en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices http://www.last.fm/user/taraturg/journal The Last.fm journal for taraturg. Last.fm journals are a place to talk about all things music. http://www.last.fm/user/taraturg/journal/2009/02/20/2i2w5x_grouper_%2526_high_places_in_nyc_%2528new_museum%252C_feb._13_2009%2529 Fri, 20 Feb 2009 16:28:07 +0000 http://www.last.fm/user/taraturg/journal/2009/02/20/2i2w5x_grouper_%2526_high_places_in_nyc_%2528new_museum%252C_feb._13_2009%2529


Alone on the stage, Grouper’s expression was noticeably rigid, an austere demeanor emphasized further by a stiff posture. Harris’s composure was set in especially stark relief by the lounging crowd, all scattered across the New Museum Theater floor, most sitting, some lying comfortably on their backs staring up at the high ceiling. Like a group of grammar-school students circling the school librarian for afternoon reading hour — only favorite pillows and colored child-size carpet-squares absent from the picture — the audience was comfortable, but completely consumed by the performance onstage.

Grouper and High Placeseach played an equal share of the show’s two hours, but Grouper’s long-form style made best use of that brief hour; each of Liz Harris’s individual song blended seamlessly into the next, a wealth of drones, field recordings and electronics made the transition, all layered carefully onto cassettes, and reconstructed live as wailing, spacious atmospheric pieces. When the songwriting sharpened into focus, vocals and guitar melodies draped in familiar waves of distortion and foggy tape atmospherics, Harris returned to her statuesque state of concentration. Fiddling between songs with the mixer and tape recordings, her composure eased, and the music itself even seemed to stretch its legs, to avoid becoming too tightly wound. Abstract visuals, ranging from a chilly black and white kaleidoscope to dark, to low exposure nighttime campfire recordings occupied the sizable movie-screen behind New Museum Theater stage. These simple images nicely complemented Grouper’s cold, atmospherics, never robbing much attention from the music.

Grouper has made a handful of appearances in New York City over recent months. My recount of the night’s events give the impression Grouper sounded or looked uptight, but to the contrary, her performance was confident, and sounded spot on.

continued...]]> http://www.last.fm/user/taraturg/journal/2008/12/31/2d8a6l_top_ten_albums_of_2008 Wed, 31 Dec 2008 23:45:01 +0000 http://www.last.fm/user/taraturg/journal/2008/12/31/2d8a6l_top_ten_albums_of_2008 http://www.submersibledirigible.com/blog/2008/12/31/top-ten-of-2008/

Another incredible year is finally behind us, with plenty of music left behind to document the journey. Plenty of news discoveries this year, as always, and a few surprising efforts from more established musicians like Matt Elliott, Burning Star Core, Kemialliset and Grouper. Looking forward the the new labels, artists, genres, and sounds I’ll discover in 2009. In the meantime, I hope you enjoy my list of 2008’s ten best albums.

The latest year-end podcast should be coming tonight or tomorrow afternoon. After the new year, I’ll publish a couple additional retrospective posts, namely a look back into overlooked 2007 releases, possibly a collection of the year’s best music videos, and some additional year-end reading from a variety of trusted labels, djs and artists.

In case you missed rest of my list, here are the previous best-of-2008 countdown posts – Last 13 of 50, The Middle Bit: 11-37.


10. Marnie Stern - This Is it and I Am it and You Are it and so Is That and He Is it and She Is it and it Is it and That is That [Kill Rock Stars]
Listening to Marnie Stern leaves me itching to buy a bra, just so I can burn it. This isn’t Marnie Stern’s first solo effort, but it’s the first I’ve heard, so the novelty factor might have something to do with my high opinion of this album. This Is It… is thoroughly nostalgic, but completely free of the sickening kitsch that haunts many throwback projects. Its plucky electric guitar riffs are exhilarating, capable of producing miniature adrenaline buzzes. Marnie Stern’s latest is the sort of album that can only be properly experienced with help from excessive pyrotechnics, anything less and the music seems to outsize its surroundings.


9. Emeralds - Solar Bridge [Hanson]
Emerald’s slow growth drones build into a melodic wave of solar radiation. This Cleveland, Ohio trio has been active for nearly two years, but wider releases and consistent quality brought them to a much wider audience this year. (Emeralds @ youtube — live @ No Fun Fest ‘08)


8. Peter Broderick - Float [Type]
Peter Broderick’s Float, his first of two releases for the year, is a more melancholy affair than the pop-minded Home. Max Richter’s song-sized contemporary classical is close match to Broderick’s work here, filled with aching strings, pattering pianos, guitars and banjos.


