ten in twelve

The end of the world did not come to pass last year. We all managed to move into the new year with our hopes, dreams, wishes and desires in tact. It should be interesting to see how artists manifest their creative ambitions in the brave new world of the interest as technology continues to move music from physical based configurations to the ether.

Last year saw the rise of new artists making names for themselves, some without the aid of a major label. Such is the ever changing landscape of the entertainment biz. Some longstanding artists continue to make the transition with ease. At least that's what it looks like from the outside.

2012 was also a year of life affirming, musical output from a number of artist, both new and those with years of experience. Below, are my ten favorite albums of the previous twelve months. They are listed in alphabetical order. Cue fanfare!

Bright Light Bright Light - "Make Me Believe In Hope"

In a world that continues to push melismatic vocals and samey-same, David Guetta-esque toe tappers, it's refreshing to hear classic songwriting over an interesting production landscape. "MMBIH" is an album of lyrical substance and melodic drive.

Some of the best retro touchstones from the 80s and 90s collide with contemporary sounds. Rod Thomas, for he is BLBL, has a yearning, tender, urgent quality to his voice which draws the listener in without being obscured by the beautiful ear candy in which he's wrapped.

Standout tracks are many. "Feel It", "Waiting For The Feeling", "Love Part II", "Disco Moment" and "Moves" are essential music for those in love with an artist who has a pop sensibility. Perfection. A high water mark of 2012.

Mick Hucknall - "American Soul"

The one that everyone is surprised to find on my list. I've been a Simply Red fan from the start. Mick Hucknall's brand of blue eyed soul has been a part of the fabric of my life for over 25 years. At first, without hearing a note, "American Soul" was a turn off. A covers album. Rarely a smart, creative move. But some artists can pull it off.

So, I was relieved when I heard the album. It is full of gorgeous production elements which adorn Mick's rich and passionate vocal. Most of the songs aren't well known. That's always a good place to start when putting together an album such as this.

There is one song, "Don't Let Me Be Misunderstood", which I don't care for no matter how it gets interpreted. I can live without that one. But Mr. Hucknall makes up for it with a big surprise, "Hope There's Someone", a song originally recorded by Antony & The Johnsons. I'm not a fan of Antony, but Mick's take on the song is a beautifully touching and unexpected album closer. A great coffee table album for Sunday mornings. Sexy stuff.

Marina And The Diamonds - "Electra Heart"

Tipped for big things with her debut album, "The Family Jewels", Marina And The Diamonds didn't quite hit the heights Ellie Goulding did. However, it did solidify a fanbase which was ready for a sophomore follow up. Enter "Electra Heart" which seemed to have suffered a few false starts.

However, Marina delivered her expected blend of quirky lyrics and solid hooks with, perhaps, less Lene Lovich-isms in her vocal delivery. This allowed the songs to breathe a bit without some of the histrionics deflecting attention from the core of the album.

Wisely produced with an au current electronic flavor, "Electra Heart" still shows Ms. Diamandis' penchant for corrupt American ideology and the country's obsession with vapid conversation, self absorbed youth and reality dramas.

Pet Shop Boys - "Elysium"

For their eleventh, studio longplayer, PSB decided to bring the tempo down a bit and produce something as close to a mood piece without sacrificing their pop sensibilities.

Decamping to LA certainly played a part in the more laid back tone of the album. That and the theme of the passage of time and the melancholy that can be attached to it, put Chris and Neil in a more reflective lyrical mode.

Not what fans might have wanted, they still managed to deliver an engaging album which may have taken a few listens to sink in. Even with a couple of clunkers, the album still boasts one of their finest single moments, "Leaving", which is the lush cornerstone of the elpee.

Saint Etienne - "Words And Music By Saint Etienne"

Seven years in the making, Saint Etienne came storming back with one of their most accomplished and thoroughly satisfying pop album of their career. Always inspired by the heart of soul of London, "WAMBSE" loosely follows our fearsome threesome through the capital as they reminisce about their favorite bands and take us out among the serious music fans. The ones that live and breathe pop music in all its multifaceted glory.

Stacked with potential singles in a bygone era, ver Et have all the bases covered. There's the kind of knees up, Euro flavored, dance tracks they do so well ("DJ", "I've Got Your Music"). They do a nod to 60s Bacharach inspired pop ("Answer Song"). The early 90s are dialed in for the atmospheric, Balearic sound of "Heading For The Fair". Spooky, trip hop seems to be the basis of "Twenty Five Years". Shades of New Order weave in and out of "When I Was Seventeen".

