19NightGazpacho
Home to no one, you're nowhere...Gazpacho are one of the most original and interesting bands out there - you might think "yeah this is proggy" when listening to them, yet their catalogue is far from the innovations of the 70s or the rehash wank of
Neal Morse modern prog. They're just... different, but it's obvious why they are now signed to Kscope.
For example, Night is quite closer to post-rock, with only 5 songs, two of them 10+mins long, and one almost there, with lots of buildups that lead to epic climaxes. Yet not in a post-rock "get louder and faster" way - just adding more instrumentation and ideas, and somehow making them sound more and more intense. And sometimes just changing directions. Another interesting aspect of Gazpacho is their singer - a guy who can sometimes sound like an old lady. His performance is simple, sometimes resembling that one of Tim Bowness, but with a unique tone that just fits with the band's music.
So yeah, Night it's a pretty epic atmospheric album about dreams, with very melodic focus. I dig it.
Recommended track: Chequered Light Buildings18A Moon Shaped PoolRadiohead
Dreamers, they never learn...This is a bit of a weird one, but unlike some of their past albums, A Moon Shaped Pool is soft and warm. The electronic are present, yes, but in a... different way than, say, Kid A. They're mostly buried under lots of lush live instrumentation, somehow giving the false impression the album sounds organic. But there are no ambient tracks nor bleeps and blops coming out of nowhere. Very melodic and atmospheric, this is a very different yet familiar Radiohead - some songs here were written many years ago, like True Love Waits. One of the best albums of 2016.
Recommended track: Burn the Witch17Big CalmMorcheeba
And morcheeba, how much more can you take?..It saddens me this record is sometimes dismissed as "coffee shop background music", because of its chill and upbeat nature. It ignores the excellent songwriting, the subtle use of electronics in favour of a more organic sound, the excellent hooks, how eclectic the instrumentation is (all kinds of world music here), and overall how pleasant is to listen to. No, it's not a cerebral, cryptic masterpiece, nor it intends to - just a very accessible, lovely record. Despite a few moments where the quality goes down, Big Calm it's a very consistent album, definitely better than their debut.
Recommended track: Big Calm16BlackstarDavid Bowie
Just like that bluebird... Oh I'll be free...I'll say it now: I think this is one of the year's most overrated albums. Yet I like it a lot. But not all of it - I Can't Give Everything Away is a track I can live without. But when the album shines, like on the title track, Lazarus, and Sue, it's really one of my favorites of the year. The other tracks I find good but not too remarkable.
For those unfamiliar, Blackstar is an album about Bowie's imminent death, him facing it by making some of his most daring, experimental work. Begins with the title tracks, a beast of 10 mins of avant-garde jazz, electronics, dark ambient, and Bowie's fragile, haunting voice, that sounds unlike anything out there. The rest of the album is more accessible, yet still retains this unique flavour and the weird melodies and sounds.
Making such an album almost on his 70s, with only a few months left, is nothing short of admirable.
Recommended track: Lazarus15A Year With No SummerObsidian Kingdom
And when we go crashing down we come back every time...This one took some time - at first I was very disappointed. From the awesomeness of Mantiis, such a mix of genres like prog metal, sludge, black, post, even post-rock, to a... very atmospheric, sludgy, post-metal record with a few electronics here and there. First listens I was bored, but it eventually clicked.
The key about this record is atmosphere - walls of guitars or its feedback as drone, distant vocals that rarely get harsh, no blast beats, very memorable riffs imo, and lots of groove. A friend once told me this was just generic post-metal - well then it's the best damn post-metal I've listened to so far (I'm into into ISIS nor CoL).
After their debut and a remix album (!) of it, these guys will probably always surprise me.
Recommended track: Away/Absent14Black EarthBohren & der Club of Gore
Like a grave...Bohren surprised the music world with their third album, Sunset Mission - slow, moody, dark (yet warm), very atmospheric jazz music, with strong noir vibes. It sounded similar yet unlike anything that came before it. On their follow-up, they took their time (around 2 years) to carefully craft and produce an album that would take their sound into new directions: darker, and slower. And heavier.