7. Matt Elliott - Howling songs [Ici D'ailleurs]
Howling Songs, the conclusion to Matt Elliott’s three part songwriting series, rivals his groundbreaking 2005 Drinking Songs debut. This album of drunken, Dickensian folk songs must have been composed in a salty harbor pub, the sort of establishment seared with the steam, grit and stinking sweat of the broken urban spirit. (full review)


6. Zomes - Zomes [Holy Mountain]
Asa Osbourne’s Zomes is an other-wordly collection of looping, psychedelic 8mm cinematography. Insular tracks leave the album without much cohesion, but this doesn’t turn out to be much of a problem. Instead, these isolated, evolving melodies evoke their own miniature galaxies, each cut recycling and refurbishing the ideas into its own psychedelic tone-poem. (full review)


5. Burning Star Core - Challenger [Hospital Productions/Plastic]
While I often enjoy the genre, I often wonder how capable noise and drone artists would be if tasked with producing something vaguely recognizable as music. On Challenger, C. Spencer Yeh has somehow managed to redirect the same portion of his brain that develops musical textures from feedback, static and walls of sound to compose an accessible, heady ambient. Even with a lighter step, Challenger is still an imposing beast, its familiar metallic bulk cut and shaved of abrasive edges. This is still noise music, but genuine restraint focuses Burning Star Core’s tectonic sized melodies into a stunning display.


4. Grouper - Dragging a Dead Deer Up a Hill [Type]
Distortion, oscillating vocals, a cavernous electric guitar, and long, echoing harmonics have been characteristic elements of Grouper’s haunting droning folk. After lifting the thick fog of effects and moving away from purely textural drones, Liz Harris finally develops a more accessible style of songwriting, but without completely abandoning Grouper’s characteristic brittle melodies and washed-out pedal effects.


3. Larkin Grimm - Parplar [Young God]
Larkin Grimm was raised on a hippie commune, ran off to live alone on a mountain in Alaska, before returning to civilization on the advice of a Native American “shaman and… pitbull breeder” named Jezebel Crow. From this sort of individual, you’d expect a raucous album. Parplar is like a musical dime novel, filled with adventures and rugged glamor, all retold in a jaunty, frontier folkrock.


2. Kemialliset Ystävät - harmaa laguuni [Secret Eye]
Tampere’s godparents of the freak folk invasion recast their musical communalism in Moog. with harmaa Laguuni, Kemialliset has continued to hone their synth-laced avant-folk, first appearing in fully realized form on the group’s 2007 self-titled release. (full review, video)


1. Evangelista - Hello, Voyager [Constellation]
Guitars crack wide open on relentless electric notes, gargantuan drums run wild, while the frantic Carla Bozulich wails, whispers, and sings, in complete command of the whole beautiful mess. Hello Voyager’s noisy and delicate songs alike vibrate with seismic intensity. Evangelista is Carla’s raucous masterpiece, a wrecking-ball of prickly, electric songwriting. (Evangelisa @ youtube)

Late Entry for Album of the Year, Portishead - Third [Island/Mercury]
I avoided this album until very recently, just assuming it would be another retread of their well-worn sound. In fact, with Third Portishead has managed to preserve the best of their recognizable sound, and simultaneously reinvent themselves. Within seconds of hitting play, when that plodding, high-altitude kraut melody unfurls, the group’s determination to reinvent is made plain. This is jarring, at first; I think to myself, what the hell is happening here? Gradually, those iconic Gibbons vocals sweep in, and it quickly becomes clear Third is a weird and wonderful record, one that will surely be remembered as some of the group’s best work.]]> http://www.last.fm/user/taraturg/journal/2008/12/27/2cwixd_best_of_2008%2C_last_15_of_50 Sat, 27 Dec 2008 01:51:02 +0000 http://www.last.fm/user/taraturg/journal/2008/12/27/2cwixd_best_of_2008%2C_last_15_of_50 podcast @ http://www.submersibledirigible.com/blog/2008/12/22/submersibles-best-of-2008-podcast-the-last-15-of-50/

mp3 / aac / playlist

50. Growing - All the Way [The Social Registry]
Growing has been drifting slowly away from their minimal electric guitar drones, these days sounding something like a marauding, metallic sawtooth specter. All the Way, one of the group’s two releases for the year, is the best example of the Growing’s urgent, effects laden drone-rock.