Essentially, the entire album is a lovesong to all things British. Crammed with nostalgic influences yet it never sounds derivative. Beautifully resplendent pop music's gorgeous palate of colors from electronic to pastoral. Waving the musical Union Jack with a smile on their faces, hands on their hears and tongues firmly planted in cheek. An elpee for music lovers by music lovers.

Along with Bright Light Bright Light, Saint Etienne are a group I've had the distinct privilege to produce tracks for in 2012. Quite an amazing year for moi.

Saint Etienne - "More Words And Music By Saint Etienne"

Sarah Cracknell and co. have two albums in my year end ten. Not sure if this qualifies as a separate album because it was sold exculsively as part of "WAMBSE" at concerts on their recent concert tour of the US.

Sonically, the ten song longplayer stands on its own. It doesn't have the production sheen lovingly slathered on the host album. But that's part of its charm. A more organic sounding elpee full of top notch tunes as if it was produced as a separate entity. Sometimes less is more.

Don't get me wrong. This isn't an album of demos or throwaways. Sure, there are a couple of covers ("Manhattan" and "Just Friends", originally recorded by Scott Walker and Amy Winehouse, respectively). But they are tailored to the Saint Etienne sound. There's "Lullaby", a track released as the b-side of "I've Got Your Music", which is a beautiful coda alongside previously unreleased gems. Two quirky instrumentals ("Racing Car" and the Kraftwerk-esque "Landscape") plus "Fairground Rock And Roll", a cheeky, slightly raucous, Beach Boys inspired track, keep things buoyant through.

"MWAMBSE" is a magnificent compliment to the shinier, more effervescent parent album. A gorgeous, swoonsome comedown from a night out in London town.

Sam Sparro - "Return To Paradise"

Mr. Sparro's sophomore longplayer didn't receive much commercial fanfare, but it's certainly head and shoulders above his debut. Less emphasis on the electronics, less atmosphere (ie. megahit "Black And Gold") and big on disco attitude and funky fierceness.

Sam testifies on standout track, "Happiness", an exhilarating, 90s house inspired hip wiggler that defies anyone not to get up to get down. I wish he had the good sense to produce an old school seven minute extended version.

Jam & Lewis inspired "Let The Love In" is a real gem. His obvious love of Prince is felt in the sideways "Sign O' The Times" influenced "Yellow Orange Rays". Elsewhere, Sam's tender side shows up on "Shades Of Grey", the album tearjerker. Disco moments include "Paradise People", "We Could Fly" and "Closer". Quirky, funkiness abounds on "The Shallow End".

Tracey Thorn - "Tinsel And Lights"

A Christmas themed longplayer in a year end Top 10 is not a regular occurrence. However, when it's not strictly a tried and true seasonal effort - few Christmas trees, a little light on Santa sightings, not a reindeer in sight - then it makes sense to expand the boundaries on acceptable times of year to spin it.

"Tinsel And Light" is one of those albums. Keen songwriting, not reliant on a hard and fast Christmas theme, a delicately and homespun sounding effort and songs that evoke feelings of winter rather than the spirit of Saint Nick.

Album opener and original composition, "Joy", is a contemporary carol which beautifully encapsulates what it's like to remember the youthful wonder of the Christmas season. The covers have been tastefully chosen. You could be forgiven for thinking "Hard Candy Christmas", originally recorded by Dolly Parton, is a Thorn original. Musically and lyrically, along with the rest of the album, feels very much her own rather than recordings of other people's material.

Scritti Politti makes two appearances on the album, sort of. Tracey does a jolly version of "Snow In Sun", which originally appeared on their Mercury nominated longplayer, "White Bread Black Beer". Then Scritti main man, Green Gartside, duets with Lady Thorn on a Low's "Taking Down The Tree". Randy Newman's "Snow", recorded by everyone from Claudine Longet to Saint Etienne, is given a haunting, stripped back feel with Tracey's achingly beautiful vocal placed over a simple piano arrangement. All in all a gorgeous album suitable for any season.

Jessie Ware - "Devotion"

Every now and again, a dark, seductive, soul album rises to the top of the scene in the UK. This year, "Devotion" used its sublime charm to win over wine bars and the cool cats that inhabit them. This is not a bad thing.

Jessie has a warm, velvety vocal which is lovingly placed over sparse, icy beats. It's that juxtaposition, which hearkens back to trip hop classics like "Blue Lines" by Massive Attack, that makes the album immediately appealing.