Black Earth abandons the noir flavours for a brooding, solemn atmosphere, one that tries to create images of death and quiet grief. Some have even called it post-apocalyptic, or even depressing, but I digress - this is a beautiful album. Yes, the bass is penetrating and along with the drums they sound like the slow heartbeats of a huge beast; yes, the sax is certainly less prominent than on the previous album, and rarely goes wild, just playing very soft; those Rhodes keys may just play some sparse minor chords and scales, yes; there are even some "ghostly" drones on most of the songs, or just pure silence between sections. But it's done with such taste and detail, that the crystal clear production just reveals an album of enormous beauty and peace.
Bohren are definitely not party music, but rather fantastic creators of atmospheres. And Black Earth might be one of the most unique records out there.
Recommended track: Destroying Angels13FeltNils Frahm
A world of its own...There's a bit of backstory to this album: Nils tried using a felt on his piano not to awake his neighbours at night (when he practiced). He noticed the sound of the instrument was intriguing, so he decided to put some microphones deep into the piano, almost touching the strings. And holy fuck, what where all those sounds: the hammers pouncing the strings, Nils' breathing, cracks on the wood, distant steps of neighbours on the hallways, etc. It was a whole new soundscape, one of immense intimacy and fragility. And a masterpiece was born.
Felt sounds so similar yet unlike anything I've ever listened to. Nils also added some additional effects and instrumentation asides from the piano, but the end result just fits in a way that sounds completely unique to his music. I don't have much to say other than this album is more of an experience - yes, there's songwriting here, although most is improvised. But it all just flows... let yourself immerse into Nils' late-night world.
Recommended track: More12The Battle of Los AngelesRage Against the Machine
NOW TESTIFY! *heavy riff*I know this is edgy af, but holy shit, those riffs almost make me want to take down capitalism. With headbanging.
But seriously, this album feels like an refined version of their debut, at least in terms of production - here everything is fucking huge and bombastic, yet crystal clear. I also like how they did a little experimentation trying to include some synths/electronics, and playing with production; keeps things fresh. I'll admit I don't really care for the album's political message - sometimes I even strongly disagree. But the music, man, it's just so fucking energizing and catchy I can't even - those riffs almost make me want to take capitalism down. Maybe not as good as their first album, but still a stellar record.
Recommended track: Born of a Broken Man1188Kashiwa Daisuke
Simple and beautiful...Well this will be quick since there's not much to say here. 88 is basically Daisuke challenging himself, writing an album completely on the piano. No electronics, strings, etc. - just him and the 88 keys (hence the album name). For the most part, it's some pretty, heartfelt music. Nothing groundbreaking, and for most people this could be just good background music for stuying/working/whatever. And that's fine, because I have a bit of a special connection to this album. Dunno, it may be that the piano is my fav instrument, or that I'm a sucker for these modern classical melodies. This is probably his most intimate album, and I just love it.
Recommended track: Swan Song10Demon DaysGorillaz
Well these demon days are so cold inside...I'll admit I have no nostalgia value for this virtual band - they're no part of my childhood nor teenage days. So when I came with this album, I was amazed by the enormous quality jump from their debut: better production, more styles abound, catchier songs, higher creativity, impressive guests like Neneh Cherry and Martina Topley-Bird, etc. Every Planet We Reach is Dead, Kids with Guns, the classic Feel Goon Inc, El Mañana, these are all fantastic tracks, and although the last few songs on the album feel weaker in comparison to the rest, overall it's a very consistent, solid album.
Recommended track: Every Planet We Reach is Dead9~iamthemorning
You got to think of what to say before you fall asleepI don't really know why I never really delved into their debut - I really liked Belighted, and was slightly disappointed by Lighthouse, so went to this because why not. And oh boy. This album was self-produced and financed, which sometimes is noticeable on the production, but the music more than makes up for it.
