Sunday Night's All Right At Baby's

The last time I was at Baby's All Right, the bar-restaurant-music venue in south Williamsburg, it was packed to the gills for The Clientele's show back in July. This past Sunday found far fewer people there for a show headlined by DJ/rupture and celebrating the release of the debut album by No Lands on New Amsterdam Records. But a smaller audience is to be expected if you skitter along the cutting edge, as Rupture does, not to mention competing for eyes and ears with the VMA's and the Afro-Punk Festival.
When my friend and I entered the performance space, Lorna Dune was already on stage, engrossed in her keyboards as people looked on, standing in rows almost exactly one person apart from each other, like trees in a nursery. The last time I encountered Dune was as a member of Victoire, Missy Mazzoli's indie-classical chamber ensemble. She was playing keyboards in that context as well, while also doing some very cool live remixing of Mazzoli's work. Her own music is less challenging yet expertly assembled. Warm layers of fat synth chords and arpeggiated melodies overlap atop pulsing rhythms, shifting and changing. Crescendos are approached but never quite arrive. Lorna Dune's music is not really retro but has strong referents to Krautrock and 90's IDM from artists on the Warp label. In the end, it's a bit static - she was the only one dancing. Right now she might be devoting her more outré impulses to her collaborations, which is fine, but I'll be curious to see what she does next.
DJ/rupture had been standing next to me for most of the set, but I couldn't get a word in. As soon they started breaking down Dune's gear, he dashed to the front of the room, stepping behind his impressive set-up at the left of the stage. He launched in without buildup and quickly had people dancing. He was supposed to headline so at first I thought this was a quick mix while No Lands set up their stuff. However, a night at Baby's doesn't always go as advertised and I soon realized that this was Rupture's set. Perhaps he had magnanimously offered to let No Lands finish the night.
Either way, his work was magnificent, similar to the mesmerizing Mudd Up shows he used to do on WFMU, but somehow both more layered and more seamless. This is the art of the DJ as fine art - but in no way effete. The groove was relentless, spanning electronica, Algerian pop, reggae, hip hop, West African sounds and more.
Watching Rupture work was fascinating. His kit consisted of five cases lined up: a laptop, a turntable, a mixing board, another turntable and a CD controller. "Where's the wax cylinder?" joked my friend. Rupture's level of engagement and control of these devices was virtuosic. His left hand would gently pull back on the turntable, finding the perfect spot on the vinyl, while his right hand was busy doing something on the board.
A high point for me was when he began dropping fragments of vocals from a Rai song and interleaving it with something that sounded South Asian. It was pure hypnotism as the two streams of sound abutted and began to blend. That assemblage cross-faded into some heavy digital dub, complete with air horn, bringing the tempo down before moving into other areas. After about an hour the deeply involving set was over - just like that. He humbly accepted our applause and walked off.
I wasn't sure what to expect from No Lands in the live context. Negative Space came out in July and is essentially a solo project by sound designer and electronic musician Michael Hammond. You might call it a synth-art-almost-pop record, hinting at 80's hit-makers without actually going there. Even with the Linn drums, there's nothing ironic going on in these lush, warmly produced pieces.
The album opens with Icefisher, a gorgeous overture in which sweet chords dialogue with perfectly calibrated distortion before blending into the bobbing rhythm of City, the first song proper. Synths chatter and there's a big, melodic chorus, with Hammond's soft tenor mixed down to join the track as another texture. There's a diffuse quality to Hammond's music, as if he listened to the radio through the wall, half-remembered what he heard, and then tried to play it back using different instruments. This makes Negative Space all the more tantalizing as your mind works to resolve the blurred soundscapes. It's no surprise that he lists I Believe In You from Talk Talk's Spirit Of Eden as one of his favorite songs ever. That song is included in the Mixtape he put together for Q2, along with everything from Eno to Grieg and from Feldman to Scott Walker, providing a fascinating glimpse of his influences.
Pretender has a pulsing beat and, in the corner of the mix, chiming Simple Minds guitar. On Sleep Atlas, he treats his voice heavily, crafting it into a sound not unlike Jon Hassel's cosmic trumpet. Eyesore broods along, with dramatic guitar flourishes, more Hassel-like vocals, and a chorus that opens up like the sun streaming through clouds. Firebride is half-song, half ambiance, like David Sylvian used to do, and there's even biting guitar and a touch of Popul Vuh's pastoralism - sheer beauty. The album ends with the even more ambient Seawall and the blissful meditation of Outside Of You. Negative Space is a great album, an extremely assured debut, and one which should make some noise on those lists at the end of the year.

But here we had a full band taking the stage, with Hammond joined by his brother on guitars, a bassist, and two more members on keyboards and electronic percussion. Their stage presence was appealing and affable if not quite displaying the confidence demonstrated by the album. The diffusion was there, but some of the forward motion was lacking and I could see a listener feeling slightly lost if not already familiar with the songs. But, heck, from what I can tell, this was their ninth show together and it was a great opportunity to observe how the songs were put together. For example, there were a lot more guitars involved than I thought, although they were rarely played straight. Harmony vocals also came into play, with Hammond's brother chiming in on most of the songs.

The set was also a chance to shower some acclaim on Hammond for making such a great record, something the audience did without hesitation. After they finished, I checked in with Rupture as he broke down his gear. His Julius Eastman record from last year (released under his given name, Jace Clayton) was his first foray into the classical avant garde and a complete success, so I asked him if there was anything else in the works. Not in the way of recording, he told me, but he will be performing his work Enkutatash on September 11th in Washington, DC, which will feature the Homeland Security threat level system sung by a chorus using the Ethiopian scale and mixed with an East African harvest song. It sounds like it will be very intriguing, connecting the cerebral and the emotional in a powerful way, just like much of the music that filled the room at Baby's All Right on one of the last Sundays of summer.

Technicalities: ACO's Orchestra Underground

The first flowering of what would come to be known as punk rock encompassed such diverse sounds as the cerebral bubblegum of Talking Heads, the streamlined girl-group pop of Blondie, the artful interlocking explorations of Television, and the sped-up Spector of the Ramones. Soon enough, after a transatlantic crossing or two, punk became codified into a studded-leather jacket and safety-pinned cul de sac of loud fast rules.

Did something similar happen in the world of "new music" or the classical avant garde? Did the seismic blasts of The Rite of Spring and Schoenberg's serialism blow things up to a degree that composers can draw on a limited palette of structures and sonic semi-innovations and still get across as "new?" Can you just deploy some additional percussion, amp up the orchestral clangor and dissonance and call it a day? And what do those European referents have to do with the American tradition? 

That's not to say that all contemporary American composers are beholden to an outdated notion of new-ness. You have artists like Julia Wolfe, Mario Diaz de Leon, Daniel Wohl, Anthony Chung, and even legends like Alvin Lucier who continue to push the envelope of what's heard in the concert hall. It's also not to say that some of what might be called the "retro avant garde" doesn't make for good or even great listening, it's just that it doesn't do it any favors to present it as something earth-shattering.