Gorgeous, standout cuts include the quietly insistent "Wildest Moments", the slinky "Running" and the swinging, early 80s R&B inspired "Sweet Talk". Intoxicating.

The 2 Bears - "Be Strong"

Fancy a little boogie around the living room? Then "Be Strong", the debut longplayer from The 2 Bears is for you. Imagine New Order meets The Specials at The Hacienda. That's sort of a sideways description of the album. It's an amalgamation of house, hip hop and two step delivered with a healthy dose of indie personality.

Packed full of house inflected choons, this album would've easily had five Top 20 singles if it had been released in the mid-90s. "Work", "Ghosts & Zombies", "Warm & Easy" and the title track are serious earworms that never tire after repeated listens. Even "Bear Hug", which I resisted initially and can sound like a bit of novelty, has a hip wiggling charm about it.

"Be Strong" is the sound of England through the eyes of and ears of Joe Goddard (from Hot Chip) and musical compatriot Raf Rundell. Witty, thoughtful and it has a great beat you can dance to. Set to make you move, just get up on this groove.

joy to the world

Just in time for the festive season, Tracey Thorn has delivered a video for "Joy", the opening track on her Christmas themed longplayer, "Tinsel And Lights".

Filmed in Lille, a beautiful village in northern France on the border of Belgium, the video sees Tracey wandering around the town's twinkling parade of Christmas lights. Gorgeous!



More than just a Christmas album, "Tinsel And Lights" is a rare gem. It's one of those elpees that transcends the traditional brace of Christmas songs and is an album that can be enjoyed at anytime of the year. By no means and easy feat.

"Tinsel And Lights" will likely end up toward the top end of my favorite albums of the year. Stay tuned!

snow in sun

Tracey Thorn, known by many as one half of Everything But The Girl, is about to return to the fold with "Tinsel And Lights", a festive themed longplayer which has been a year in the making. It's also her first elpee since releasing her third solo album, "Love And Its Opposite", in 2010.

"Tinsel And Lights"features covers of songs written by The White Stripes, Sufjan Stevens, Randy Newman, Stephin Merritt, Dolly Parton, Joni Mitchell, Ron Sexsmith, and others. Technically, every song is not associated with Christmas in the strictest sense of the term. But Tracey decided that if winter, snow or even cold was mentioned in the song, that was good enough for her. She's blazing a trail through Christmas tradition!

Two songs on the album, "Joy" and the title track, are Thorn originals. She's even made room for "Have Yourself A Merry Little Christmas". After all, there needs to be at least one chestnut at Christmas dinner!

Tracey dug deep for inspiration including a track written by Stephin Merritt of The Magnetic Fields which was only ever recorded by twisted cabaret act Kiki & Herb. Also, "Snow", written by Randy Newman, makes an appearance. It was originally recorded by French chanteuse Claudine Longet in 1967, but has been interpreted by a long list of artists including Harpers Bizarre, Harry Nilsson and Saint Etienne.

Here's a little audio-visual montage of "Snow". First up is Harpers Bizarre from their 1967 elpee, "Anything Goes" followed by Claudine's gorgeous recording, Harry Nilsson's fragile rendition, and rounded out by personal faves Saint Etienne with their faithful take on the chilly choon.









Warning! A bit of discographical geekery ahead for those that need to know.

Claudine's version of "Snow" originally appeared as the b-side to her single, "I Don't Intend To Spend Christmas Without You". Harry Nilsson recorded his take on it in 1969 for the album "Nilsson Sings Newman", but was left off when the longplayer was released in February 1970. The song made its first official appearance when the album was reissued on CD in 2000. Saint Etienne released their recording on "Xmas 2003", one of their many fan club CDs. It made its first commercial appearance on the St. Et Christmas album, "A Glimpse Of Stocking", in 2010. Got it? There will be a short quiz later on.

I'm pleased to see Green Gartside of Scritti Politti not once, but twice, on the album, in different capacities. Tracey covers "Snow In Sun", a lush and languid number that originally appeared on Scritti's last studio longplayer, "White Bread Black Beer". The second appearance by double G is of the vocal variety. He lends his dulcet tones to "Taking Down The Tree", a cover of a song originally recorded by Minnesota slowcore, navel gazers Low, who originally recorded the tune on their Christmas EP which was only released to fans in 1999. If you fancy a listen to their version, here it is.



I think you can definitely hear how Green's voice and harmony structure might sound on Tracey's version, especially toward the end of the song. It will be interesting to compare the two. And while we're at it, here's Scritti's original recording of "Snow In Sun".