49. Carlos Giffoni - Adult Life [NO FUN]
Much of Giffoni’s back catalog can be a rough listen, even for calloused ears like my own. Adult Life has its own rough edges, but its inviting synth melodies recreate and re-imagine electronic music’s unique beginnings, when compositions were blossoming in academic research laboratories around the world. Giffoni’s latest is a sort of avant-Tomorrowland, an album of unashamed early-electronic futurism.

48. Suishou No Fune - Prayer For Chibi [Holy Mountain]
Prayer For Chibi is the sort of dependable space psych that occupies the endless, soul sucking monotony of the cubicle existence. The album sounds to owe as much to Doom/Sludge luminaries like Sunn 0))) as it does to Kraut/Psych godparents Cluster or Can. Left this album out of my podcast mix, because it just doesn’t fit well in the format.

47. Wooden Shjips - Volume 1 [Holy Mountain]
An album of reissues apparently, with these songs appearing previously on limited release 7, 10 or 12 inchers. Basically, it’s the sort of garage psyche that worked so perfectly on their full length with Holy Mountain. These songs are infinitely re-playable, and provide enough variety so they’re showing something new with every listen.

46. Pocahaunted - Peyote Road [Woodsist]
Pocahaunted is tribalism recomposed for the 21st century. These two must compose all their music around campfires in full warpaint to achieve such a jarring, spiritual sound. I probably spent too much time this year chasing down their many releases, but I kept coming back to Peyote Road.

45. Peter Broderick - Home [Bella Union/Type]
It’s hard to believe the same man behind Float’s pop-minded contemporary classical could write this jangly, comfort album. Bright, charming songs, sunshine guitar, and soaring vocals made perfect for snuggling. A little too sweet for my taste-buds, but ultimately impossible to resist.

44. Ilyas Ahmed - Arroyo (Arroyo Series) [Digitalis]
More of the same is still awesome. Psychedelic, distorted songwriting, with dabs of dissonance and noise. It’s a tragedy this album is more widely available (yet).

dregs3

43. Head of Wantastiquet - Mortagne [Ecstatic Peace]
Sunburned Hand Of The Man’s Paul Labrecque puts together an album of surprisingly lovely banjo/guitar pieces, worthy of the Fahey and Basho American Primitive tradition. This musical niche should get old, but it never does.

42. Excepter - Debt Department [Paw Tracks]
Animal Collective’s Paw Tracks proves freak-folk’s dying corpse can still take plenty of flogging. These genre stalwarts produce another album of warped, senseless hipster jams.

41. Barn Owl - Raft of Serpents [Root Strata]
Mechanized grasshoppers mating tones, in a the peaceful guitar forest would sound something like Barn Owl’s Raft of Serpents. I’m running out of ways to describe ambient psychedelics.

40. M. Jarvis & A. Jarvis - Jun [Ruralfaune]
Ruralfaune’s best release, by my estimation. Yet another album of psychedelic songwriting that leaves a vivid, soothing impression. Instrumental pieces and folk songs mix perfectly, with some eastern influences and electronic bobbles for good measure. Apparently I’m a fan of the genre.

39. Steve Gunn - Sundowner [Digitalis Arts & Crafts]
Steven Gunn is best known as a member of GHQ, but has been recently producing his own acoustic folk songwriting, and stepping away from his group’s hazier blend. “For the Horse, Etc.” was a fixture in my playlist. Gunn’s Sundowner was released on the new Digitalis Arts & Crafts sublabel, setting a high standard for the new imprint.

38. Boduf Songs - How Shadows Chase the Balance [Kranky]
Nothing much has changed in the three years since Boduf Songs released his first album. How Shadows… again creates an epic sense of scale, his deep, hushed vocals sounding like some really incredible secret. If it aint broke…

37. Ignatz - III [KRAAK]
Crackling, whispered songwriting — III is an album of prematurely aged, over-treated, dusty recordings exposed to electromagnetic waves and solar radiation. Its interference completements the neurotic electric guitar and whispered vocal folk textures at this album’s heart.