I put these passing thoughts down to give an idea of some of what I was working against when listening to the American Composers Orchestra's new album, Orchestra Underground: Tech & Techno. Right from the start, without even reading the liner notes, I was dealing with the word "techno," which starts a post-Kraftwerk thumping in my ear as I recall the sounds of Detroit dance music from the late 80's and early 90's. Let's clear that up quickly: there is almost nothing on this collection that sounds remotely like Detroit techno. And much of what we do hear strikes those "new music" chords without being hugely innovative. But it's still damned fine listening.

Justin Messina's Abandon, which was inspired by the above mentioned Motor City music is instead a pensive slow-build that more readily calls to mind the excellent television music of Bernard Herrmann. Its alternating and interacting motifs, driven by a clanking cowbell, effectively build tension over a concise nine minutes. He expertly uses the full range of orchestral colors, with winds, brass, strings and percussion seeking dominance but finding parity, until the witty ending featuring a ticking high hat and a bass glissando. Prior to this, I was only familiar with Messina via his memorable arrangement of John Cage's In A Landscape for Brooklyn Rider - now I'm even more interested.

The album begins with Edmund Campion's Practice, and a quick scan of his bio leaves no doubt that he has completed enough of the titular activity to "get to Carnegie Hall," or at least Zankel Hall, where this was recorded. Also about nine minutes long, Practice starts with a vaguely Spanish fanfare, with muted trumpets, tinkling triangles and skirling flutes, before settling into a calmly relentless forward movement propelled by a slow ostinato from bassoon (I think) and bass. The computers are so seamlessly merged into the orchestra that, to be honest, I didnt really hear them until the end, when a what sounds like a triangle's ting is distended, distorted and eventually flattened into almost white noise. Regardless of how cutting edge it is or isn't, Practice is a brilliantly colorful piece with loads of drama.

Tender Hooks by Anna Clyne is next and it kicks off with a very Stravinskian sound, tension and release happening simultaneously, and a very active drum section. Almost following a sonata form, it quietens down to a brooding segment, enhanced by rumblings, ratchet noises and other electronically-produced accents. Lyrical flutes, brass and piano intertwine with more computer-generated sounds until a snare's hard thwack seems about to kick off a climax. Instead the sound opens up wondrously and then gets progressively darker and stranger. For the last minute, Tender Hooks is quiet and searching, bringing this very satisfying piece to a close.

The final two pieces are each about twice as long as the first three, starting with Neil Rolnick's cleverly titled iFiddle Concerto, which was also included on X10D, the ACO's last Orchestra Underground album. Todd Reynolds is the soloist, playing the "iFiddle,", which "combines the computer and violin into a single musical instrument," according to the composer. At the start, it almost sounds as if the acoustic and electronic impulses are at odds. They seem to go head to head, with the computerized sounds a fractured reflection of what the violin is doing. The orchestra plays a strong supporting role, providing a bed of rhythm, harmony and, especially from the trumpet, counterpoint.

About a third of the way in, we get an amusingly louche and jazzy second section, with Reynolds's line sounding fabulously rich and assured, while also spitting out some wacky electronic shards. There's a pizzicato segment where you can't tell exactly what's acoustic and what's electronic and the last few minutes have a wonderful swagger and a head-nodding rhythm. Some sounds bring to mind the outlandish funk of Jimi Hendrix's wah wah, and the piece ends on a literal high note. The iFiddle Concerto is an entertaining and quick 18 minutes, managing to be both crowd-pleasing and a bit novel.

The final work is by Mason Bates, who's definitely on a hot streak this year. Besides this one, other 2014 releases include his four-movement Alternative Energy, on an album of the same name by the Chicago Symphony Orchestra and conducted by Riccardo Muti (Anna Clyne's Night Ferry is also included), as well as a album of his compositions called Stereo Is King. I hope to have the opportunity to explore those more in depth at another time as Bates is definitely on to something.

The piece here, Omnivorous Furniture, features a drum pad and computer alongside the orchestra, and was (we are told) "heavily influenced by down-tempo electronic with roots in the British hip hop movement." OK, that must have been fun to write, but I don't really hear anything over which Tinie Tempah or Roots Manuva would be inspired to spit a few bars. What I do hear has an American swagger and energy, an amped up Aaron Copland vibe that struts in on giant steps. The computer and drum pad are not so seamlessly integrated, instead they are delightfully obvious, snickering and clacking across the soundscape and daring the orchestra to keep up. An actual four on the floor rhythm does eventually develop for a while, just before a lushly romantic interlude, all plangent strings and warm brass. The final section features bass drum drops like depth charges amid some angular aggression from acoustics and electronics alike, until it all comes to a thrilling halt. This is good stuff, whatever Bates happened to be listening to while he composed it.

In fact, it's all good stuff, and if they had called the album "Reasonably Fresh Sounds from Young-ish American Composers," I would have nothing to complain about. But, I suppose that would be like advertising Volvos as being "boxy but good." Don't let the marketing get in your way - some great listening awaits you.

Bulletproof Spoon

In 1961, sultry entertainer Ann-Margaret recorded I Just Don't Understand, a minor key ballad with a haunting melody that made perfect sense coming from the pen of co-writer Marijohn Wilkin, who also co-wrote the perennial classic Long Black Veil. Producer Chet Atkins gave the song the full treatment, with harmonica, male backing vocals (probably The Jordanaires) and, most outlandishly, a stinging fuzz guitar, apparently only the first or second time such a sound had appeared on a record. The song - and the sound - caught the ear of John Lennon who, according to Mark Lewisohn, just had to sing it. While The Beatles were unable to recreate the fuzz guitar, the song made it into their live set and (after being requested by "Kathleen, Carol and Pauline of Bradford") was recorded at the BBC in 1963.


The Beatles version was essentially lost to history until 1994 when the first Live At The BBC collection came out. By then, people new to the recording were able to bring all their knowledge and feelings about Lennon to bear when listening to the song, investing what could simply be a terrific (if slightly kitschy) relic with extra significance. From what we know of Lennon's conflicted feelings about women - the jealousy, the neediness - its easy to see what attracted him to the song. It's also not the first time he took on a track that had originally been sung by a woman, adding to the intrigue. I Just Don't Understand has had some legs, being recorded a few more times in the 60's and 70's, but no one was searching Jerry Reed's version for psychological insights.


Now we have it resurrected again by Spoon, the one cover featured on They Want My Soul, their first album in four years. They also avoid any fuzz guitar, letting piano drive the song, but their version is an interesting window into the emotional territory of the album. Unlike John Lennon, we don't know a heck of a lot about Britt Daniel, Spoon's leader, except that he's a rock & roll true believer, probably as much of a fan of the music now as when he began his career in 1991. As pointed out in the recent article in The New York Times Magazine, Daniel often approaches songwriting analytically, bringing disparate elements from things he loves together in new ways, creating endless nesting dolls of references, inside jokes and homages. Despite those magpie tendencies, Spoon has an immediately identifiable sound, often due to the alternating swagger and vulnerability of Daniel's voice, which has grown grittier over the years and is one of the marvels of rock.