Also, the album features Tracey's previously released cover of "Sister Winter", originally recorded by Sufjan Stevens. Contributions from Lady Thorn's EBTG bandmate Ben Watt can be heard throughout the recordings, as well.

The official tracklisting for "Tinsel And Lights" includes the following twelve tunes.

1. Joy
2. Hard Candy Christmas (originally recorded by Dolly Parton)
3. Like A Snowman (originally recorded by Kiki & Herb)
4. Maybe This Christmas (originally recorded by Ron Sexsmith)
5. In The Cold, Cold Night (originally recorded by The White Stripes)
6. Snow (originally recorded by Harpers Bizarre)
7. Snow In Sun (originally recorded by Scritti Politti)
8. Have Yourself A Merry Little Christmas
9. Tinsel And Lights
10. River (originally recorded by Joni Mitchell)
11. Taking Down The Tree (originally recorded by Low)
12. Sister Winter (originally recorded by Sufjan Stevens)

The US configuration of the elpee will include "25th December" as a bonus track. It is Tracey's version of a song which was originally recorded by EBTG with Ben on vocal duties and appeared on their 1994 album, "Amplified Heart".

"Tinsel And Lights" will hit the "shops" on October 30.

a little night music

Tracey Thorn, everyone's favorite songstress, is about to return with a brand new single. Huzzah! Let's shed a little light on the situation.

In the summer of 2010, The xx asked Tracey Thorn and her long-time partner in EBTG Ben Watt to record a track from their debut album for a special compilation the band were commissioning. The collection was going to be covers of the album's songs by their favourite artists. Unfortunately, the project never came to fruition. However, before the collapse of the project, Tracey had sung her version of one the album most beautiful tracks, "Night Time".

Now, after being shelved for nearly a year, the track will appear on a three track EP. The appropriately titled "Night Time" will be available from all fine "shops" on October 31. It will be released in two configurations - a 12 inch single for those who love the smell of vinyl and a digital bundle for those who prefer their tunes in the shape of zeros and ones.

The tracklisting for the 12 inch single will feature "Night Time" as the lead track, natch! Tracey's EBTG partner, Ben Watt, guests on guitars and backing vocals which makes it the first time they have recorded together in over a decade. Additionally, it will include remixes of "Swimming", on of the most popular tracks from Ms. Thorn's most recent solo longplayer, "Love And Its Opposite". The track has been reswizzled by Visionquest and underground house legend, Charles Webster.

Visionquest urn in a slightly organic, beefed up version which is draped in shades of "Dreams" by Fleetwood Mac. Mr. Webster turns in a sparkling remix with a slightly bossa nova feel to it. The digital bundle will include a dub mix by Charles Webster as a bonus track.

opera lover

Recently, on my little sojourn to the cloudy climes of London, I ran into Tracey Thorn at the local Starbucks. What are the chances? I was struck by how funny, warm and lovely she is. You'll be pleased to know she was rocking a rather fetching, purple, down parka.

During our brief, caffeinated encounter, I mentioned I planned on purchasing her next single as soon as it was made available. And as if by magic, "You Are A Lover", released as a translucent green, limited edition 10" single, has been made available to purchase today from the Strange Feeling website.

The tracklisting includes the dubby Clock Opera Remix of "You Are A Lover" on the a-side with the original mix and her gorgeous cover of Sufjan Stevens' "Sister Winter" featured on the flipside. Order your copy now, kittens!

ten for 2010

As another year draws to a close, so many of us in the blogosphere must hunker down and review our faves raves from the previous twelve months. Getting stuck in the great Boxing Day blizzard was the best springboard from me to begin the simultaneously arduous and thrilling task of completing my list. Thankfully, 2010 turned out to be a banner year for music. One of the best on record if I recall correctly.

But first, a look forward. Which longplayers am I anticipating in 2011? Hue And Cry, The Human League, Duran Duran, The Feeling and Penguin Prison. I know Duran just released "All You Need To Know". But the iTunes configuration isn't the whole enchilada. The full twelve track experience will be issued in physical form in February. So, I'm gonna wait to review it. It's already one of my most played elpees of this year! Sure to be a top contender in the next.

And will someone PLEASE tell me where the new albums from Blondie and Sophie Ellis-Bextor have gone? Once imminent, they've slipped off the map. Can't bode well for either of them.

Without further faffing about, here are my ten favorite albums of the year listed in alphabetical order.

Marc Almond - "Varieté"

Taking on the dual roles of showman and troubadour for "Varieté", Marc Almond showed he could deliver his own, self-penned material with as much style, quality and panache as the covers he performs so exceptionally well. All of this during his rehabilitation from a near fatal motorcycle accident a few years ago.

