I remember growing up with many of the myths, such as Richard D James drove around in a tank. I also once met a DJ who told me he was a part of a tour in the 90’s where Richard D James spent a whole gig just playing ping pong on the computer.
What is most intriguing about Richard D James is his ability to push back on expectation. I remember when I saw him perform in 2004.
It was like nothing I had ever experienced before and since. Where some dance/electronic acts have a certain rhythm and structure of highs and lows, the whole set was just intense music with no transitions. A musical journalist I went with actually left the gig early.
There is something about both Richard D James and his music that drags the listener in only to spit them out once again. There is a constant teasing of order never quite achieved.
Yeah listened to that a while ago. Very interesting.
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I thought I had heard it all. Driving around in a tank. Random images appearing across continents. This though takes myth to a whole new level!
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Drukqs was not the first Aphex Twin record I listened too. I had already spent years both mesmerised and horrified by the videos for Come to Daddy:
[youtube https://www.youtube.com/watch?v=h-9UvrLyj3k&w=560&h=315%5D
And Windowlicker:
[youtube https://www.youtube.com/watch?v=UBS4Gi1y_nc&w=560&h=315%5D
I had also dived into both Selected Ambient Works Volume II and Richard D. James Album. Drukqs was the first album I had gotten into when it was actually released. For me, it was both everything I expected, but also a complete shock to the system all in one breath.
In an interview with Annie Clark aka St. Vincent, she discusses the intent for her live shows:
I think that same could be said about Aphex Twin. Whether it be an album or seeing him live, they are usually experiences that you do not forget. (I will never forget seeing him live in 2004.) I think that Drukqs is one of these experiences. Although it could have been broken up into three distinct albums, it would no longer be the same uncanny experience that in some respect makes it work.
A reflection on the music that represented my soundtrack for 2018.
Depth of Field (Sarah Blasko)
Although Blasko’s use of synth bass and programmed beats with this album leads to comparisons with artists like Goldfrapp, Depth of Field never quite reaches the same dancefloor intensity. Instead the mix often creates a feeling of fragility. In listening I was reminded in part of LCD Soundsystem’s american dreams, as the more I listened, the more the choice to hold back on certain elements seemed to make more sense. Overall, I found it one of those albums that never seems settled and subsequently hooks you in because of it.
I would place this album between Goldfrapp and Lamb.
[youtube https://www.youtube.com/watch?v=m4QcP84uU-A?controls=0%5D
Lilac Everything (Emma Louise)
Lilac Everything is a captivating album. The decision of Emma Louise to definitively augment her voice makes for an intriguing listening experience. Where some may be critical of the artificial nature of pitch correction, the use in this circumstance is novel and critically challenges the notion of identity and belonging. There is just something uncanny about listening to a female artist taking on a male voice.
I would place this album between Father John Misty and Jeff Buckley.
[youtube https://www.youtube.com/watch?v=9J6K4VmZ7V4?rel=0%5D
Isaac Gracie (Isaac Gracie)
The strength of Isaac Gracie’s self titled album is the rawness of his voice. In a world of lush productions, this album cuts things back to basics. Many of the tracks consist of drums, bass and guitar. This simplicity allows Gracie to stand out. In some ways this reminds me of acts like Beach House and London Grammar, who fill out their sound with less rather than more.
I would place this album between Art of Fighting and London Grammar.
[youtube https://www.youtube.com/watch?v=hnnKv9SyQgo?controls=0%5D
Wildness (Snow Patrol)
It is interesting listening to artists who I grew up with, but have not necessarily listened to lately. They change, the world changes, music changes, I changed. The one thing that remains the same with Snow Patrol is Gary Lightbody’s distinctive voice. There is nuance with this album with a continual battle between acoustic and electric. Although some have argued that Jacknife Lee’s polished production is to the detriment of the album, I found that once I stopped comparing the album with the past it grew on me.
I would place this between Radiohead and Collective Soul
[youtube https://www.youtube.com/watch?v=JUaVhMjlPZg?controls=0%5D
MassEducation (St. Vincent)
I loved last year’s MassEduction, but the rawness of Annie Clark’s voice accompanied by Thomas Bartlett on piano takes the music to a whole new level for me. Even though her music is relatively structured she manages to find creativity within constraint in this reworking. This is epitomised by a track like Slow Disco, which she has played supported by Bartlett’s piano, strings on the album, acoustically for NPR Tiny Desk and electroically in the Taylor Swift inspired reworking as Slow Fast Disco. Other artists to peel the layers back this year were Kimbra and Chilly Gonzales.
I would place this between MTV Unplugged and Chilly Gonzales
[youtube https://www.youtube.com/watch?v=AdmSRfbjQlY?controls=0%5D
BONUS: Beckstrom Holiday Extravaganza Volume X (Chris Beckstrom)
Christmas is always an interesting time of year when it comes to music. There are those like Michael Buble that have carved out a niche. Last year Sia created an interesting album of original music. With all this said there is something truly joyful about Chris Beckstrom’s ‘Holiday Extravaganzas’, where each year he electronically reimagines a collection of Christmas classics. The pictures are also a useful reflection of the effort involved.
I would place this between Daft Punk and Aphex Twin
Beckstrom Holiday Extravaganza Volume X by Chris Beckstrom
Some of the artists that stood out for me this year, but did not make the cut include The Presets, Amy Shark, Guy Pearce, The Wombats, Nils Frahm, Missy Higgins, Dreams and Aphex Twin.
Looking back it feels like the year of imagining, whether it be different versions (St Vincent) or new ground (Emma Louise). So what about you? What music has caught your attention this year? What albums and artists have you had on high rotation? Is there something that seems to tie your year together? As always, comments welcome.
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Music of 2018 in Review, or The Year of Musical Reimaginings by Aaron Davis is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
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