He pushes that burr beautifully in I Just Don't Understand, and all over They Want My Soul, sounding better than ever, but also more defended. We've come a long way from the late-night thoughts of Everything Hits At Once (Girls Can Tell, 2001): "I go to sleep but think that you're next to me." I used to feel guilty playing that in the office after my colleague had been dumped - it cuts to the bone in a way that Spoon doesn't really do any more. The subtext of the album title is "they want my soul - but they ain't getting it." In truth, this is the direction the band has been going in since Gimme Fiction, their breakout album from 2005, and They Want My Soul is their most bulletproof album yet.

That hard, brilliantly textured exterior, perhaps partly due to new production partners Dave Fridmann and Joe Chicarelli, makes for a killer headphone listen, encaging me on the streets of NYC like a Mobb Deep record. Hip hop is not as off-kilter a reference as you might think, as Jim Eno's drums have never been more processed. Let Me Be Mine even has some of the badass Gary Glitter strut of Kanye's Black Skinhead. Inside Out, the second cut, starts with a deep, melancholy groove led by Eno's fat snare, almost outsized in relation to the other instruments. I can almost hear a remix with Chance The Rapper telling a sad story about his grandmother over this beat. Inside Out also features marvelous celestial keyboards which I suspect are from new guy Alex Fischel rather than long-time member Eric Harvey. Fischel came to Spoon from Divine Fits, Daniel's new-wave leaning side project, and his electronic sensibility was one of the delights of their 2012 album.

Eno is the other key member of Spoon and his brick-hard snare is the first sound you hear on They Want My Soul, kicking off Rent I Pay, a great mid-tempo slow burner that sets the tone for the album from the jump. With its aphoristic, pissed-off refrain, it's a bit bitter and as such has companions in Do You, Knock Knock Knock, Outlier, the title track, I Just Don't Understand and Let Me Be Mine, making for a slightly malevolent listen. I don't think Daniel wants us to read too much into that, however. As he said in Paste magazine earlier this month: "...if there's a band that's...doing something vaguely threatening, it appeals to me. I like it." It's as if he's playing with moods and emotions, the same way he assembles the layers of the tracks in the studio.

And those layers sound fantastic, often pairing artfully scuzzy guitars with the sleek gleam of the rhythm section, like a rusted car riding on a chrome-plated chassis. Many of the songs also have a driving urgency that sets the pulse racing, even if you're not sure what Daniel is singing about exactly. Outlier fades in with a pumping bass line, organ stabs, and dry acoustic strumming, lending a windswept air to whatever atmosphere surrounds you at the moment. It also contains the priceless couplet "And I remember when you walked out of Garden State/You had taste, you had taste." Another classic line comes in the title song: "Educated folk singers want my soul/Jonathon Fisk still he wants my soul/I got nothin I want to say to them." Jonathon Fisk is the name of a song from Kill The Moonlight, Spoon's fourth album, about a kid who bullied Daniel in high school. So you wonder - is Daniel still wounded by Fisk or is he just adding another layer to the glass onion?

In the end it doesn't matter. Spoon has one of the best, most consistent catalogs in rock, earning them the right to be self-referential. They've soundtracked my life since 2005, when I Turn My Camera On triggered an investigation into their past and an investment in their future. They were also one of the bands that made me commit wholeheartedly to the magnificent music of our time and to do my best to stay on top of it, inadvertently leading to this blog. For that, they have my soul. Not to worry, Britt - we don't want your soul, just more terrific records like this one, whenever you and your compatriots are so moved to make them.

Spoon is on tour in the U.S. and Europe throughout the fall.

Catch up with a playlist of some of Spoon's greatest songs.

Fela On Film

"But I say I didn't die, because my name is Anikulapo. I have death in my pouch. I can't die." - Fela Anikulapo Kuti

There was a minor Facebook kerfuffle among my circle a few years ago when an old college friend reported that he had seen Fela! on Broadway and the dancing was "better" than when he had seen Fela in concert back in the 80's. This confounded many of us. By what metric could you compare the professionally trained dancers performing top-flight choreography by Bill T. Jones to the moves of the women, many his wives, who danced on stage with the real Fela?

This conundrum is at the heart of the divide between music as it arose in Africa, where it was a part of daily life, and as it came to be established in Europe, where it develped into a profession with a rigid structure of training and performance. Although it is only glancingly addressed, the conundrum is also at the center of Finding Fela, a new movie about the Nigerian musical legend directed by Alex Gibney.

The film begins with Fela on stage in Berlin in 1978, so magnetic you can't look away, proclaiming "I want you to look at me as something new, that you don't have any knowledge about. Because most - 99.9% - of the information you get about Africa is wrong." After a tantalizing snippet of performance, we get a brief introduction to the shambles (and shame) of post-colonial Nigeria, the violent context from which Fela emerged.

Then we cut to the team that created Fela!, working on the show two years before it debuted. This kind of access is to be expected from Gibney, known for politically charged documentaries like Taxi To The Dark Side and We Steal Secrets. From there the movie proceeds to go back and forth between Fela himself, detailing his life and career, and Fela! the show, with both backstage footage and long clips of a performance.

Much of what we see on both sides of the story is fascinating. Few musicians in history have lived a life like Fela's, and there is no doubt that Jones and his talented crew were utterly sincere in their quest to bring that life and his music to the Broadway masses. However, that didn't prevent a nagging discomfort I had throughout the film, the feeling of being sold to, as if there was something vaguely promotional about the enterprise. As a reel for investors in Fela!, it's hard to imagine something better than Finding Fela - not that it needed any help, as the show was boosted to Broadway by the deep pockets of Jay-Z and Will Smith.

To be fair, that nagging sensation was easily put to the side as I became absorbed in the archival footage, some of it from Music Is The Weapon, a 30 year old documentary based around Fela's bid to become President of Nigeria. We see him in Kalakuta, the compound in which he effectively seceded from Nigeria, educating and employing dead-end young men, and performing at The Shrine, his club. We learn about his middle-class Christian upbringing, and his school days in London, where he got bitten by the jazz bug. By all accounts he was a mediocre trumpeter and a terrible student - "He was a dunce," says his son Femi.

When he returned home, he connected with genius drummer Tony Allen, forming a jazz band that was going nowhere fast. For many years, the dominant music in Nigeria was High Life, a Ghanian import and mainly lighthearted sounds for dancing. As it began to fade, there was active competition among musicians to create a successor. Fela hit on a combination of American funk, mainly via James Brown, and Afro-Cuban rhythms along with the dying strands of High Life, to create Afrobeat, which took off like a rocket.
It quickly becomes clear that Fela's main talent was as an architect, synthesizer and collaborator. In fact, there was no one thing that he was best at. His voice had a limited range and sometimes wavered around the key. While his tone on the sax was distinctive, his intonation was questionable and his solos often revolved around a few stock phrases. On the organ, he could deploy odd chords and harmonies that never quite settle into the songs. While he was always in the groove, unlike his hero James Brown he was not a great dancer. His mastery was in how he brought everything together, orchestrating the intricate rhythms, conducting the horns, driving on the band with his unstoppable energy and natural charisma.

Gibney seems to almost parcel out that charisma, as if to avoid giving too much competition to Saha Ngaujah, who created the role of Fela for the stage. While Ngaujah is undoubtedly terrific, it's hard not to see the artifice when confronted with the real thing. The music is also somewhat parceled out, by necessity as the average Fela song is about 20 minutes long. However, as the ubiquitous Questlove points out, "The more it repeats, the more it affects you," so the question remains what first-timers will ultimately take away from the film. Hopefully, they will investigate further - and with a classic like I.T.T. or Sorrow Tears & Blood, instead of the movie soundtrack, which is a good listen but mostly contains edited versions of his songs.