From the Russian strains of "Najinsky Heart" to the gypsy peasantry of "Bread And Circus", the piano torch of "Lavender", the swinging 60s London glam of the title track, the entire longplayer hangs together thematically, lyrically and musically in a way that most artists can only dream of at any point in their career.

Even the limited edition version of the album is an embarrassment of riches for Mr. Almond as he presents another half dozen or so songs which are presented in a stripped back, smoking jacket, beat club production. Every track on "Varieté" is vintage Marc Almond, one of the UK's musical treasures.

The Divine Comedy - "Bang Goes The Neighborhood"

Neil Hannon, in the guise of The Divine Comedy, returned with a... bang! Natch.

Still waving the flag for intelligently crafted songs with nods toward classic British pop of the 60s and 70s, TDC returned in grand style. Neil still kept the orchestral flourishes in tact, but delivered "Bang" with a slightly more low-fi approach. From the Blur-like "At The Indie Disco" to the Continental flavor of "Neapolitan Girl", the album fits in perfectly with previous TDC masterworks without ever sounding like a retread. One word... Bravo!

Bryan Ferry - "Olympia"

Ten years on from Bryan Ferry's last longplayer of original material, "Olympia" had a lot to live up to. Sure, it has many of the trademark soundscapes he's been known for. There are the languid electronics, the dream guitars, the slurry delivery of someone intoxicated by love and other musings. All of it is present. But there's a rugged undercarriage to the songs which seems to

"Olympia" is champagne and gelato. A swirling mixture of style with a soupcon of danger lurking around the corner. A stunningly beautiful goddess flashing a sinister, knowing smile encouraging you to succumb to the layers of sound.

Mr. Ferry has lost none of his ability to seduce and beguile. May "Olympia" be the next of many nexts.

Goldfrapp - "Head First"

Zippy synths. Breathy, insistent vocals. Pulsing beats. Goldfrapp returned from the pastoral excursion of "Seventh Tree", itself a work of beauty, with "Head First", an album that should've scaled the dizzy heights of the charts.

Urgent and sexy. The opening synth triptych - the high octane "Rocket", the slightly ethereal "Believer", and the anthemic "Alive" - set up the album nicely. All nine tracks are dotted with some unusual, early 80s influences including "Xanadu" and Kim Carnes, as well as the obvious ones like OMD and Kraftwerk, without ever sounding retro.

But it's more than a dance album. There's a lot of deep emotion running through its synthy veins which gives "Head First" a lot of heart and plenty of warmth. Plus it has a penis on the front cover. Look closely. Trying to find it is part of the fun.

"Head First" never left my playlist all year. Let's keep the fire burning for Alison and Will in the hopes they come up with the goods on their next, full length, studio effort. Perhaps it won't follow too long after their forthcoming greatest hits collection which is scheduled to drop later this spring.

Hurts - "Happiness"

Grand, eloquent, elegiac and moody . Hurts live an a sophisticated pop universe. Equal parts Depeche Mode and Pet Shop Boys, yet sounding like nothing else in the charts.

Unfortunately, Theo and Adam haven't lit the world alight with their debut longplayer. But those of us that savor their kind of magnificent melancholy and well written, melodic vignettes know they have put a lot of work into making the album special.

The album became a bit of event, which continues the DM and PSB comparisons as it has become both bands' calling card everytime they release one of their always anticipated longplayers. My only (minor) complaint is that the elpee lacks in the uptempo tune department.

"Better Than Love" is a driving, gothic number with shades of early New Order and bits of Sisters Of Mercy woven throughout. And that's the extent of anything that pushes the BPMs into the upper reaches. Strangely, they ditched the brooding, captivating title track, a and relegated it to a bonus track status on very few digital portals.

Also, the singles could have benefited from a different release sequence. Instead of launching straight out of the box with the magnificent and moving "Wonderful Life", they chose "Better Than Love" which would have performed better had it followed the clearly defined hit.

Overall, the album is lovely. Don't wait too long to follow it up with something breathtakingly beautiful, lads.

Kylie Minogue - "Aphrodite"

Everyone's favorite, Aussie pop rocket delivered another sparkling album. This time, she gave her fans what they wanted - an elpee of full on, straight ahead pop.

