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vroenis · 4 years ago

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2020 Music In Review

When this was a draft, it opened with a bit about me not writing, but then I started playing board games again and wrote two bits on board games. In the trashfire that 2020 was (add “trashfire” to dictionary, no I did not mean “trash fire”), and 2021 continues to be, somehow I ended up getting back into board games. Actually there are good and logical reasons I returned to them and if you’re interested in that, I go into some of it in those journals, but more interesting is just playing the games so you should totally HMU if you’re local, sorry I don’t do virtual/digital, I like handling physical pieces and sharing food.

The most natural way for me to wrap a year for me is in music and since Melbourne locked down in March, I spent a lot of time working from home and listening on my own gear which I can’t express enough the joy at being able to do - firstly at having good reference transducers and secondly not having to listen to trash radio.

Writing about art is always a bit weird but it’s good fun so we do it anyway so let’s write some words about art. There are three main ways I engage with music in no particular order - more or less however I happen to notice them;

Music and musicianship - tonal and rhythmic composition

Technical production - recording, editing/manipulionation, processing/production, mixing and balance, and mastering

Song-writing/lyrics - should there be any - excludes vocal performance as this is covered under the first one.

To get weirder about it, I tend to have both emotional and also pragmatic responses to those three things separately so that means there’s a wackadoo matrix of 6 criteria I seem to be assessing every piece of music I encounter against and yep, that’s a thing I do, all the time, every time. The better a piece of music is, tho, the more the line between the emotional and pragmatic blurs as the overall quality of the work is established. I might begin with an initial pragmatic appreciation of an excellent mix and balance, and technical execution of a recording and production, then come to get a feel for how emotional a work is - and vice-versa. Sometimes on rare occasions, it all happens at the same time - an album is just a smashing work of excellence in every way and I just love every aspect of it more over time.

It’s worth mentioning I don’t really have any great axe to grind with pop music - there has always been and continues to be great pop, and good pop isn’t by any means easy music to create. For me at least, and likely many people, what destroys pop as a listening experience is repetition which usually isn’t under the listener’s control, but an unfortunate side-effect of the underlying culture that sustains pop as an industry. I still appreciate and admire so much about pop-music and always keep a little in my collection from each decade. No matter what, always remind yourself that the kids are OK and that there’s always great pop-music around - stay in touch with it. Some of it is truly awesome, and I use the superlative with sincerity.

Albums Of The Year

A few things happened on the way to me actually getting to write this journal, including some surgery (I’m fine), but also I ended up nominating no less than 4 Albums Of The Year. I think they deserve their own lengthier write-ups, in a weirdly me thing to do, I feel like I want to talk less about them and you should just go and listen to them but they have been getting a lot of air-time on my channels - in any case, here’s a lazylink to the instagram post I did for them. They’re all great and they feature in the lists coming in this entry so give them a listen, they’re outstanding.

Personal Charts

When I set out to write a musical summary of the year, I went to my last.fm page to see what I’d listened to by number of plays polled. As mentioned, given the Covid lockdown and working from home so much, I’ve actually gotten to register a lot more of my listening on the site whereas in general so much of my listening happens offline, so to speak, be it in the car or on my mp3 player. This year has also seen a serious shift in my buying habits shift entirely to Bandcamp for a few reasons; Google shut down their Play store in favour of streaming because naturally it favours them and not artists - it also just makes sense for them from infrastructure and administrative perspectives, but also I just did more and more research and naturally found more and more artists and Bandcamp just made sense. I want to write a digest as to why you should do the same but I feel like people need to find their own way there or approach me directly so the motivation comes from them. Streaming is bad for artists and while I and indeed artists don’t want you to close your premium accounts just yet because closing any revenue streams to artists in any way is bad, I encourage you to do some research into just how much revenue there is in streaming, and what your expectations are for how you think the artists you love so much are supposed to make a living. I guess if your engagement level is fairly low, or the culture you’re into is pop-music, then this is the end of the discussion and that’s OK, we don’t need to take it any further. If you’re in any way curious about what this issue is, this video by Benn Jordan is a great place to start.

There are two charts I’d like to share - one is my top 10 albums I’ve chosen, the other is the same albums by number of plays as per my last.fm polling. These aren’t the top 10 albums I polled, mind-you. Sometimes I listen to an album a whole bunch just because I’m into it or because it slaps, but it isn’t one I’d nominate as an album that encapsulates the year.

You’ll immediately notice not every album was released in 2020, however my conditions are that they either had to have been released close enough to 2020 that I’d have done heavy listening in the year, or I had to have purchased them in 2020 so they were new to me in the year.