As successful as his early Afrobeat singles were, Fela didn't really hit his peak until he defined himself in opposition to the powers that be following a drug raid on Kalakuta. His first confrontational song (and probably the first in Nigeria) was Alagbon Close, which detailed then harsh conditions in the prison of the same name. From then on, he became more and more outspoken against the corrupt government and military. They didn't take it lying down, responding with a brutal attack on Kalakuta, during which the police burned the place down and savagely threw Fela's mother from a second story window, causing the injuries which claimed her life a year later.

Tony Allen is asked if Fela changed after this devastating experience: "No. He became triple or double of whatever he could be before, you know? No, this time, now he's really...mad." Mad as in angry and also a little crazy. Less than a year after the attack, he married 27 women in one ceremony, claiming the desire to live "a meaningful life" in line with Yoruban tradition. Michael Veal, author of Fela: The Life and Times of an African Icon and one of the well-used talking heads in the film, explains that Fela's approach to polygamy was far from traditional. While some of the mechanics (mostly scheduling) of the domestic arrangements are discussed, the film glides by the discontinuity between Fela's attitude toward women and his message of freedom and sovereignty.

Complex, contradictory, confounding - Fela was all of these things and more. But the music rarely faltered. When nearly every member of his crack band Africa 70 quit over financial issues, he had Egypt 80 up and running in no time. From his first official album, Open & Close, in 1970, until the last in 1992 he released nearly 45 albums, many of them excellent. Thanks to a couple of comprehensive reissue programs, they're all available (I have nine on my iPod now, including the great posthumous release, Live In Detroit 1986) on CD and LP, not to mention Spotify and Bandcamp, so there is no reason Fela shouldn't be an essential part of your musical life, as he is for me.

Since I am already a fan, it's quite possible that I'm not the precise audience for Finding Fela, although it always rewarded my attention and certainly deepened my understanding of the context of his music. As Bill T. Jones states near the beginning of the movie, his impetus in creating Fela! was to stem the growing tide of ignorance about Fela's life and music in the years following his death from AIDS in 1997. While that's an honorable impulse, and the musical served to inject some Afrobeat back in the culture, there's also the matter of what you give up about an artist as powerful and individual as Fela when you advocate for them via a different medium.

The structure of Gibney's movie had me hoping he was going to address that issue, and the contrasts between art and artifice that I brought up above. He comes very close during the end credits, when we see a performance of Colonial Mentality by the Broadway cast, featuring a very special guest: Femi Kuti on saxophone. He's more of a virtuoso on that instrument than his father was and he blows the roof off, in a stunning solo that totally collapses the difference between the imitation of a performance and performance itself.

So in the the end Finding Fela may not be as incisive as I hoped, but see it. And don't stop there - keep going until you find the real Fela.

The Book Of Fab

They were the Japage 3 (detail of a photo by Jürgen Vollmer)

My wife and I are big fans of The Compleat Beatles, the 1982 documentary that chronicles the story of the Fab Four from beginning to end in a scant 119 minutes. Consistently entertaining, the movie perfectly captures the wonderful arc of their fascinating and incredible journey in a way as satisfying as great fiction. When the Anthology series came out, we relished all the new details along with the astonishing footage and wonderful unheard music, but we missed the concision that made the earlier film so much fun.

So when I heard about Mark Lewisohn's All These Years project, which is to be a three volume history of the boys from Liverpool, with the first book, Tune In, weighing in at nearly 1,000 pages, I was slightly unsure whether it was all too much. Would this be a trainspotters account, full of dull facts and inane arcana that add nothing to a tale already well-told elsewhere? Since it was Lewisohn, I had to see for myself. After all, he wrote The Complete Beatles Recording Sessions, which is one of my favorite books about them, along with several other books that contribute to his reputation as a thorough researcher and lively writer who tells it as it was, without hagiography.

I'm pleased to report that Tune In is an unequivocal delight, a thrilling Dickensian epic page-turner that will without question go down as the definitive book on the subject. As each chapter went by, as the unlikely twists and turns continued to accrue, I continually asked myself How is this ever going to work? How are these dead-end kids (and in Ringo's case almost really dead - the doctors told his mother three times he wouldn't survive the night after he was struck down with peritonitis at the age of six) ever going to become The Beatles? And even when they do become The Beatles, how are they going to become any good? And when they do become good, how are they going to get from Love Me Do to Love You To - and beyond?

I still don't know how Lewisohn answers that last question as Tune In ends on the eve of the recording session for their first album. But let me tell you, even though I sort of know the end of the story, the suspense is killing me. So how does Lewisohn pull off this feat of legerdemain? Part of the answer lies in the notes at the back of the book, which lay bare the incredible synthesis of primary source material, prveviously published works and original interviews that it took for him to arrive at his engaging narrative. Another one of his secrets was "spending six hectic months" in Liverpool, which lends an unmatchable atmosphere to the book.

As an example, read how he describes the epochal moment in 1961when Brian Epstein made the journey from his Nems music store to the Cavern Club to see what all the fuss was about:

"The club was just a two-hundred-step walk from Nems, but November 9 was one of those smoggy, cold early-winter days in Liverpool, so damp that smuts glued to skin, so dark that the sooty buildings lost detail and car headlights couldn't put it back. Flights were canceled at the airport and foghorns groaned over the Mersey sound: the cawing seagulls and booming one o'clock cannon. The businessmen [Epstein and his assistant Alistair Taylor] picked a path through narrow Mathew Street, between Fruit Exchange lorries and their debris, and at number 10 Paddy Delaney showed them along the dimly lit passage and down the greasy steps."

This is how it's done, and it's just one of many, many moments that he expertly brings to life. Another thing that makes the book essential is how those twists and turns end up straightening out the story by adding the missing steps, such as the role of music-plugger Kim Bennett, whose persistence and vision kept The Beatles chance of getting a recording contract alive when Brian Epstein was meeting brick walls at every turn.

Lewisohn's solid musical sense further informs his writing, detailing the entire context of the milieu of the early Beatles, from influences to competition, and includes a clear-eyed look at their own burgeoning talents. Trust me, when he calls a tape of jam sessions featuring John, Paul and Stu "inexplicably, a horror," he's dead on. And if you've ever read Mick Jagger's assertion that the Stones were Willie Dixon and The Beatles were Luther Dixon, that will all become clear here.

Tune In will also give you an endless supply of anecdotes for conversation such as the pure gold of the time when Stu Sutcliffe sold half a painting for enough money that John was able to convince him to blow some of it on purchasing a bass guitar and amplifier. This was something no one else had been willing to do up to that point, and became a crucial step in their evolution. Why only half a painting? Well, it was heavy, painted on two boards, and after carrying one part of it, Stu and his friend Rod Murray just got distracted on the way to collect the other half...

Read it - and then join me in the wait for volume two.