36. Lau Nau - Nukkuu [Locust]
Plucky, atonal incantations from Helsinki’s Laura Naukkarinen. Like Islaja, Lau Nau’s acid folk is an easy listen, despite its dissonance. Nukuu’s frosty acoustic melodies, carefree vocals, and electric guitar whiteouts, put together, epitomizes the best of Finland’s bizarre, woolen folk community.]]> http://www.last.fm/user/taraturg/journal/2008/10/26/28romg_review%3A_matt_elliott_%E2%80%94_howling_songs_%28ici_d%E2%80%99ailleurs%2C_2008%29 Sun, 26 Oct 2008 18:44:06 +0000 http://www.last.fm/user/taraturg/journal/2008/10/26/28romg_review%3A_matt_elliott_%E2%80%94_howling_songs_%28ici_d%E2%80%99ailleurs%2C_2008%29 http://www.submersibledirigible.com/blog/2008/10/26/matt-elliott-howling-songs-ici-dailleurs-2008/

Just over eighty-eight years ago, at the outset of an unprecedented era of American economic prosperity later known as the “Roaring Twenties,” a small group of Italian-American anarchists detonated a horse-drawn cart, loaded with one-hundred pounds of high explosives, on the doorstep of financial giant J.P. Morgan & Co. The resulting explosion killed thirty and wounded many more. More jarring than the loss of life though, was the deep-seeded populist rage exposed by the Wall Street Bombing. A violent backlash on Wall Street, the very heart of American prosperity, unveiled the violent discontent concealed by America’s swelling wealth and progress, built largely on the bare backs of wage slaves, child laborers, and struggling working class debtors. It’s with an allusion to this violent moment in history, titled ‘Bomb the Stock Exchange,’ that Matt Elliott concludes Howling songs (Ici d’ailleurs..., 2008), his latest album in a trilogy of dark, anachronistic songwriting.

Such were the new surroundings in which Elzbieta was placed, and such was the work she was compelled to do. It was stupefying, brutalizing work; it left her no time to think, no strength for anything. She was part of the machine she tended, and every faculty that was not needed for the machine was doomed to be crushed out of existence. There was only one mercy about the cruel grind—that it gave her the gift of insensibility. Little by little she sank into a torpor—she fell silent. (Upton Sinclair, The Jungle)

Previous Matt Elliott albums have managed to inexplicably capture in music, as Charles Dickens and Upton Sinclair have in writing, the textures, imagery and struggles of the Industrial Revolution’s urban working class. Drinking songs, Elliot’s first fully realized songwriting album, was remarkably powerful, to the point of really affecting the listener with its heart-wrenching, mournful tone. Its drunken melodies felt composed in a salty harbor pub, tinged with the steam, grit and stinking sweat of a broken spirit. Failing songs, Elliot’s follow up, extended the emotional palette to some degree, notably the electric guitars and furious Gypsy whirlwinds from “Broken Bones,” “Desamparade” and “Good Pawn;” in the end though, Failing still sounded too similar to Drinking Songs to really distinguish itself.

“There is no wilderness where I can hide from these things, there is no haven where I can escape them; though I travel to the ends of the earth, I find the same accursed system—I find that all the fair and noble impulses of humanity, the dreams of poets and the agonies of martyrs, are shackled and bound in the service of organized and predatory Greed! And therefore I cannot rest, I cannot be silent; therefore I cast aside comfort and happiness, health and good repute—and go out into the world and cry out the pain of my spirit! Therefore I am not to be silenced by poverty and sickness, not by hatred and obloquy, by threats and ridicule—not by prison and persecution, if they should come—not by any power that is upon the earth or above the earth, that was, or is, or ever can be created.” (Upton Sinclair, The Jungle)

Howling Songs still contains much of the familiar introspective songwriting so prevalent in earlier Elliott records. Slavic, Iberian and more generic European pub, harbor and wandering influences are prevalent once more, again serving as the eerie, restless life animating Matt’s timeless songwriting. While Ici d’ailleurs calls Howling the trilogy’s most introspective record yet, it’s precisely the broader range of emotions and hues that distinguishes this record from its predecessors. “The Kübler-Ross Model,” the twelve minute album opener, is an early example of this new flexibility; in fact, the track title itself is even an allusion to the cycle of human emotions displayed in response to a tragedy or loss (i.e., denial, anger, bargaining, depression, acceptance). The track’s lyrics, lamenting sorrowfully the passing of an unnamed loved one, and the feelings of helplessness and confusion in mourning, occupy only two-thirds; howling, alongside a ferocious orchestra of electric guitar, drums and flurried Gypsy acoustic guitar bring ‘Kübler-Ross’ to a rousing conclusion, foreshadowing the album’s newfound aggression, and channeling that anarcho-socialist outrage that fueled much of the early 20th century working class backlash. It’s this frightening collision of introspection and anger that distinguishes Howling from Matt’s previous albums.

