A brief return for Albums of the Week. From the 16th of July, I’m hoping to put up a series of posts about the World Cup, a tournament that has left me largely silent from the blog in favour of watching endless matches that blur the boundaries of what I understand as my own stamina; I can now sit through anything, having watched awful awful things like…I don’t know…Greece playing football. The posts will be written by the usual gaggle of freaks who populate these pages from time to time, with subjects including: past World Cup memories, national anthems and team performance, the politics of French football, refereeing, the vuvuzela as cultural product, and differing commentaries of pre/post match analysis. The latter will include my diatribe on Andy shitting Townsend.
5. Vangelis – Invisible Connections
4. Autechre – Move of Ten
3. Dolphins into the Future – The Music of Belief
2. Mark van Hoen – Where Is The Truth
1. Ital Tek – Midnight Colour
Rather than my usual measure of an album, based on what it sounds like, and its relationship to others, I have decided to rate them on the basis of cover art. Ital Tek wins (and the little left hand side ‘play’ icon isn’t actually on the cover, but WordPress is being an arse at resizing so this is the best I could find), though its take on the album title is somewhat obvious. It makes me think of what old Doctor Who worlds should have looked like, and also something like an ink dripping exercise I did at high school. Mark Van Hoen’s I like, because of the sense of presence the image is imbued with. Not simply the photographer’s, but the atmosphere of the room, which seems curiously organised and dated. The music certainly echoes this, and makes it the album of the week if we go by traditional criterea – Yourself, and She Selda are standout tracks. Dolphins Into The Future’s cover again looks like the album sounds; washed out texture, vague melody, a mellow dream like drifting. Move of Ten is sort of lazy, but totally in keeping with Autechre’s oeuvre, and as a companion piece to Oversteps, the linkage is obvious. The nice typography pulls this back I think. Vangelis’ on the other hand, whose album is ‘old’ where these are ‘new’, is horrid, garish, and non-symbolic of what is contained within. An image of two figures through heat seeking glasses. I listened to it again recently, after reading Oneohtrix Point Never describing it as one of his favourites. It is a good listen, and I agree that it sounds like something Raster Noton might have put out ten years ago. You can also hear where OPN’s inspiration comes from. Listen to it immediately. He is, I think, still incredibly unfashionable, like some/many of my other favourites (Camel’s Mirage has already been mentioned on here in the memory top ten) so it’s a good way to differentiate yourself in these ‘postmodern-identity-crisis’ times.
Football related guff next, or maybe July’s Silk and Dogs track.