 

Mnd Movies

There will come a time when the summer will end. The days will grow almost unnoticeably shorter and there will be a fragrance in the air - almost just a memory - as the first leaf browns, then dies, fluttering to the ground dry and crisp. Passing thoughts of fun times had and as yet un-had will skid across your mind and you will consider unpacking your weekend bag fully for once. But not yet. There's still a little time. What will it be? The Bolt Bus to Boston? Or the Jitney to that friend of a friend's share house out east? The ocean will be cold.

Those summer jams are starting feel a little aggressive, almost dictatorial in their imprecations to dance and have a good time. Something a little cooler is called for, and that's when that download from Stones Throw, still sitting in your DropBox, comes to mind. Yawn something...Yawn Zen - that's it. By Mndsgn. You've heard his slippery electronics in a collabo with Jonwayne on one of those cassettes but aren't sure what else he has to offer.

The first track, Yawn, is more of a question than an answer. Two chords strum back and forth and a little squelchy synth explores the places between, sliding into Homeward with its ticking drums and more querulous chords. Sheets lopes along deliberately, vocals drifting through the mix. What are they saying? Not important: you're into Frugality now, which alternates something almost funky with the inner thoughts of R2D2. Robot dreams. Exchanging is like breathing, which is scientifically accurate. Oxygen in, carbon dioxide out. More vocals, ba ba ba and something about where we belong. Sounds about right. Where else would you be right now? Breathe in, breathe out, exchanging your inside with your outside. Drift off.

Convert brings you awake slightly, with it's half-remembered wisp of a Mount Kimbie groove. No need to move to it, though, you're basking in the Arklite now, glass chimes tinkling and sparkling in the golden rays. Camelblues navigates by sonar, its blip...blip maintaining a steady distance from the shore. There's a sketch of a love song in there, like a dangerous text re-written and then deleted. Commitment...it's so committal. Txt (Msgs) might be the one that gets you up, at least to plug your phone in. There could be a dinner invitation on the way, or at least a call for drinks before that rooftop bar goes under mothballs.

Damn, it's AM. Slept through. Or is that just the name of the song? Chimes tinkle, gentle waves lap the shore, and then you are up, for the Afternoon Shuffle. Open the fridge, some leftover Chinese and an iced coffee. What's new on Netflix? The line of light on the ceiling has grown diffuse and then disappeared as the sun goes behind the building across the street. Zen brings the moment to a close, 12 songs passing in an instant. But what is an instant? And what is a moment? Is a minute different than an hour, qualitatively speaking? Did this day even happen? Ting. There's that text. Companionship and cocktails await, beyond the dusk. You just have to get there.

Mndsgn's Yawn Zen, a "study in the absence of struggle," is out on August 26th, just in time for the last days of summer. Check your Txt (Msgs).

Beck: The Central Park Shuffle

I don't always buy the t-shirt. There has to be a synergy between the quality of the concert, the design of the shirt, and the price. As my daughter and I made our way into the Rumsey Playfield Summerstage area for Beck's concert on July 1st, I took note of the shirts at the merch booth. Cool designs, decent prices, but even though I just declared Morning Phase the best album of 2014 (so far), I still didn't buy right away. For some reason, I've never seen Beck live before, and the one bootleg I heard (from the Newport Folk Festival in 2013) was a little uneven. So, he was going to have to seal the shirt deal from the stage.

First up was The Ghost Of A Saber Tooth Tiger, who took the stage right around 7:00 PM, while the sun was still hot. They came out strong with Too Deep, which kicks off their terrific album Midnight Sun, before burning their way through seven other songs from the album with barely a pause. It was an impressive display; Sean Lennon and Charlotte Kemp Muhl were in fine form and have assembled an extremely able band to bring these songs to life. I would especially like to know who the other guitarist was - his work was stellar throughout, often coaxing nasty or strafing sounds out of a big Gretsch. Some in the audience weren't so impressed, however, and preferred to talk - their loss.

The GOASTT ended with a cover of Syd Barrett's Long Gone, which was fleshed out brilliantly from the spare original and fit their sound, and Sean's voice, perfectly. With The Dakota only blocks away, I couldn't help thinking how proud Sean's father would be of him - after all, he wasn't born playing guitar like that, or writing songs like Great Expectations. While I've loved his work from the beginning, he continues to evolve and has shown impressive growth in the last few years since we saw The GOASTT at the South Street Seaport in 2010. The main difference is that now the songs match the strength of the band. Make up your own mind when they play a free concert in McCarren Park later this summer.

Before we knew it, The GOASTT's gear had been removed, the audience had tightened up, and Beck came out with six other musicians. They had barely spread out across the stage when they launched into Devil's Haircut from the classic Odelay album. It sounded fantastic and I suddenly realized that I had woefully underprepared my daughter. Morning Phase was the first album of his I've loved in a while and is the one we've played the most recently - but it's really only one side of Beck, as she was learning quickly. "I think you're going to want a lot more Beck on your iPod after this," I whispered to her. She nodded enthusiastically.

The crowd had exploded from the first fuzz-guitar riff and were now boogieing happily as the sun set, but no more so than Beck's band who just seemed amped. They lept nine years into the future, playing a glammed up take on Black Tambourine from Guero, which easily bested the studio version and kept the energy up. Soul Of A Man was warmly received but dissipated quickly when Beck launched into an unbelievable a cappella version of One Foot In The Grave, accompanying himself on the harmonica. He's a slight man, narrow in the shoulders, but he seemed larger than life as he roamed the stage in his dapper attire, blowing and singing for his life. The crowd ate it up and I flashed back to seeing Bowie at the Garden in 1983; I'm not sure I've seen another performer play the crowd with such skill, all the while making it look easy. At one point he mentioned that this was the first time he had played Central Park...legally. If he ever has to return to busking you can be sure his guitar case would runneth over.

He returned to the mic stand, put on his guitar, and conjured up The New Pollution, another blast from Odelay. It sounded beefier than the album version, thanks to the three guitars and two well-equipped keyboard players (including former Jellyfish Roger Manning) and clattered to a halt to ecstatic applause. Beck then related how he wasn't sure how to order the show, whether to start slow and build up or vice versa. He decided to sequence the set like a W: up, down, up - "you know what a W looks like!" On the left side of the stage, Smokey Hormel, for it was he, strapped on a mandolin while Beck and multi-talented Jason Falkner (who looks uncannily like he could be Beck's brother) picked up acoustics. The beautifully conceived background changed to a bucolic scene and they began Blue Moon from Morning Phase. This was what I had been visualizing in the months since I bought the tickets: standing in the night air listening to a perfect rendition of one of Beck's brilliant new songs. The reality was even better, as they brought a little more energy and drama to the song and, despite a few instances of feedback, the sound was rich and beautiful.

Lost Cause from 2002's Sea Change continued the acoustic set, which was completed by a gorgeous take on Country Down from Morning Phase. In eight songs he had covered six albums spanning nearly two decades of work and I found myself gaining a whole new appreciation for his achievements and talents. It also dawned on me that he was putting his whole career on shuffle play. Bowie crossed my mind again as the band struck up the title track to Modern Guilt. While the assumption of characters and personae is in no way as pronounced with Beck, like Bowie he has created a space for himself where he can pretty much do anything he wants. Also like Bowie, he's a great dancer and a bit of a cipher. Even though there are certain things we know about him - a bad breakup precipitated the introspection of Sea Change, he's a Scientologist, he's currently happily married to Marisa Ribisi - we connect with him on stage mainly due to sheer skill as opposed to self-revelation.