Incidentally enough, the aforementioned ‘Bomb the Stock Exchange’ is the album’s finest example of Howling Songs‘ emotional complexity. The lyrics are characteristically introspective, a predictable soliloquy of personal anguish — “When all of your memories are sad / Forgotten the dreams that you had / Friends are a lie, who don’t care if you live or die / What to do but cry?” Elliott’s upbeat, veritably sunny delivery though, and dark, humorous closing lines — “If you’ll top yourself anyway / Why not bomb the stock exchange?” — contrasts wonderfully with the trilogy’s overwhelming emotion, adding some depth to what could have been a relatively shallow affair, and casting a shadow of self-critical humor on the whole mopey affair.

While much of the album still mimics territory already covered exhaustively in Drinking and Failing, it’s Howling’s comparative abundance of fresh ideas that leaves a lasting impression. Aside from the opener and closer, ‘A Broken Flamenco’ is another of the album’s standout, and the finest example of Howling’s memorable aggression. The lyrics are brief, but defiant — “When faced with a flame / We’ll turn our face / What use recoiling from an infernal rage / We’ll burn as we wait” — and alongside the screams of Elliot’s electric guitar and relentless pace of the acoustic guitar, ‘Flamenco’ sounds like a fitting tribute to or representation of the explosive, uncontrollable energy of the angry mobs worldwide that pried a share of the American dream from the country’s greedy power brokers. As our modern financial markets come tumbling down, with the wreckage falling largely on the backs of our working class and middle class, this mix of genuine outrage and self-deprecatig humor is uniquely tuned to these trying times, increasingly known as the second gilded age.

Put together — from the familiar songs of introspective contemplation, rousing populist rage with hints of cynical humor — Howling Songs is simply a brilliant conclusion to Matt Elliott’s already spectacular series of songwriting releases. The album is available late October from Ici d’ailleurs on cd and, for the first time, on vinyl. Darla Records looks to be distributing the album exclusively in the United States; in Europe, the label itself would likely be the best source, while Cargo Records looks to be distributing copies in the UK. The 2LP comes in a cardboard gatefold sleeve, on clear 180g vinyl, with two lovely inserts.

update: removed the word "terror," having recognized it's a loaded term, and not terribly constructive in this case.]]> http://www.last.fm/user/taraturg/journal/2006/12/24/u0u_2006_was_better_%28best_of%29 Sun, 24 Dec 2006 21:06:40 +0000 http://www.last.fm/user/taraturg/journal/2006/12/24/u0u_2006_was_better_%28best_of%29 1. Keith Fullerton Whitman - Lisbon
2. Joanna Newsom - Ys
3. Tim Hecker - Harmony In Ultraviolet
4. Ilyas Ahmed - Naqi
5. Corker/Conboy - 3 Degrees Colder
6. Benoît Pioulard - Précis
7. Zelienople - Stone Academy
8. Ignatz - I Will Soothe My Eye to Feast with a Sight of Beauty
9. Ben Frost - Theory of Machines
10. Grails - Black Tar Prophecies volumes 1, 2, 3
11. Xela- The Dead Sea
12. Shuji Inaba - Yoenzange
13. Machinefabriek - Marjin
14. Matt Elliott - Failing Songs
15. Espers - Espers II
16. Ratatat - Classics
17. Clark - Body Riddle
18. James Blackshaw - O True Believers
19. Jóhann Jóhannsson - IBM 1401, A User's Manual
20. Ellen Allien & Apparat - Orchestra Of Bubbles
21. Loscil - Plume
22. Boduf Songs - Lion Devours the Sun
23. Helios - Eingya
24. The North Sea - Underneath the Jesus Tree
25. Rameses III - Matanuska
26. Yo La Tengo - I'm Not Afraid of You and I Will Beat Your Ass
27. Mountains - Sewn
28. Beirut- Gulag Orkestar
29. Bonus- On Earth
30. Gultskra Artikler - Pofigistka
31. The Knife - Silent Shout
32. Aceyalone and RJD2 - Magnificent City
33. Seht - Christian Jesus, I Will Determine Suicide
34. Wooden Wand and the Vanishing Voice - Gipsy Freedom
35. Vetiver - To Find Me Gone
36. Greg Haines - Slumber Tides
37. Boards of Canada - Trans Canada Highway
38. Max Richter - Songs From Before
39. Sneaky Pines - Sneakypines
40. RF - Views of Distant Towns
41. Cole Milner Island - This Is the Night
42. Grizzly Bear - Yellow House
43. The Decemberists - The Crane Wife
44. Horse Head - Make It Something Else
45. aMute - The Sea Horse Limbo
46. Spank Rock - YoYoYoYoYo!
47. A Hawk and a Hacksaw - The Way the Wind Blows
48. Tunng - Comments of the Inner Chorus
49. Valet - Blood Is Clean
50. Wolf Eyes - Human Animal