Here are the 10 albums I chose;

And here they are by number of plays polled in 2020 - bear in mind I probably played one or two favourite tracks a few times more, so they don’t neatly divide by number of tracks listed on the album;

A few immediate things to note;

- Dreams Are Not Enough is significantly underrepresented because I don’t listen to it at my PC while I work. In general, I definitely listen to this far more in environments offline, but also it’s not exactly an all occasions album given its tone and atmosphere, if you know what I mean, and if you don’t - give it a listen and find out.

- La Favière on the other hand is more or less a bit of a party so I play it a lot… yet when it comes to my personal rankings, it’s not that I like it less per se, it’s just that I love the other albums more - tons of respect to Iversen. It still made 10th on a list of hundreds of albums and netted 161 plays out of thousands of files I have.

- Had I done this kind of list in 2019 and known about Reid Willis, I suspect The Longing Device would have been an Album Of The Year then. It was a dead ringer for an Album Of The Year for me this year except then he released Mother Of and that is an absolute killer, so he outdid himself and I selected that instead. Reid Willis is a genius.

- There’s a long story as to why I only bought Hanan Townshend’s soundtrack for To The Wonder in 2020 but at least I was delayed long enough to not produce any more plastic, given my original intention once upon a time was to get it on CD. In any case, I had to buy it on iTunes and was bedstricken from illness for days after. iTunes is cursed.

Telefon Tel Aviv - Dreams Are Not Enough (October 2019)

In 2009, Telefon Tel Aviv released their album Immolate Yourself and then Charles Cooper died. I didn’t actually find out about his death until after I’d heard the album a few times over, but the album stayed with me for the 10 years to the new album as a landmark like no other. In part for the mourning of Charles, but simultaneously and separately as something that stood apart as some sound for my life that no other music could touch. Maybe The Haxan Cloak’s Excavation, maybe Darkside’s Psychic, but each of those in different ways.

10 years later and Joshua Eustis continues his long journey and releases Dreams Are Not Enough in the Telefon Tel Aviv name. After my first listen, I tweeted to him that I felt like deleting the rest of my music collection which we had a laugh about (he’s a very sociable person, by the way, if you’re not an asshole - he’s also someone you can learn a lot about the industry from). The thing is - I want to have these kinds of exaggerated reactions to the art I engage with - I want them to be world-destroying. Sure, not every piece of art has to be immense and euphoric and devastating, but it can’t all be run-of-the-mill either.

It’s difficult for me to describe Dreams Are Not Enough in practical terms, it is still a Telefon album, it is also Telefon without Charles, it’s also mourning him, is it moving on in his absence? It is definitely its own art for you to engage with as a unique work, to you the individual. It’s uniquely Telefon Tel Aviv in a way that no other electronic artist does the same way - it feels a specific way and there are times when no other music will do. One of my running jokes is that Porpentine’s Howling Dogs and Cardboard Computer’s Kentucky Route Zero will be my Game(s) Of The Year every year forever and Dreams Are Not Enough now with Immolate Yourself are going to last 10, 20 years - longer - as Albums Of The Year forever too because there’s just never anything else like them.

Reid Willis - The Longing Device (January 2019)

The good thing about having made my choices earlier in 2020 is that Reid WIllis’ Mother Of wasn’t out when I wrote-up the list, so I get to talk about The Longing Device.

Reid Willis was an absolutely random find on Bandcamp. Occasionally I like to dive into subgenres and just go hunting. You can imagine that 9 times out of 10 this is a fruitless endeavour and might think this is frustrating but I really enjoy doing it as an exercise in critical listening. By whatever turn of divine Bandcamp listing, I came across the first chronological album he has up, Crude Healing (2016) and from memory listened to four tracks before instant-buying his entire discography available. I did go hunting on the Google Play store before it was shuttered and buy the most recent album from 2013, The Sunken Half listed from his older works before he jumped over to Bandcamp for all his newer albums and it’s definitely a transitional work to what he does now and well worth having. While Crude Healing initially blew me away, The Longing Device is a more mature album that has been more carefully shaped, skills having been honed and focussed into a less raw and yet more powerful sound. Very rarely am I ever an “I liked your old stuff better than your new stuff” kind of person, in general I tend to go with an artist when they evolve and grow unless on occasion they go in a completely different direction in which case hey - I respect it but sometimes it’s just not something I feel.

Here Willis’ orchestrations are careful, beautiful and languished in the right moments - cut with beats and edits, and the beats and edits likewise deftly cut with orchestrations. This is such a stunning exhibition of creativity, it’s one of the more esoteric examples of my music collection and also in some ways perhaps one of the more approachable works. Then in November Willis released Mother Of where he just takes everything to the next level.

