What I listened to in 2016

Marlon Williams

I was really stunned by Williams’ take on this song. After watching it about eighty times and making all my friends watch it in controlled silence, with constant visual attention, I’m still not sick of it. Check out a couple of songs from his album which came out in February 2016 here

The Lemon Twigs (see Lemon Twigs @ Hare & Hounds)

I actually found about these guys from the Song of the Week crew on Twitter. I ask myself ‘what’s not to like about The Lemon Twigs’ and the unshakeable reply is ‘nothing’. Their album has been percolating through my brain ever since and I even got to see them in November. And they got to see ME which must have been pretty awesome for them.

Thee Oh Sees

“Don’t you know how much I don’t love you” What can I say? They keep releasing mind altering music at an alarming rate, and this particular dose of Thee Oh Sees contaminated my auditory canal for some weeks. I just kept replaying The Axis like a test rat repeatedly pressing a red button to release pleasurable brain chemicals in a laboratory.

Demon Fuzz

If you want to look cool at a poker game withe some hip dudes, then drop some Demon Fuzz and shut the freak up. There’s even a cover of I Put a Spell on You in the mix. That’s all that needs to be said about Afreaka!

Dungen

Flute you say? I’ve got just the meatball for you. Swedish neo-psychedlia band Dungen have been around since 1999 waiting for me to discover them.

Jaye Bartell

Light Enough came out in April 2016, but this track has been dossing about on YouTube since February. Ever since then I’ve had it marked as a song of the year contender

Attic Abasement

Again, Dream News was released on May 27, 2016 on Father/Daughter Records – but I’ve been returning to this track since February. Another strong SOTY contender.

Anenon

Something a bit saxual. A slowly evolving masterpiece from Los Angeles producer Brian Allen Simon (aka anenon).

Nick Carter

Nick Carter describes this remarkable album as “the culmination of a slightly obsessive idea I had about sound.” Built around heavily distorted piano backed with bass, drums, and touches of guitar and sitar, its six tracks are frequently dreamy and hypnotic (reflecting Carter’s belief that “repetitive music radiates an unusual ethereal depth”), but can also be unnervingly intense. Recorded in Bristol, England, in 1978-’79, it was pressed in a tiny run aimed at generating major label interest; when that failed to materialize, Carter left music behind. (taken from www.forcedexposure.com)

Julian Cope

I just hadn’t heard it before and it’s beautiful, far more captivating than the better know ‘World Shut Your Mouth’ single.