I'll be uploading the albums missing from my list all day tomorrow!!1

Overall, an awesome year. I discovered a ridiculous amount of new artists, and am absolutely sure if I'd had more time to listen to music, my list could be twice as long. There are a bunch of albums I want to list here, since I know I'll love them, but I haven't been able to spend enough time with them yet. A few that come to mind are Zelienople - ink, Svarte Greiner - knive, Jedi Mind Tricks, The Books new thing, new BCM, Raccoo-oo-oon, new Peter Wright, Larkin Grimm - the last tree, bunch of other ilyas ahmed, hush arbors - since we have fallen, more north sea (plus his million side projects) new Kuupuu lp, Grouper - wide, Dictaphone - vertigo ii, Dialing In - cows in lye, belong - october lang, bunch of Axolotl, bunch of (VxPxC), and many more. arrgh.

edit: all should be available. I hope you try some of these out, especially from my top 20.]]> http://www.last.fm/user/taraturg/journal/2005/12/15/u0t_oh_looks_it%27s_a_best_of_2005_post Thu, 15 Dec 2005 09:32:06 +0000 http://www.last.fm/user/taraturg/journal/2005/12/15/u0t_oh_looks_it%27s_a_best_of_2005_post 1. Deaf Center - Pale Ravine
2. Venetian Snares - Rossz Csillag Allat Született
3. Amina - Animamina
4. Colleen - Golden Morning Breaks
5. Animal Collective - Prospect Hummer EP
6. Goldmund - Corduroy Road
7. The Decemberists - Picaresque
8. Piana - Ephemeral
9. The Books - Lost and Safe
10. Animal Collective - Feels
11. Paavoharju - Yhä Hämärää
12. Tape - Rideau
13. Sufjan Stevens - Illinois
14. The Mountain Goats - The Sunset Tree
15. Akron/Family and Angels of Light - Split EP
16. Sigur Ros - Takk
17. Secede - Tryshasla
18. Akron/Family - Akron/Family
19. Fursaxa - Lepidoptera
20. American Analog Set - Set Free
21. Matt Elliott - Drinking Songs
22. Iron & Wine and Calexico - In the Reins EP
23. Jose Gonzalez - Veneer
24. Hauschka - The Prepared Piano
25. Bell Orchestre - Recording a Tape the Colour of the Light
26. Windy and Carl - Dreamhouse/Dedication to Flea
27. Gang Gang Dance - God's Money
28. Jane - Berserker
29. Architecture in Helsinki - In Case We Die
30. Ris Paul Ric - Purple Blaze
31. Four Tet - Everything Ecstatic
32. Amon Tobin - Splinter Cell 3: Chaos Theory
33. Murcof - Remembranza
34. Antony and the Johnsons - I Am a Bird Now
35. Spoon - Gimme Fiction
36. Boards of Canada - The Campfire Headphase
37. Jasper TX - I'll Be Long Gone Before My Light Reaches You
38. The Skygreen Leopards - Life and Love in Sparrow's Meadow
39. Islaja - Palaa Aurikoon
40. Clap Your Hands And Say Yeah - Claps Your Hands And Say Yeah
41. Super Furry Animals - Love Kraft
42. Kinski - Alpine Static
43. Panda Bear - I'm Not/Comfy in Nautica
44. Mugison - Mugimama This Is Monkeymusic
45. Matt Sweeney And Bonnie 'Prince' Billy - Superwolf
46. Lucky Pierre - Touchpool
47. Art Brut - Bang, Bang, Rock and Roll
48. Autechre - Untitled
49. Tuung - Mother's Daughter and Other Songs
50. M.I.A. - Arular

When I made this, I forgot Apparat's Silizium EP, which sucks because I really liked it. Oh well.]]>