He's no robot, though - he forgot a few of the words to Modern Guilt, blaming it on the weed smoke wafting up to the stage; maybe it's because it's not a very memorable song. Think I'm In Love from The Information (2006) always sounded a little like an Odelay outtake but was engaging and propulsive here, driven by Justin Stanley's mesmeric bass, working that Taxman groove nicely, before the virtuosic band morphed it into Donna Summer's I Feel Love - jaw-dropping and delightful. Then came the moment it seemed many were waiting for: the bluesy slide that opens Loser. The crowd roared and it occurred to me the sheer cussedness Beck must have had to avoid becoming a one-hit wonder. He delivered it without apparent reservations, feeding back on the energy of the audience and rapping far more nimbly than he did 20 years ago. We all sang along with our own versions of "soy un perdedor" and the Rumsey Playfield became a total party - maybe the best party in town. The urban strut of Qué Onda Guero kept it going, pushing the sweaty mass towards ecstasy.

Beck's shuffle button then ended the party brilliantly, with a moody, fractured take on Paper Tiger, which led into a set of three songs from Morning Phase. Heart Is A Drum was pure bliss and the vocal tour de force of Wave was flawless, seeming to draw on a deep well of emotion, mesmerizing the listeners. Waking Light was even more epic than on the album, and as the finale crashed and burned, I thought: "This is it - the perfect end to the show, an apotheosis, as it is on the album."

Of course I was wrong. Three more songs followed, ending with a duo from Guero, the playful Girl and the slamming E-Pro, cunningly giving us all a chorus of "na-na na-na-na-na" to sing along with as we danced him off the stage. And of course there was an encore, including hilarious versions of Sexx Laws and Debra from Midnite Vultures, his r&b flavored album from 1999. He gave us the fully monty of James Brown spins and moves, even dropping to the stage, only to have Sean Lennon come out and throw a cape over him. Fun. The fun continued with the real final song of the night, Where It's At, another stomper from Odelay. As the band slid into a vamp on The Rolling Stones's Miss You, Beck introduced all the players and gave each one a little solo spot, including Lennon, who delivered a nice little tambourine jam. Eventually, they returned to Where It's At before cutting it off and linking arms to bow and soak in the applause and well-earned ovations.

Despite some ups and downs in his career, Beck is a master performer with a deep catalog to draw from - why he ignored the chameleonic Mutations (1998) in the set list, I'll never know - who is at the top of his game and currently on the road with the best band and tour of the summer. Catch him. Did I buy the t-shirt? Hell Yes.

Do the Central Park Shuffle on Spotify (minus One Foot In The Grave).

Make Time For Black Hours

Listen. It's a storyteller's trick, this command to lean in and pay attention - it may just now have worked on you, in fact - and one Hamilton Leithauser deploys with great effectiveness in 5 AM, the opening song from his brilliant debut solo album, Black Hours. "Listen...summer's coming," he intones to the accompaniment of piano and strings, "Slow down...don't chase crowds,'cause I'm right here." It's a mini-overture to both song and album in which he's literally instructing you how to engage with his music. Then the arrangement of strings and winds gains fervor along with his voice: "Do you ever wonder why I sing these love songs? When I have no love at all? Is the life you seek filled with senseless ease? Do you need someone just to cool your blood?" The rhythm section of upright bass and tambourine brings Kurt Weill to mind - but with lyrics by Faulkner and sung in a gleaming tenor to pierce your heart.

Of course, it's all a feint - "I'm right here," he sings, all the while he's constructing this lovelorn persona. Call him "Hamilton Leithauser" if you want to distinguish him from the actual person of the same name. Observed from the outside, Hamilton Leithauser (the real one) seems to be someone who values deep human ties and connections. After all, his wife, Anna Stumpf, sings on one track and has been on tour with Leithauser, playing keyboards and singing back up, while her brother, Nick, is the tour drummer. Paul Maroon, who co-produced and plays guitar on most of Black Hours, is, like Leithauser, an ex-member (or on "extreme hiatus" from) The Walkmen, the band they formed in 2000.

The Silent Orchestra picks up the pace, almost like a film's first scene after the credits. Leithauser's string arrangement has the sweep and pluck of an old Peggy Lee number, with piano and Marimba upping the bounciness. "When you get bored of your mind, come and find me," Leithauser sings, issuing the invitation with which all art summons us. The combination of the two-step beat with the dark and vaguely surreal lyrics is incredibly effective. This is a landmark song. As thrilling as it has been to hear Leithauser's development over the course of The Walkmen's catalog, he's taken another leap here.

The third song, Alexandra, is one of two produced by (and co-written with) Vampire Weekend's Rostam Batmanglij. It's shamelessly romantic, with a huge beat, wheezing harmonica, and Batmanglij's irrepressible backing vocals. Like their other collaboration, I Retired, it's one of the lighter tracks on Black Hours. In the movie I'm creating in my mind around the album, these two songs are performed by the character onscreen as he tries to get his life back on track.

11 O'Clock Friday Night returns us to the more subtle and complex sound of the first two songs and has quickly become an essential part of my musical life. Some compositions just entwine with your soul in an ineffable way, like they've always been there just waiting to be heard. Morgan Henderson, of Fleet Foxes outdoes himself here, playing bass, percussion and marimba. Both he and Richard Swift, who drums on most of the album, are as important to Black Hours as Leithauser and Maroon. That said, St. Mary's County finds Leithauser in full crooner mode, singing over piano and strings. As on the rest of the album, his phrasing is precise and original.

Self Pity begins with a ghostly sound that leads into a two-note riff, with Leithauser singing in a spooky high register. Halfway through, a near reggae beat is introduced along with a dub influence. It's entirely unexpected but feels completely inevitable. Writing a song with a turn like that is a sign of real skill, and one Leithauser pulls off on more than one occasion. I Retired does it, too, sliding into a woozy singalong that wouldn't be out of place if sung by Elvis Presley with The Jordanaires. It's just to the right side of jokey, and sensibly fades out.

I Don't Need Anyone has a patented Maroon guitar figure that any fan of The Walkmen will find familiar. Leithauser gives his all, powering over the strings and organ. "Don't know why I need you. I don't need anyone," he sings, a universal cry of the lonely person trying to put a brave face on their solitude. Even if you know Leithauser's wife is right there with him in the studio, singing back-up, you believe every sad word "Hamilton Leithauser" sings. Bless Your Heart stars out in a ruminative mood, pushed along by Morgan Henderson's bongos and Amber Coffman's dreamy vocals. Then the beat picks up in another one of Leithauser's crafty transitions, with the song gaining a epic fervor as he wails wordlessly. Another spellbinding song and one that will stay with you.

