Musical Discoveries of 2008 Part 1 of 3

My apologies for not blogging in so long. I've been busy working, reading, playing Call of Duty, socializing, playing with my dog, watching movies, and hanging out with Capree.

Typically, in years past, I would be up on the current year of music enough to do a full list of music from that year. I have listened to enough music from this last year to do a list, but I felt that this year also had a lot of older music that affected me. I'm also getting rid of numbering albums because I feel like all of these albums had something I really enjoyed in some way.

The list is simply albums (with one exception). This rules out much of the music I listened to this year. I spent much of time this year listening to dance singles, web mixes, and podcasts. This allowed me to continue to listen to music even though my work environment is more complicated and less music friendly than in the past. This next year, I'll make sure to document what I'm listening to regardless of format, year, or genre.

So without further ado, here is part 1. Part 2 will follow tomorrow, and part 3 the day after that.


Aaron Lightman - Aaron Lightman (Fallout, 1970)

Similar in style to some of Donovan's music as well as other more successful musicians of the baroque pop tradition, Aaron Lightman intersperses shorter pop tracks with longer orchestral arrangements. The reissuer, Fallout Records, is a UK label that specializes in reissues of lost music from the 60s and 70s. I attribute my interest in baroque pop music this year to the label's strong output.


Blue Sky Black Death - Late Night Cinema (Babygrande, 2008)

Having been blindsided by their first album, A Heap Of Broken Images, back in 2006, I have been eagerly anticipating their next instrumental full length. Kingston and Young God combine samples from classical, blues, soul, movie soundtracks, and other places unknown with their own instruments such as pedal effects guitar, cello, and keys. The eclecticism of their tastes really shines in their style of Godspeed dramatics with boom bap beats.


Colin Blunstone - One Year (Water, 1971)

Another baroque pop gem. Colin Blunstone is the singer from The Zombies who took to doing his own work after The Zombies broke up. Tracks like "I Can't Live Without You" highlight the sheer madness of Blunstone's vocal dexterity over chamber orchestral arrangements.


David Axelrod - Seriously Deep (Dusty Groove, 1975)

Long out of print, Seriously Deep is one of the most sampled records during the golden age of hip-hop. David Axelrod was known for his productions, and his own album captures his variety of styles: jazz, funk, electronic, classical, and the prototypes of hip-hop. Capree says this sounds like cheesy porn music, but I don't care!


The Final Solution - Brotherman OST (Numero Group, 1975)

A funk and soul soundtrack for a blaxploitation film that never came out. Numero Group has been doing fantastic deluxe reissues of lost funk and soul of the 70s and 80s for a few years now. This is my favorite release of theirs from this year.


The Frogs - It's Only Right And Natural (Homestead, 1989)

The Frogs do what most irreverant gay music cannot: avoid kitsch and novelty. The Frogs sound like early Pixies or Nirvana demos, but with a passion and humor really unheard by my ears since Xiu Xiu. While Xiu Xiu's main drive is emotional intensity, The Frogs use satire to highlight the ridiculousness of the fears of the socially conservative.


Graham Lambkin and Jason Lescalleet - The Breadwinner (Erstwhile, 2008)

Two musicians known separately for their work in experimental music come together to remind us how to use the physical space of a studio. All sounds on this album were original recordings from Lambkin's home: the radiator, the creaks in the floor, the silence/noise of the various rooms/hallways, the neighbors talking through the wall, etc. Using the physical medium of tape to stretch, distort, and splice, Lambkin and Lescalleet remind us of the power of sampling: the ability to recontextualize and present something new from something old, tried, and common.


Grouper - Dragging A Dead Deer Up A Hill (Type, 2008)

Grouper has always had potential, but I found the concepts on her earlier stuff to be done much better by bands like Charlalambides and Christina Carter's solo work. With Dragging A Dead Deer Up A Hill, she has given more structure to her typically ambient/drone folk. What ended up happening is a melancholic fresh take to the late 80s 4AD roster such as Cocteau Twins and His Name Is Alive.


Guilty Simpson - Ode To The Ghetto (Stones Throw, 2008)

I first heard of Guilty Simpson from Madlib and Jay Dee's Jaylib project and Dabrye's Two/Three. I have always found his brash rapping about living in Detroit to be hypnotising. It captures the documentary style found in the best rap and hip-hop. Madlib, Oh No, Black Milk, Mr. Porter, and J Dilla all contribute fantastic production. My favorite hip-hop album of the year.


Gultskra Artikler - Kasha Iz Topora (Miasmah, 2007)

Miasmah is hands down my favorite label currently. Erik Skodvin, half of Deaf Center, snatched up Gultskra Artikler after Lampse put out the fantastic 2006 release, Pofigistka. Kasha Iz Topora is a continuation into the Siberian madness of previous releases. Classical cello and piano, electronic flourishes, and field recordings are combined to evoke haunted Lynchian memories with Russian folk tale flair. Miasmah is the new Kranky!