It's an album that burst forth with the euphoric energy that her fans loved on "Fever" and wanted her to capture again after the spiky electronics of "X". Nearly every track has a hands in the air moment whether it's the gorgeous strains of "All The Lovers", the pulsing, singleworthy "Put Your Hands Up (If You Feel Love)", the lovely Keane written "Everything Is Beautiful" or the mighty drumline excitement of the title track. Singles for days.

Unfortunately, in this era of lowest common denominator, identi-kit R&B dominating the charts, Kylie's brand of top shelf pop seems a bit out of step. Therefore, third single, "Better Than Today", fell short of the top 30 even with all the promotional stops pulled out in full force.

It clearly underscores the damage a wrong single choice can trip up an otherwise flawless pop longplayer. Surely, the rumored deluxe edition is right around the corner as Kylie ramps up for her forthcoming world tour. I'll be there. Will you?

Orchestral Manoeuvres In The Dark - "History Of Modern"

It is the year of the synth. And who better to make their return than OMD? Andy McCluskey and Paul Humphries reunited the original four piece and decided to embrace their origins.

After testing the waters during a reunion tour for their 30th anniversary and a celebration of their seminal longplayer, "Architecture And Morality", Paul and Andy realized there was a lot of life left in the old mare. They dug out their synths, hashed out a dozen new songs or so and set about capturing the excitement of their debut recordings. At the same time, their return made it very clear where current faves like The xx owe their debt of gratitude.

The lyrical bite of distorted opener, "New Babies: New Toys" lays out their manifesto with a succinct "fuck off" delivered to the impostors and detractors. OMD are doing what feels best.

Anthemic first and second singles, "If You Want It" and "Sister Marie Says", respectively, show their affinity for a finely tuned pop song. They revisit every aspect of their recorded work without ever sounding like they are trading on past glories. The strength is in the clean production which supports the melodic strength of every tune on this magnificent return to glory.

All the orchestral samples and choral pads are in tact from throughout their esteemed career. The synths sparkle, the effusive melodies twinkling like a million stars until they burst into a shower of fireworks across the pristine production. Lovely.

Robyn - "Body Talk"

For nearly a year, Robyn has been a whirling dervish. A Swedish dynamo!

When she revealed her plan of releasing three albums in 2010, many scoffed at the idea. How could she come up with the goods three times?

Firstly, she kept each release in the "Body Talk" trilogy trimmed down to about eight tracks with the third installment featuring the best of the first two plus five new tracks.

It may have sounded unorthodox first, but in this new frontier of wireless trading of zeros and ones, it seems to have worked. It also helped that she promoted each effort with the vitality and excitement of an artist in her prime. She embraced every opportunity to get the word out and incorporated eye popping visuals into every part of the media mix.

Standout cuts, "Dancing On My Own", "Hang With Me" and "Indestructible" are a clutch of the finest, tear stained dancefloor epics this side of the Stockholm archipelago. But Robyn proves she has a sense of humor inside her arctic heart. "Fembot", the Snoop Dogg assisted "U Should Know Better" and the expletive ridden "Don't Fucking Tell Me What To Do" are the jammy jams with a wink and smirk to let her fanbase know she can party smartly with the best of the current R&B set. And who doesn't love to initiate slut mode at least once a day?

Scissor Sisters - "Night Work"

Sleaze is the word! Jake Shears and co. whipped up a frenzy. "Night Work", their difficult third longplayer, is a deep n' greasy blowjob in an amyl nitrate filled backroom in a backstreet leather bar in Berlin.

The Trevor Horn via FGTH inspired "Invisible Light", complete with Bee Gees falsettos and thunderous percussion may have set the tone, but a few surprises like the anthemic "Fire With Fire" sounded more like The Killers. "Any Which Way" is incendiary funk with a sexy, slippery backbone and more typical of ver Scissters previous work. "Running Out" and "Night Life" sound like they bastard child of Devo and The Cult. All meant with love, of course.

"Night Work" is the sound of a group trying to break out of the corner they might have painted themselves into with their first two albums. Equal measures of frivolity and anxiety may have built them to survive or burnt them out completely. We'll know after their mammoth world tour wraps up this year. Catch them while you can!

Tracey Thorn - "Love And Its Opposite"

Tracey Thorn is one of Britain's most gifted songwriters. Every word that falls from her mouth seems to carry massive weight despite the simplicity and directness of her writing.

"Love And Its Opposite", the follow-up to 2007's more rhythmic driven "Out Of The Woods", explores mid-life in all its glory and disappointment. This is particularly apparent on poignant tracks like "Oh, The Divorces" and "Singles Bar" - two locations many are surprised to find themselves when they've crossed the great divide into the second half of their planned obsolescence.