Unless you have the deluxe version of the album, The Smallest Splinter is the final song. It features an indelible melody and finds "Hamilton" seeking redemption ("Give me a kiss and tell me I'm alright) and forgiveness ("Show me the man who never disappoints"). It's a fitting end to Black Hours, completing a satisfying song-cycle and a strong argument for the album as a form. And yet...the vinyl release comes with an additional four songs on a one-sided 12" (also included in the tracks available for download in a variety of formats using the code provided). They're also available on iTunes and I strongly recommend that you make the investment one way or another.

These are in no way B-sides. All four songs are as strong as anything on Black Hours proper - in fact they may be more essential than the two Batmanglij songs. Not only do they occupy the same emotional territory, they expand the sonic palette a bit, whether via the the hymn-like horns of Waltz or the Neopolitan sweep of In Our Time (I'll Always Love You). The latter song also contains a hopeful ending to the movie in my mind: "Today is the day/That we're starting again/If I don't look the same/Well that's gotta be a good thing." Utrecht, however, finds "Hamilton" alone again, with just his acoustic guitar and a bed of strings, and the final final song states bleakly I'll Never Love Again. The story, if there is one, fills in a little here: "You liked your hollow world/I guess you're just that kind of girl/And now you'll never know why/ You were thrown to the dark/from the center of the spotlight," and finally: "Your songs may live on, but I don't sing'em." Credits roll, and the silenced audience files out of the theater.

Black Hours is the culmination of everything Leithauser has been working toward over the last few years, a vision of timeless, elemental singing and songwriting that harkens back to the past while remaining resolutely of the present. His work here vaults him to the highest rank of contemporary artists, and one with a bright future irregardless of what happens with The Walkmen. He can deliver this material live, as well, based on the short set I saw at the BAM Harvey Theater as part of WNYC's Radio Love Fest. The charming suavity he displayed with The Walkmen was still in full effect along with a coiled excitement about his new songs. The band was great and will likely get tighter with a little more time on the road. They'll have plenty of opportunity as he is touring extensively throughout the summer and fall, both on his own and opening for Spoon and Broken Bells.

And what of the othe members of The Walkmen besides Leithauser and Maroon? None of them are sitting on their hands. Revered drummer Matt Barrick is also a talented photographer and will surely have no trouble getting session work. Peter Matthew Bauer and Walter Martin, who shared bass and organ duties in the band, have new albums of their own out, with varying success. Martin's record, We're All Young Together, calls on a who's who of indie rock (Karen O, Nick Zinner, Matt Berninger, Alec Ounsworth) to put across songs supposedly for the whole family - to my ears it's a smug as a Laurie Berkner album, from the overly cute lyrics to the affectedly casual way he sings. Not for me. Bauer's Liberation!, however, is an appealing and slightly ramshackle affair, with hints of the folkier sides of The Rolling Stones and The Faces. His voice is very relatable, reminding me of Paul Westerberg at times, and the songs are sturdy and sometimes soaring. It's a solid, enjoyable album and seems to hint at more places to go for him.

2014: Mid-Year Report

When it comes to eating, I believe in a balanced diet. Like the other day, when I was ordering a mango, strawberry and blueberry smoothie. The other person waiting at the cart said, "What, no banana?" I told her that I had already had a banana that morning and that the mango would give the smoothie plenty of body. I failed to mention that the banana had been atop a waffle, drenched in maple syrup and sprinkled with toasted pecans - all part of a balanced diet.

When it comes to music however, all bets are off. If I want to gorge myself on James Brown or Wagner, or if all I want to listen to is hip hop or instrumental music, there's no earthly reason to reconsider. I follow my muse and feed my soul without any external obligation. However, I do occasionally take stock and note what I'm not listening to just to make sure I'm not missing out on anything. Over the years, I have noticed that most of what is in heavy rotation is dominated by males. Besides my beloved Holly Miranda, brilliant Björk, delightful Hollie Cook and a few others, female artists I love have been few and far between. It's not for lack of trying as I'll listen to anything once. Neko Case, St. Vincent, Tuneyards, Sharon Van Etten, Tori Amos, and many other critical darlings just do not do it for me - I'll say no more.

No problem there, right? I'm just feeding my soul. Except - I'm also feeding my 15-year-old daughter's iPod and I want to make sure she's exposed to plenty of music in which she can see herself reflected. So, in early this year I asked her, "Would you like to have more female voices on your iPod?" She said yes, so I began to marshal the troops: Björk, Hole, The Raincoats, The Slits, Emmylou Harris, Solex, and other wonderful records from the past. Then something happened: before I had a chance to start loading anything onto her iPod, I noticed that I was listening to more women's voices than ever. Problem solved! The culture had come through - for my daughter and for me, something which you will see reflected in the list below.

The Best of 2014 (So Far)

1. Beck - Morning Phase A few months have not diminished the glory of Beck's achievement - in fact, it's only gotten better.

2. Hamilton Leithauser - Black Hours I'll have much more to say about this extraordinary album soon.

3. Breton - War Room Stories - America may still be sleeping on this London-based band, but they keep moving forward, adding an orchestra to their patented blend of post-punk rhythms and contemporary electronics.

4. Angel Olsen - Burn Your Fire For No Witness Her first album, Half Way Home from 2012, showed a beautiful voice married to a promising songwriting talent, but added up to a somewhat one-note affair. There was definitely something going on, but barely a hint of the commanding artist that we hear on her second album. Her decision to open up her sound to a full band and work with producer John Congleton means that her songs now find full flower with intensity and variety. Touching on the elemental power of bedrock artists like Hank Williams and Roy Orbison, her voice emerges fully formed on this instant classic. Each song gets the arrangement it deserves and the respect Congleton has for Olsen comes through loud and clear on White Fire, a stunning song that does not attempt to improve on Olsen's voice and haunting finger-picked acoustic, and Enemy, which sets her voice far in front of some whispery strumming. Hi Five, Angel, high five.

5. David Greilsammer - Scarlatti & Cage Sonatas This addicting collection is an inspired dialogue across the centuries, expertly conceived and brilliantly played by Greilsammer. Piano record of the year.

6. Hollie Cook - Twice You don't have to know that Cook is rock royalty (her father is Paul Cook, drummer for the Sex Pistols) to fall in love with her lighter-than-air voice and blissful take on reggae and lover's rock. Working again with British reggae savant Prince Fatty, they concoct a fantastic follow-up to the 2011's debut album. Adding strings, harps and loads of atmosphere, Cook and Fatty have again made a perfect summer album. Now there is a bit of imperious steel to her voice, too, which keeps the whole enterprise from dissolving like sugar under a waterfall. I can't get enough.

7. Hospitality - Trouble This Brooklyn-based trio ably dodges the sophomore slump by adding a dose of darkness to their sound and further exposing the protean talents of Amber Papini (singing and songwriting) and Nathan Michel (production, percussion, songwriting, etc.).

8. Courtney Barnett - The Double EP: A Sea Of Split Peas This Aussie singer-guitarist takes a little Nirvana, a dash of Lou Reed, a few shakes of Noise Addict-era Ben Lee, and adds her own wry twist with songs about asthma attacks, failed romance and being young. Everything is a little woozy and behind the beat so you feel dragged along, almost by the sheer force of her personality. Live, she takes things further, increasing the dynamics of the songs and rocking hard. She's clearly become a better musician than when she recorded the songs collected here, but no less fearless, which bodes well for her future.