Mat Zo - Illusion Of Depth (October 2020)

In July of 2020, Above & Beyond released their ongoing regular compilation Anjunabeats volume 15 and finished the first disc with a bangin’ Mat Zo track called Problems, an instant favourite of mine as soon as I heard it. It’s a tough year for DJs and musos all round not being able to tour, Josh Eustice and many others have been doing year-round commentary about irresponsible alleged “underground” gigs have nothing to do with the old-school spirit of underground at all and have turned into superspreader events, and how publishers and labels haven’t supported artists through Covid. Leading up to October, Anjuna and Mat Zo promote his forthcoming album and I have to admit, I’m pretty hyped and then it drops.

Holy shit.

In a year of such terrible events, this felt like such a timely dose of positivity that arrived at just the right time. I wrote a whole damn entry for this on instragram, and it’s one of my Albums Of The Year, but far out the digest of this album. On one hand, it’s a hugely technically accomplished work - it’s a diverse exhibition of styles, musicianship, stellar production, and absolutely pristine mix and balance - on the other hand, it’s just an absolute fucken banger-riot-party of an album. The album stands up to a clinical listening on reference transducers, it’s such a delight to audition and examine in every way, but you can set all of that aside and just enjoy the experience, front to back through the tracks in order and as an album, that’s becoming quite rare. There are levels of production discipline on display in this album, especially for electronic music in difficult mixing environments with potentially cluttered frequency ranges that a lot of artists need to learn from, yet Maz Zo executes with ease. This has a lot to give no matter who you are, whether you want to sit down and listen, dance all night or go for a drive - a word of warning, it might make you want to drive fast!

It’s also worth noting that Mat toured this album virtually in Minecraft in order to be Covid-safe and that is absolutely freaken amazing.

Hanan Townshend - To The Wonder (April 2013)

Not the best choice of cover-art, but to be fair, no-one likes Terrence Malick films so it doesn’t really matter. Like most things, getting into music tends to be multifaceted. To The Wonder is my favourite Malick film and yes, I love many of them (you can check the Film Notes page), probably because it’s the most intimate and grounded of his narratives. I still like the more grand and abstract stories he tells, they’re very much my bag, too, but To The Wonder really is a simple story about people told from a closeness that is for some perhaps uncomfortable, but I love that closeness. There’s a dream-like quality to Malick’s filmmaking and indeed cinematographer Emmanuel Lubezki’s photography that is both surreal and organic that makes the film feel very real and then like recollection once it’s done. Hanan Townshend’s music perfectly matches it, and then like all good soundtracks transcends the purpose for which it was written and can be applied to life outside of its matching media. There is a certain framing I have in my mind and at times, with the way I quite literally see, that makes me cue this soundtrack. Very few other soundtracks have this kind of power - Kenji Kawaii’s work for Ghost In The Shell (inclusive of Innocence), Hajime Mizogughi’s Jin-Roh and Cliff Martinez’ Solaris would be some of the others.

Daniel McCagh - Altered States (April 2020)

Another semi-random Bandcamp find, I was chuffed to learn that Daniel McCagh is from Albury, NSW, Australia. It’s always amazing to find local artists who are this astonishingly talented. I tend to associate Australian musicians at the not-quite-there-yet level of art and still do. That’s not a criticism of the artists themselves, it’s a criticism of our government and their backwards attitude towards arts funding and economics in this country. We are a developed country in the age of the internet where information and culture is shared instantly but we deny our people opportunities in so many ways - in education, facilities, commerce and economic infrastructure - the state of internet services in this country for a start is appalling and has been behind global standards forever. It will take us so much time, funds, resources and coordination to catch-up and of-course the longer we wait, the greater the cost and each successive government makes their excuses as to why we can never quite afford to do things right.

Props to individuals who can make it stick, tho, and Daniel McCagh is one of them. It’s probably shockingly unfair to hold someone up on a pedestal every time they do well but I can’t help it - Altered States is on par with Reid Willis’ and other dark ambient/electronic works or whatever genre you want to put them into. On Bandcamp these darker synth and drone-centric artists are a dime a dozen and to be fair, a lot of them are quite good but finding works that truly stand out in excellence can be difficult. The low play-count is due to having only found and bought the album quite late, but it goes into rotation fairly often and it’s a growing genre in my collection.

The 1975 - Notes On A Conditional Form (May 2020)

The closest thing to pop music to hit this list, NOACF was going to appear at some point - just getting pipped at the finish-line by Reid Willis, all told. I listened to this in the car quite a bit when I was still in rotation in the office before full lockdown.

