Dr Feelgood – Down By The Jetty (1975)

Such is the cyclical nature of the music business that the rehabilitation of pub rock was always just around the corner, and with the release of Julian Temple’s Oil City Confidential, it’s time has surely come. Dr Feelgood were always too good to be pigeonholed. The look was pure east end gangster, the music took R&B as practised by the likes of Muddy Waters and John lee Hooker, appropriated by The Rolling Stones and the Yardbirds, as a starting point, tightened it up and spat it out, decorated with lacerating shards of rhythm guitar and gale force blasts of mouth harp. I saw them play in front of about 100 people on New Year’s Eve 1974 at The Kensington, a long forgotten pub in west London. They were the finished article, even then. Lee Brilleaux, hunched over his microphone, oozing menace, sweating like a blacksmith. Wilko, like a robot on methedrine, darting manically back and forth across the tiny stage, his guitar spitting rhythm and lead simultaneously. To say they brought the house down is an understatement. They were a primal force and their influence on Punk Rock has always been understated. Check out this video for proof!

Beach House – Teen Dream (2010)

Inside this most insipid cover lurks a delicious concoction of fabulously lush dream pop. This is the album these two have been threatening to make for a couple of years now. There is a freshness to these soundscapes that comes with confidence and every note on this album oozes class. Yes, there are influences aplenty, Yo La Tengo, Velvet Underground, Mazzy Star to name but three, but Beach House have hit their stride in a place that also references exotica and the original dream pop of sixties legends Petula Clark and even The Honeycombs. Imagine a place midway between Sonic Youth and The Casuals – there you will find Beach House. This could very easily be their year.

dEUS – Worst Case Scenario (gently remastered)

1994’s startling debut from dEUS gets the sumptuous repackaging treatment. The original album threw jazz, funk, indie, grunge, Frank Zappa samples and film noir influences into the blender and against all the odds emerged with an album that attained instant classic status. The repackaging involves a further cd of rareties, a DVD of live performances and a booklet designed with love and care by guitarist Rudy Trouve. A rare gem from an era that, with the honourable exception of the Pixies, produced music mostly reminiscent of a bag of spanners being hurled down a fire escape.

Four Tet – There Is Love In You (2010)

A welcome return to the Four Tet project for Fridge’s Kieran Hebden. “There is Love in You” retains the organic feel that has graced his best work. There is a warmth to this recording, particularly the percussion that puts it in a different league to most dance oriented albums. “Rounds”, the album that brought Four Tet to the attention of a wider audience was dubbed ‘Folktronica’ and drew comparisons to the likes of ‘Boards of Canada’. This music is very different, it reflects seven years of progress. Deceptively close in energy levels to mainstream dance, there are nuances here that delight and the care with which samples have been woven into the very fabric of the music is a masterclass in composition, not just production. Dance for the discerning. Samples for the sapient. Beats for the brilliant. Nothing less will do.

Eels – End Times (2010)

What is it about Eels? Arch miserabilist Mark E possesses the uncanny ability to conjure aural magic from an extremely limited palette. Recorded at home, on basic equipment, familiar chord sequences and the patent Mark E croak chart the end of an affair in often heartbreaking terms. Against all odds, an arresting album, uplifting even in it’s relentless misery. What is it about Eels? It’s tracks like In my Younger Days, Nowadays and Little Bird. These are the songs that separate Eels from the shoal…

Fyfe Dangerfield – Fly Yellow Moon

The exuberantly talented Guillemots frontman in unplugged mode. Well not really; this being Fyfe Dangerfield, an extravagant string driven flourish is never far away, in fact on the single She Needs Me he seems to be on a one man mission to rehabilitate late period ELO, but the trademark kaleidoscopic whirl has largely been suppressed in favour of an attention to detail and proof positive that less can sometimes be more. An excellent album and if these songs were surplus to requirements, the next Guillemots album should be very special indeed. Standout track – Livewire, gorgeous understated ballad, with the loveliest piano outro…

These New Puritans – Hidden (2010)

Take Oboes, Clarinets and Bassoons, a pinch of hip hop, a generous helping of Killing Joke and Bauhaus and season with a healthy disrespect for prevailing trends. Wilful experimentation is something we see too little of these days. These New Puritans have risen to the challenge with gusto, producing an album that is as wonderful as it is abrasive. Moments of melancholy jostle with robustly amplified drums, chants, tack piano and an ethereal choir. This is a strange brew indeed and one that is worthy of investigation. Music, despite the best attempts of the industry is not yet dead. Here is proof.

Tindersticks – Falling Down A Mountain (2010)

The bartender wordlessly slides a tumbler of cheap whisky across the counter. In a corner, the blonde puts a quarter in the jukebox. Her hips sway to a skeletal beat. On the cramped stage, the bass player nods, picks up his instrument and softly at first, joins in. Frowning, he leans into the beat, as the pianist picks out a fractured melody with his right hand. A noirish world of rain drenched streets, cheap bars and femmes fatale is a place well worth visiting, even if only for a while. Lifelong resident Stuart Staples, one of the great rock voices and a fearless exponent of the lost art of sideburn maintenance is in great form on this album. The duet ‘Peanuts’, featuring the wonderful Mary Margaret O’Hara is a thing of beauty, whilst elsewhere a more stripped down acoustic, sound is in evidence. Best tracks? ‘Keep You Beautiful’, ‘Harmony Round My Table’ and ‘Factory Girl’, are up with the best they have recorded and don’t miss the instrumental ‘Piano Music’, an orchestral piece in three movements. Gorgeous.

Vampire Weekend – Contra (2010)

And passing that difficult second album test with flying colours we have Vampire Weekend, first out of the blocks this new year. This is a better album than the first, less frantic and less self conscious. Some critics have drawn tenuous links to the Clash, based on a fondness for culture clash musicality and a song called Diplomat’s Son. This is tendentious nonsense because Vampire Weekend are in fact the Police, reborn in a different idiom. This is no bad thing either, though the thought of a slow descent into pretention and cod classical posturing a la Sting is hopefully not on their agenda. Two songs in particular, stand out – the last, “I Think Ur A Contra‘ is light years away from their introductory salvo, as mournful a piece of dream pop as one could possibly wish for. ‘Taxi Cab‘ similarly bucks the trend, eschewing the frantic hi life affectations of the first album for strings and a slow, reflective vocal of exquisite loveliness. A very good album indeed and one to which I shall be returning often in the coming weeks.

Patti Smith – Horses (1975)

Produced by John Cale, this is arguably one of the most influential albums ever made, introducing a startled audience to the sound of high art colliding with garage band aesthetics a full twelve months before Malcolm McLaren invented the Sex Pistols. Patti Smith, Keith Richard lookalike extaordinaire, and Lenny Kaye, compiler of the garage band classic ‘Nuggets’, kick off with one of the most famous lines in rock – “Jesus died for somebody’s sins, but not mine…” morphing into an amphetamine fuelled wig out, chewing up Van Morrison’s ‘Gloria’ and spitting out the most essential three minutes since Little Richard recorded ‘Great Balls of Fire’. The rest of the album is no disappointment. Essential.