9. The GOASTT - Midnight Sun The full on psychedelic freak out I always knew Sean Lennon and Charlotte Kemp Muhl had in them. Great songwriting, too, full of wit and imagination. Catch The GOASTT at a free concert in McCarren Park on July 30th.

10. Isaiah Rashad - Cilvia Demo Even with a good album from Mobb Deep and an almost great collaboration between genius producer Madlib and young gun Freddie Gibbs, this has not been a stellar year for hip hop. Rashad, however, is on to something. Signed to Top Dawg Entertainment, the same firm that helped break Kendrick Lamar big, he's put together an extremely strong debut. Equally thoughtful and filthy, Cilvia Demo is laden with gorgeous, lush beats, creating a very involving experience. Even with no less than nine producers, the album holds together very well and Rashad is clearly enjoying the radical dissonance between his nasty lyrics and the beautiful music he's selected. One to watch.

11. Kate Tempest - Everybody Down Another hip hop bright spot comes from a far more unlikely source. Tempest is the youngest poet to win the Ted Hughes Award but has also been honing her flow for the last dozen years. Both talents come to the fore on Everybody Down, a song cycle about the confused collisions of young people trying to make it - and connect with each other - in today's England. Producer Dan Carey crafts forward thinking grooves that move the body as much as Tempest's lyrics touch the emotions. The album somehow reminds me of Vikram Seth's novel-in-verse, Golden Gate, in that it uses a very structured format and some familiar tropes to tell a very individualized, particular story. We'll see how the accompanying novel, due in 2015, handles the material. Tempest's husky voice is surprisingly versatile, modulating and taking on the tones of her characters in a real tour de force show of skill and theatrical talent. And people who read the New York Times are still wondering if hip hop is music.

12. Kojiro Umezaki - (Cycles) Shakuhachi virtuoso Umezaki uses his evocative instrument and polyglot tastes to connect the dots between head and heart, future and past on this absorbing collection.

13. Glenn Kotche - Adventureland Wilco drummer Kotche makes huge leaps as a composer on the seven movements of Anomaly, performed with the Kronos Quartet, and indulges in his taste for the quirky on several "haunted" shorter pieces. The best of a clutch of releases from Wilco members, although, Macroscope by The Nels Cline Singers isn't far behind.

14. EMA - The Future's Void Erika M. Anderson took a couple of years off after the searing (even tortured) revelations of Past Life Martyred Saints but has returned strongly with the carefully crafted, gnomic pronouncements of The Future's Void. She brings the same emotional commitment (and a caustic wit on So Blonde) to songs that are often about our current engagement - OK, obsession - with technology, that she brought to more personal material. It's hard to tell if she's judging the moment harshly or simply pointing it out, especially when the songs have such a lustrous techno sheen. Maybe this was the music Bowie's girlfriend heard on the radio after she crawled into the holographic television in TVC 15. Whatever her point of view ultimately is, this isn't the first time someone's made a great record by having it both ways.

15. Parquet Courts - Sunbathing Animal Last year's Light Up Gold so quickly took its place in the firmament of NYC rock, that it's almost easy to take the follow-up for granted - another Parquet Courts record, they're always good, aren't they? In reality, they're still a young band and they continue to both refine their sound and draw more into it. This time around there's also no question that they know exactly what they're doing - and that they are very, very good at it.

16. Siinai - Supermarket Now I've never been to Finland, but if the kosmisch music - both creepy and ecstatic - on Siinai's concept album is any indication of what it's like to shop there, I think Fresh Direct may have a new market to explore. I don't take the concept too seriously, however - this may just be the best Krautrock album of the 21st century. Layering synths with a tangible excitement that's contagious, Siinai have created a compulsively listenable series of soundscapes. Go ahead, put it on next time you're in the Stop & Shop - just don't blame me if you forget a few things on your list.

17. Eno-Hyde - Someday World I'll admit to being a complete dilettante when it comes to Underworld, having struggled to find anything in their catalog as satisfying as Born Slippy. When I heard Eno was working with Underworld main man Karl Hyde I wasn't sure it would add up. Turns out this might be my favorite Eno project since his last collaboration with David Byrne, the marvelous Everything That Happens Will Happen Today. Both Eno and Hyde can come off as pretty chilly and cerebral, but they go for a warmly emotional sweet spot on most of the 12 songs here. Standout track Daddy's Car blends nostalgia with Afro-futurism, and The Satellites is suffused with space age optimism. A Man Wakes Up is almost a happier companion to Once In A Lifetime, and if it's chilliness you seek, When I Built This World has it in spades. Slightly proggy sections alternate with robo-Eno singing about how he filled the world he created with regret, guilt, pain and sin. It makes a nice pair with Bowie's If You Can See Me - but some who call Eno a god might want to reconsider. Hyde is in fine voice, avoiding some of the indulgences of his Underworld days, but best of all is hearing Eno's even, intelligent tenor again. They must be getting along as a second album, High Life, is just out along with an app, and perhaps we have Hyde to thank for getting Eno back on stage, at least on TV.

18. Nicole Atkins - Slow Phaser I came across Nicole Atkin's honeyed mezzo thanks to an off-hand reference to her on Holly Miranda's Instagram. While I sometimes wish Holly would lay off the social media and finish her album already (she started her Record A Record PledgeMusic project in 2011!), I am grateful for the pointer to Slow Phaser. This a great well-produced collection of pop songs, with heart, soul and wit to burn. Each song features a distinctive arrangement, with the disco groove of Girl You Look Amazing and the synthesizer throb of Cool People being especially catchy, and Atkins applies her gorgeous voice to her rich melodies and amusing lyrics with welcome restraint. For the life of me, I can't imagine why she doesn't get more attention.

19. Golden Retriever - Seer A duo of modular synthesizer and bass clarinet does not sound too promising, yet Matt Carlson and Jonathan Sielaff have managed to create a varied series of pieces that harkens back to the early days of exploratory electronic music, while still sounding completely up to date. There's simple beauty here, like the bird-songs of Archipelago, as well as the doomy outer-space landscapes of Petrichor, which is somewhat reminiscent of Harold Budd's classic Gypsy Violin. Flight Song is filled with yearning and soars along dreamily like a slightly edgier Vangelis track. While improvisation is definitely a part of their process, there's a sure compositional hand here keeping Seer tethered - and fascinating.

20. Perfect Pussy - Say Yes To Love I've already written about the live experience of Meredith Graves and co., but the album is a slightly different proposition. While some of the free jazz wall of sound is still here, along with sonic references to hardcore punk, there is also a well-deployed touch of pop sheen, especially on Big Stars and Interference Fits. Putting ambient sound art interludes into the mix, courtesy the electronics of Shaun Sutkus and controlled feedback from Ray McAndrew's guitars, adds welcome respite to the onslaught while also providing distance from the churning emotions of Graves's singing and lyrics. While they're not very prolific - there are only eight new songs on the album, which they pad out with four live tracks - it's dense enough that it deepens with repeated listens. With a name like Perfect Pussy, they were always going to attract rubberneckers, but they're in this for more than just sensationalism - I know I get a lot more than that out of this exciting record.



What will the rest of the year bring (besides Morrissey and the long-awaited return of Spoon)?