Speakers Push Air


Speakers Push Air Albums Of The Year Pt 2: 20-16

20. Eccentronic Research Council – 1612 Underture (Finders Keepers)

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A stunning blend of analogue fetishism, feminist hauntology, class war, Lancastrian wit and history that veers from French pop to an echo of Big Hard Excellent Fish. Maxine Peake is tremendous, the whole project is inspired and it’s just mint.

19. Carter Tutti Void – Transverse (Mute)

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Here’s what I said in Narc:

Factory Floor ‘get’ what Throbbing Gristle were about so much more so than any number of faux-shocking industrial fuckwits. So it’s natural -and brilliant – that Factory Floor’s Nik Void and Throbbing Gristle’s Chris & Cosey have worked together.

Transverse was recorded at last year’s Mute Short Circuit festival, using studio tracks as a starting point for a series of improvisations of quite amazing intensity. Each is driven by a brooding, insistent rhythm pattern, the trio adding shards of guitar, wordless vocals, stabs of synths and effects, layering these more heavily on each subsequent track until V4 is a maelstrom of bewildering noise and stuttering rhythm. At times it sounds like an early 90s ‘ardcore rave track dissected and reassembled and I wish to hell I’d been there.

18. Shackleton – Music For The Quiet Hour / The Drawbar Organ EPs (Woe To The Septic Heart)

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Some ‘dubstep’ artists ended up taking dubstep in weird directions. Shackleton started weird and got weirder, and this 140-minute collection is genuinely bewildering and visionary and strange. Bits of dubstep, Throbbing Gristle soundscape, classical music, paranoia, claustrophobia, complex percussion, deep bass and much more and it still actually works as a an album. Good lad!

17. Iris Dement – Sings The Delta (Flariella)

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Not much to say here. If you like gospel tinged, beautifully played country music that grapples with memory and sadness and God, you’ll love this. Dement doesn’t make much music, but it’s always wonderful.

16. Dean Blunt & Inga Copeland – Black Is Beautiful (Hyperdub)

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Identity games and other such dicking about can  be irritating. Dean & Inga (or Hype Williams, depending) get away with it. I saw them this year and came away none the wiser – blame it on the smoke, the strobes, the model on a motorbike, the cider. This album doesn’t help much, some of it seems to be just sketches, short teasing doodles. Hints of r&B, pop, dub, chillwave wooziness, studio twattery. It adds up to one of the most confusing, elusive but excellent albums of the year.


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