drums, #1), Martin Myhre Olsen (Soprano, Alto & Baritone Saxophone), Peter Erik Vergeni (Tenor Saxophone, Flute), and Marte Eberson (Vibraphone, Synth).

It’s a beautiful and inspiring suite of music, by turns both lyrical and aggressive, evocative of the elements in their many different forms. Opener ‘Sun On A Dark Sky’ initiates the proceedings with a serene but eerie flute passage and some brief but ominous drums hinting at stormier weather to come later on. Early highlight ‘Winds Approaching’ kicks off with a flurry of handclaps and syncopated percussion, before the arrival of some propulsive blasts of resonant baritone sax and a subtle yet doomy guitar riff that returns at the end of the piece with renewed vigour. ‘Kittywakes In Gusts’ takes a jazzier approach, twin saxes swirling like seabirds riding eddies in the wind. Longest track ‘418 (Stairs In Storms)’ stretches out over the course of its eleven-plus minutes, the first five of those creating a perfect minimalist mood largely through the use of space and Mollestad’s sparse, crystalline guitar, before being joined briefly by drums and sax. It’s the calm before the storm, the heavier weather itself only briefly expressed by an ecstatic sequence of notes in the final fifty seconds of the piece. Closer, ‘High Hair’ sees Mollestad’s guitar adopt a more prominent role, evincing at times the kind of purposeful, powerful stride of 70s King Crimson’s ‘21st Century Schizoid Man’.

Quietus

Favourite Track: High Hair

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20) Pharaoh Overlord – “Circus”

Circus by Pharaoh Overlord

On “Circus”, the Finish enigma Pharoah Overlord are Jussi Lehtisalo (Bass), Juho Viljanen (Drums, Synthesizer [Moog]), and Tomi Leppänen (Electronics) with Janne Westerlund, Julius Jääskeläinen, Pekka Jääskeläinen all on guitars…

Pharaoh Overlord’s live set as the support act for Sleep, recorded live on 11 April 2019 at Circus, Helsinki (FIN). Special guest Juho Viljanen on drums and Moog synth, electronic arrangements by Tomi Leppänen.

Ektro Records

Favourite Track: Palmyra Cali

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21 and 60 more… (21-81)

Aside from my favourite 20 Albums, I have a few more to share below, an EP from my own band Make-Shift, and an extra five albums by genera that didn’t make the cut for my top 20!

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Make-shift (my band)

EEEE EP by Make-Shift

While my band, Make-Shift, Dino Cevolatti (Guitar, fx), Laurie Vigour (drums, percussion, fx), Tim Watson (keyboards, clarinet) and Greg Waddel (bass, curtain-rod string) didn’t get to play this past year, we did release an EP of two tracks. This first track is from a compression session of very electro-infused jamming that we managed to pull off pre-pandemic (January 2020), while the second was our first emergence out of lockdown (October 2020) for a picnic in the park at the Rotunda in the Botanic Gardens here in Castlemaine. In the last month (Nov-Dec 2021), we have finally had a chance to play again, now with Hywel Stoakes returning on bass (first time since July 2015), first at a private party and then returning to the Rotunda (you can hear that recording here). Here’s hoping for much more in 2022…

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12 further five lists

These 12 lists offer a genre by genre set of five albums that I’ve enjoyed from this year that didn’t make it into my top 20 list above:

NORDIC JAZZ?JAZZ?JAZZ-ROCK
‣ Fire! – Defeat
‣ Hedvig Mollestad Trio – Ding Dong, You’re Dead.
‣ Eivind Aarset – Phantasmagoria or a Different Kind of Journey
‣ Tore Morten Andreassen – Hydro Integrator
‣ Jaga Jazzist – The Tower (live)
‣ Makaya McCraven – Deciphering the Message
‣ Ill Considered – Liminal Space
‣ Waaju – Live EP
‣ DJNN – Transmission
‣ Chris Corsano & Bill Orcutt – Made out of Sound
‣ John Dwyer – Gong Splat
‣ John Dwyer – Witch Egg
‣ Portico Quartet – Monument
‣ Kinkajous – Being Waves
‣ The Physics House Band – Incident on 3rd
SOFT PSYCHVOCAL PSY/FOLKPSYCH ROCK
‣ Landing – Monthly Subscription Series Collection 01
‣ Vanishing Twin – Ookii Gekkou
‣ Papir – Jams
‣ Khruangbin – Mordechai Remixes
‣ Woods – Strange to Explain
‣ Black Country, New Road – For the First Time
‣ Black Midi – Cavalcade
‣ Darkside – Spiral
‣ Liars – The Apple Drop
‣ Marc Ribot’s Ceramic Dog – Hope
‣ Richard Dawson & Circle – Henki
‣ King Gizzard and the Lizard Wizard – L.W.
‣ Oh Sees – The Chapel SF 10.2.19
‣ Goat – Headsoup
‣ Possum – Lunar Gardens
ELECTRO-ROCKPOSTROCKMETAL
‣ No Metal in this Bottle – shimokita/zeitzonen
‣ Terry Gross – Soft Opening
‣ Luvmenauts – In Space
‣ John Carpenter – Lost Themes III
‣ Perturbator – Lustful Sacraments
‣ Yoo Doo Right – Don’t Think you can Escape your Purpose
‣ Tuesday in the Sky – The Blurred Horizon
‣ MONO – Pilgrimage of the Soul
‣ Explosions in the Sky – Big Bend
‣ Mogwai – As The Love Continues
 ‣ Wax People – Wax People
 ‣ Black Sky Giant – Planet Terror
‣ Alien Weaponry – Tangaroa
‣ Year of No Light – Consolamentum
‣ Shy Low – Snake Behind the Sun
AMBIENT?WORLD?SOUL
‣ Blundetto – VTC (OST)
‣ Osees – Improv at Zebulon
‣ Richard Barbieri – Under a Spell
‣ Colleen – The Tunnel and the Clearing
‣ Caterina Barbieri – Fantas Variations
‣ Azmari – AzmariSamai
‣ Wu Man & Wu Wei – Distant Mountains
‣ Ballake Sissoko – A Touma
‣ Mdou Moctar – Afrique Victime
‣ The Invisible Session – Echoes Of Africa
  ‣ Emma Donovan & The Putbacks – Under These Streets
  ‣ Hiatus Kaiyote – Mood Valiant
  ‣ Kyoshi – Kyoshi
  ‣ B-Ahwe – Motions
  ‣ Charlotte Day Wilson – ALPHA
The Top 10The Next 10
1) John Dwyer – “Moon Drenched”
2) Pino Palladino / Blake Mills – “Notes with Attachments”
3) Floating Points, Pharoah Sanders & The London Symphony Orchestra – “Promises”
4) BadBadNotGood – “Talk Memory”
5) Portico Quartet – “Terrain”
6) Jaala – “Gap Tooth”
7) Dans Dans – “Zink”
8) Elephant9 – “Arrival of the New Elders”
9) Mt. Mountain – “Centre”
10) Tangents – “Timeslips & Chimeras”
11) The Grid & Robert Fripp – “Leviathan”
12) Trees Speak – “PostHuman”
13) Camera – “Prosthuman”
14) Godspeed You! Black Emperor – “G_d’s Pee AT STATES END!”
15) Steve Moore – “Analog Sensitivity”
16) Zombi – “Liquid Crystal”
17) Six Organs of Admittance – “The Veiled Sea”
18) Luminerians – “Fuzz Club Session”
19) Hedvig Mollestad – “Tempest Revisited”
20) Pharaoh Overlord – “Circus”

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Happy 2022!

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