Writing about The 1975 will be a Thing - either you’ll know something about them or nothing at all. For me, I guess I engage with them entirely differently from superfans - I’m in my late 30s so it won’t surprise you that I don’t have a TikTok account nor do I op a Spotify account and I’m not active at all on Facebook altho neither are gen Z. That said, I’m not entirely sure who their core fanbase will be - they don’t strike me as chart-topping, TikTok everpresent pop-culture icons. Their lead singer certainly has the awareness of pop-culture to communicate with their fan-base to keep up, but they don’t seem to engage at the same level of the lists you see on say, Todd in the Shadows - but I’ve not watched enough of him to know if he’s ever mentioned them.

Anyway I’m enough of a musician (read: snob) to dig their lofty musical stuff - it’s the perfect follow-up and follow-on from ABIIOR and I Like It When You Sleep... before that. Their sound stays uniquely theirs while slowly evolving with contemporary sounds, all the while the production stays top-notch and I’m always pleased with what I hear from a mixing and balance perspective. It also sort of launched with one of the most exciting singles I’ve heard in a while If You’re Too Shy (Let Me Know) which has to be one of the absolute best recreations of the quintessential 90’s sound yet with contemporary production discipline I’ve ever heard. Many have tried yet most have failed. I always have so much respect when an artist can nail this kind of thing because it’s immensely difficult to do and I’m so proud of The 1975 for pulling this off. All of their genre homages and tilts on this album - actually on all of their albums since I Like It When You Sleep… have been stellar and I continue to be impressed.

I’m also completely onboard with their performative behaviour - they remind me of the angsty political U2 et al of old, but with the necessary contemporary tilt we need. Matty as a front-person is grounded, sensible, vulnerable, flawed - been thru some shit and talks openly about it. I don’t care how much of it is genuine, it reads and plays genuinely. I’m not a superfan so I don’t have posters of him on my wall nor hang on every word he says, but if I was 16 or 23 and did, I think he’s saying the right things. Setting that aside because it doesn’t matter, as a late 30’s adult, this album is fucking great and the band is aging, whether the fanbase likes it or not. There is so much creativity in it and I feel like while they play like they don’t care whether anyone comes along with them or not, they actually really sincerely hope we all do - and I also hope we all really do come along with them because I am coming along with them. None of this “play Antichrist” bullshit - leave the past in the past. Play Nothing Revealed / Everything Denied. They just cancelled their 2021 tour plans due to Covid which was a really good move, and confirmed a new album in the works, and I can’t wait to hear what they have coming.

The Midnight - Monsters (July 2020)

One of the most exciting releases last year, I was amped for the drop and was anticipating another solid, top-notch contemporary synthwave album from who I regard to be one of the very best in the genre. They’d released America Online some months prior which I really loved but it didn’t really indicate what the album was going to be like. Monsters ended up being waaaaay better than I expected - and I expected it to be really great. I don’t know whether it was a conscious decision by the band that perhaps the synthwave space was perhaps wearing out the 80’s a little bit - even pop-music was starting to take nibbles at the genre albeit pretty poorly by comparison, not that radio-punters would know it. With the new album tho, we’re taken into this wonderful in-between of not fully 90’s but not wholly 80’s either and even some contemporary r’n’b thrown in there but always stellar production and it’s just a massive album. It’s like a film you watch that ends up being an instant favourite you wish you could watch again for the first time because that first experience was so great. EVERYTHING lands perfectly in this album… with perhaps the exception of the lyric

“friends become lovers under covers”

in the song Prom Night because celebrating teens being sexually active is probably not something I cherish too much but hey, whaddayagonnado some things are just facts LET’S TURN THIS INTO A TEACHING OPPORTUNITY ABOUT CONSENT let’s not at least not right now.

Jeremy Blake - Object Permanence (December 2019)

Jeremy Blake is also known as Red Means Recording and he is a Synthlord. He has a YouTube channel and I am a superfan of his, so much so that I wrote a feature about him right here in this journal. I have a lot of his albums and Object Permanence is one of my favourites.

Jeremy is the definition of good faith. Everything he does is done with the intention of creating goodness in this world, in whatever way it can, somehow. Whether it’s just by listening to something that you might find pleasing, or whether it’s watching a video intended to help you create music on a piece of hardware or learn about software or licensing or platforms, distribution or business in some way. I happen to really dig the kinds of music styles he’s into as we seem to have had similar roots when it comes to some of the rock and electronic music we grew up on and have been into in our music lives, so the music he makes now really gels well with me. It was super difficult to choose between the album he released before this called Soft Music To Do Nothing To and Object Permanence but ultimately I think this is the right choice as far as an exhibition of his talent goes. Soft Music is still great, it’s more of a long jam he performed with only three pieces of gear which is pretty amazing and I listen to it all the time, but Object Permanence has some distinct tracks in varying styles I really get into.