On Twitter, Tracey has a spiky sense of wit delivered with a dash of self deprecation. Much of it is her keen attention to detail and the gift of acute observation cloaked in a laugh. And that's where much of the lyrical content of "Love And Its Opposite" resides. With every tweet, you can imagine Tracey in her kitchen chuckling to herself in deep, Mutley tones at some of her wry commentary which touches on everything from gardening to "X Factor". Essential twitteratum.

Hardly a folk album, Tracey's third solo elpee showcases her as one of Britain's quintessential singer/songwriters. Everything in the writing, arrangements and production is never pushed or rushed. Its quiet elegance, urgent beauty and balance shows Tracey at the height of her lyrical prowess. Stripped of the thump of the dancefloor, "Love And Its Opposite" is a more direct route to the head and the heart which allows for a greater impact on the listener.

Highlights include the haunting "Kentish Town", the yearning "Why Does The Wind?", the Squeeze-ly "Hormones" and the ethereal glory of "Swimming".

And that sums up my musical excursion through the previous 52 weeks. For those keeping track, you can find my ten favorite longplayers of 2009 and 2008 by clicking here. Bring on the sound of 2011!

Tracey on the dancefloor

Well, this seemed to swoop down out of nowhere. "Without Me" is a new Tracey Thorn song. It's a collab with Chicago DJ, Tevo Howard, which hit the "shops" this week.



Deep, dark and forlorn. It's all a bit "Temperamental" era EBTG. And that's no bad thing, my lovelies! Tracey continues to delight and surprise.

I was lying there, lying on the beach

We're at the mid-year point and it's time for my summer holiday. Seven glorious days in the peaceful enclave of Provincetown. The sea. The breeze. Who are we kidding? The eye candy!

Srsly, this is the moment where I dial it down. I will be comatose for the better part of a week. Recharging my batteries. So, what better time to review my beachcoming soundtrack?

Here, submitted for you perusal, are some of my favorite albums of the year, so far. Each of them will be getting quite a lot of spins on the old Victrola at the beach house this week and all summer long.

"Aphrodite" - Kylie Minogue

This is clearly going to be blaring out of every open window on the cape. Let's face facts. It's the gayest album of the year. The boys will bring the noise and this elpee, the musical equivalent of a rainbow, will feature prominently. I can smell the poppers at the Boat Slip already.

I would bet cash that the marketing "gurus" at the label figured it was best to issue her album on the cusp of Pride celebrations worldwide. I'm sure we'll be raising a glass to our little Aussie pop rocket all summer long. Chin chin!

"Head First" - Goldfrapp

This is already shaping up to be one of the finest years for purveyors of pop music. Goldfrapp, back from their pastoral wanderings, returned with a synth in one hand and a fistful of killer tunes in the other.

Another album that is sure to please the boys on the beach. I expect to hear "Rocket" and "Alive" doing the business around town at various discotheques.

"Night Work" - Scissor Sisters

Oh yes! It is a gay old year. N'est-ce pas? Sleezy, filthy, camp AND fun. Ver Scissters leave behind the honky tonk and cheeky winks of the last two albums and stretch a little.

I haven't dug deep into this, their third longplayer, but I suspect this will be the soundtrack for dark corners this week.

"Bang Goes The Knighthood" - The Divine Comedy

The audio equivalent of reading a good book on the beach. SPF at the ready. Umbrellas at a slight tilt. Maybe a picnic basket of sammies and a few cocktails.

Neil Hannon's quick witted delivery and jaunty piano numbers will enchant and delight while you soak up some sun. Even the British love a summer holiday. Close your eyes and let his lyrics paint a picture for you. Run your own little film behind your eyelids.

"Love And Its Opposite" - Tracey Thorn

This is the Sunday brunch album. This is for the comedown and the chillout. It's also suitable for an early morning bloody mary.

Thoughtful and breezy. A light, flowing, linen blouse as the sun comes up.

For the record, I think The Psychedelic Furs and some classic, pre-symbol Prince are going to be garnering a lot of play this week. I'm in the mood for some grit and a bit of funk. Read into that however you'd like.

Tracey Thorn and her acoustic adventures

The ever lovely and Twitter proficient Tracey Thorn returns with "Why Does The Wind?", the second single from her third, solo longplayer "Love And Its Opposite".

Tracey describes "Why Does The Wind?" as "a song about one person in a relationship being more committed than the other, and feeling pissed off that the other one is looking for a way out, leaving the back door open.” Many of us have either been there or know someone who has. This highly relatable topic and many others, which are explored on Tracey's latest elpee, might have a little something to do with the reason people connect to her music.