~ is a beautiful combination of classical music sensibilities and some progressive rock melodies and sounds, given the duo's love for both genres - Marjana has even covered Opeth songs on her YT channel. What makes this album shine is how seamless the combination of styles is, and I'm surprised at the musical variety: some soft piano-driven ballads, a capella interlude tracks, some fucking explosive songs like Monsters which have drums and guitars at the climax, etc. Her voice is, as cliched as it sounds, angelical. And Gleb's piano talent is amazing - no doubt why he was studying at the conservatory.
iamthemorning's debut it's a fresh album full of new ideas, and I like to think it's certainly more progressive than a lot of modern prog artists out there right now. This is what we need, folks.
Recommended track: Monsters8Transistor Original SoundtrackDarren Korb
It's not when you get there, it's always the climb...Oh boy, this game is so special - I liked Bastion quite a bit but... felt it was a little one-dimensional, and the combat too brutal to my abysmal coordination, so hesitated a bit on Transistor, but a good sale was up and I couldn't resist.
Damn, what an excellent game! It's probably the most coherent one in terms of artistry - the gorgeous cyberpunk landscapes fit perfect Korb's digital compositions.
Described as "old-world electronic post-rock", it's a damn fine description - a very digital, electronic album but with more... refined, or minimal beats and percussion than Bastion, not as bombastic. Styles range from downtempo to breakbeat to drum n' bass to trip-hop. Reverb guitars, sampled drums, distorted yet soft synths, and a generous share of tracks sung by the wonderful Ashley Barrett (5 in total, and probably the best tunes). But the artistry doesn't stop there - the songs that are played during the boss battles have lyrics pertaining the boss and its relationship to the main character Red, who was a famous singer and musician in the game's story.
Although it's a beautiful soundtrack on its own, it can only be completely appreciated in its original context - I have rarely seen both things fit so seamlessly. Really, play this game.
Recommended track: In Circles7Program Music IIKashiwa Daisuke
Such beauty...I was hyped for new Ulver, but when Daisuke announced one of my top 10 albums would receive a sequel, I fucking manginied. Like, what the ACTUAL FUCK?!?! So yeah, it was a huge thing among his fans. But the reception has been rather lukewarm, so lemme explain the appeal of this album: if you loved Program Music I because of its creativity and unique blend of modern classical music and high-tech electronics, and overall innovation, this will probably disappoint you. But if you're like me and loved that record because of the beauty and uniqueness of his compositions (Stella is probably the most gorgeous track ever written, period), and are also a sucker for modern classical, well, give it a listen.
But that's not to say this record is Daisuke going on autopilot - he seeks new territories, and succeeds, most of the time. Program Music II is completely acoustic (except a bit on Subaru), featuring live chamber instrumentation like double bass, jazz drumming (!), real strings, and even guest vocals by Piana. meteor is an excellent example of what this album is about: trying modern classical music with jazz influences and even taking some structures from post-rock - City in the Lake being the synthesis of all those ideas, and probably my fav song of 2016.
Program Music II pales against the first part, yes, but that's a bit of unfair lenses to judge this album by - this album... no, everything Daisuke writes, will forever be destined to live under the shadow of his titanic sophomore effort. But taken on itself, this is a lovely, charming record.
Recommended track: City in the Lake6Silent Hill 2 Original SoundtrackAkira Yamaoka
A videogame as art...Although I thoroughly enjoyed SH2 (aside from the lame dialogues and voice acting), it probably relies on too much symbolism for my taste, but I've gotta say I really, really like its soundtrack. I think not only Yamaoka had a bigger budget but also the PS2 allowed for better-quality sound output, thus this OST really sounds better than that of the previous game.
I'm amazed at the amount of sounds and styles Yamaoka could come up with: beautiful, ethereal trip-hop (Heaven's Night, Alone in Town), abrassive, crushing industrial (The Darkness that Lurks in...), some fucking metal (Angel's Thanatos), and peaceful ambient patches (The Day of Night) - all those mentioned tracks play one right after the other on the CD. Special mention to the gorgeous piano pieces such as Magdalene and Promise (Reprise), and the Alt Rock tunes (Theme of Laura, Love Psalm).
Crazy, varied stuff indeed, but one of amazing quality. It has quickly become one of my favorite soundtracks.
Recommended track: Null Moon 
Topic: Sacul's 2016 retro list! v. #1 sax is love, sax is life (Read 8089 times)