I highly recommend Jeremy’s YouTube channel as an entry-point into his style, but if you’re a synth-head and like beats, breaks and groovy bleeps and bloops, you definitely won’t go astray by dropping into any one of his albums on Bandcamp.

The Paper Kites - On The Corner Where You Live (September 2018)

File The Paper Kites under “holy shit another Australian artist that isn’t rubbish” and from Melbourne, my hometown at that. In 2018, they split their new tracks effectively into two albums which works really well. The first is called On The Train Ride Home which is wholly downtempo and almost entirely acoustic with no drums, the second is this album and is a more energetic. I don’t actually prefer one over the other and have just made myself a playlist with contributions from other artists that only includes songs from On The Train Ride Home, but for this list I chose the second album for its exhibition of the band’s overall breadth of song-writing, performance and production. I guess I associate this sound with bands like Rogue Valley and other north and Pacific Northwest bands in the US but to be fair, I don’t really go hunting for this kind of sound - Nashville?? I don’t associate this very cooled-down acoustic-electric sound with Nashville, it’s not very Country (I have some Country in my collection which probably doesn’t surprise you), it’s almost like ultra-chilled mid-90’s ballad in a sense. Someone will have to tell me what it really is and where to find more but only of this calibre because I’m picky about quality. Google says they’re “folk music, folk rock, indie rock, alternative/indie” and that’s useless so throw that in the bin where it belongs.

This sound is definitely a mood. I hunted thru my entire collection including the aforementioned Rogue Valley and started a first playlist of just this kind of thing. I have the acoustic list done and will do an electric counterpart that will include more material from this album, as well as the one song I bought from Night Traveler called Don’t Forget Me as long as it’s not too energetic, it all depends on what makes it to the final list. This music speaks of drives thru rural landscapes, late nights in the city, time alone or with just one other person, closeness, loneliness, introspection, of long journeys and separation.

Iversen - La Favière (August 2018)

The story of how I got this album is hilarious - one of my gaming friends who buys stuff on Humble Bundle and itch.io and god knows what else tweets me this link and says “hey there’s this synthwave bundle for like $2 you should get it it’s $2 it has all this music in” and as someone who won’t buy bad music for even $2, I go investigating and you can listen to some samples and lo-and-behold, most of it is pretty great. I paid a lot more than $2 as that only got you 4 albums and for another $5 or something, you got another 4 albums plus I always pay more because I want more revenue to go to the contributing artists. I ended up not liking about half of the music on offer but in the bundle I discovered Lost Outrider, Morgan Willis and Iversen, all of which I’ve gone on to buy more music from on Bandcamp. As for La Favière, I bought it again on Bandcamp because I love the album so much and wanted to support the artist - it’s really excellent. Oddly tho, two of the best tracks from it were bonuses that only came with the bundle version and not the Bandcamp version, called Sunset Rider and Visions of Blue, so if you want those, I’m not entirely sure how you can get a hold of them - I’m sure if you contact Josh Iverson and tell him you want to pay for them, he’ll try to sort you out unless there are labels involved in which case, not his fault. Regardless, you still get one of the best chilled synth tracks of all time In Dreams which is worth the price of admission all on its own, it is absolutely epic and you should give it a listen.

Goodbye 2020

Time of writing is Sunday 16th January and what a ride it’s been already, hey. I might still write up my actual Albums Of The Year given two of them didn’t get mentioned - Reid Willis - Mother Of and Gidge - New Light, so I cheated a bit, but they’re my nominations, awards and lists so I can do whatever I like. I’m always excited about music, both listening with a critical ear and also emotionally engaging with it. There’s never a shortage of good new music or discovering material I hadn’t from years past. Sometimes it feels like wading thru endless fields of dross to find the gold but it’s always there and getting to it is a true delight.

There were honourable mentions and I couldn’t quite get the list to 10 - there are 8. I might write them up but for the moment, here they are in vague order of vagueness. Importance? Order of purchase? I got into Lapalux and Enter Shikari very late in the year. Apparat’s - LP5 is a very special album to me, almost Dreams Are Not Enough special. I do want to talk about how Jacob Collier’s album is both very very good and also not good enough.

The majority of the music listed here can be purchased on Bandcamp. There are links to most of it on my Bandcamp profile if you want to go hunting - I might add lazylinks later-on if I get the time.

Here is my last.fm full listing for 2020 if you’re curious about that kind of thing. Stats are great.

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