A slathering of dancefloor friendly mixes have been commissioned for the new single by Morgan Geist, Andre Lodemann and Michel Cleis. After Everything But The Girl experienced worldwide prominence with the remix of "Missing" way back in 1995, Tracey understands that there is a segment of her fanbase that wants to hear her voice in a more uptempo, electronic setting, hence the availability of mixes on a spiffy, old school 12" single which you can order today over at Buzzin' Fly. Check out the artwork for it above.

Since no plans are afoot for EBTG to hit the road anytime soon, check out some of the home video recordings Tracey put together with current studio partner, Ewan Pearson, and her longtime love interest and musical collaborator, Ben Watt.



You can imagine the hijinx they get up to when the camera isn't running. I love her little, electric zithery thing. Actually, it's an omnichord.





Love her purple stripy top. Do you suppose she's wearing the same trainers she wore when she recently ran the Moonwalk marathon?

Here's an idea! Tracey could record a mini concert in her home studio with Ben and Ewan. Then they can release it as a limited edition DVD through Strange Feeling. Marketing genius! She can thank me later for that one.

oh, the designers!

Tracey Thorn continues to come up with the goods. Can we all just agree that the sleeve designs for the campaign around her forthcoming album are pure genius?

First, let's revisit the album cover for "Love And Its Opposite".

Srsly magnificent!

Next to the artwork for "Bang Goes The Knighthood", the new album from The Divine Comedy, 2010 is clearly full of awesome. Designers take note. Be bold.

Even the horrid font would be completely tasteless if it wasn't so perfectly matched to the photo.

Now, take a gander at the single sleeve for "Oh, The Divorces!".

AMAZEBALLS!

Who doesn't love frilly, tuxedo shirts in an assortment of rainbow colors?

The look is a bit reminiscent of Pulp's cover art from the 90s which was flamingly incredible.

Can we make up an award and present it to John Gilsenan, the esteemed designer of this stroke of utter brilliance? Work it out, Tracey!

love among the thorns

Tracey Thorn has emerged from the wilderness with her third, solo longplayer, "Love And Its Opposite", in hand. It's the follow up to "Out Of The Woods" and has a more acoustic feel than the electro folk slant of its predecessor.

The cover art for the new album is designed by John Gilsenan who is responsible for all the acclaimed artwork at Tracey's new label, Strange Feeling Records, and its sister label, Buzzin' Fly, both of which are owned and operated by her long term partner and EBTG cohort, Ben Watt.

John gave the following quote regarding the cover art: "I was inspired by the lyrics and mood of the record - the way family relationships can get more complicated and messed up with time. I found a stock photo - a family portrait - that was formal but also a bit decadent, and then just went to work on it. I tried to capture the same feeling in the typeface - formal but a bit fancy."

Through the magic of the interwebs, you can download the album's opening track, "Oh, The Divorces!", right here if you are so inclined. It's a lovely, subdued, acoustic piano number with Tracey's achingly beautiful voice draped over the top.

"Love And Its Opposite" will be available at all fine "shops" on May 17. The album is ten songs strong. It includes eight originals and two covers - "Late In The Afternoon" by Lee Hazelwood and "You Are A Lover" which was originally recorded by Unbending Trees.

Cast your eyes upon the full tracklisting.

1. Oh, The Divorces!
2. Long White Dress
3. Hormones
4. Kentish Town
5. Why Does The Wind?
6. You Are A Lover
7. Singles Bar
8. Come On Home To Me
9. Late In The Afternoon
10. Swimming

atomic return of Massive Attack

After a lengthy, six year absence from the music scene, moody, UK, trip-hop icons, Massive Attack, are on their way back with "Splitting The Atom". It's a four song EP featuring several, highly promising, vocal cameos from Martina Topley Bird, Guy Garvey from Elbow, TV On The Radio vocalist Tunde Adebimpe, and long-time collaborator, Horace Andy.

The title track is a deep, creepy, haunting, slow burning number with shades of the more trippy end of the Two Tone spectrum or the spookier sides of Gorillaz.

In fact, when Massive Attack drop their forthcoming, fifth album in February, it will feature Blur/Gorillaz front man, Damon Albarn and former Mazzy Star chanteuse, Hope Sandoval.

Recently, I've rediscovered the dark beauty and claustrophobic fear of their groundbreaking debut, "Blue Lines".

And who could forget the bittersweet brilliance of their collaboration with Tracey Thorn from Everything But The Girl?