For years I wondered who made the excellent drum and bass mix of The Beat’s Mirror in the Bathroom that Pete Juxtaposeur played in SF and on Radio Clashseveral times – might have been told ages ago but never tagged it, nor credited the people….finally found out who – it’s DJ Food & DK, originally done I think for a Solid Steel show, and their Solid Steel ‘Now Listen’ mix (must get a copy), but above I found an excellent VJ mix they do live with Scratch-Live and Video-SL. Amazing stuff – and the mashup appears 35:43 in…it’s The Beat vs Mask – Square Off, and is the best Mirror in the Bathroom mashup ever, all other versions are pretenders. And is a total CHOON.
Wish there was a full longer version…I was going to create a video for this as I was surprised it’s not on YouTube but DJ Food and DK have done it already
P.S. Interestingly the next bit – 2001 was a VJ standby of mine back in the day, and The Powers of Ten footage is interesting timing since it might be also used in a project I’m working on Also I’m looking at VJ softwares as possibly moving into that direction, so interesting to see what Scratch-Live can do – does it mix video live (ie. a video for BOTH sources, or just 1 vid per tune – so you have to premake your mashup vids? If it’s the former that’s more what I want to do, mix multiple sources).
Also having listened to the whole vid (I was at work so watching was a bit impossible) the other OMFG bit is at 23 mins in – Santogold – Say Aha (Tepr Remix) vs The Qemists Feat Wiley – Dem Na Like Me (accapella) – sheer DJ Food/DK brilliance. And I hate Wiley AND Santogold and they, along with TEPR made me care! I’d love a proper mixable long version of that, it’s brill.
And to see how DJ Food (is that just Strictly Kev now?) and DK does it live for this amazing vid from Videocrash in 2008…
No not a list post as I’ve railed against before; just a review of the year. You can add random numbers to it if you want, especially if you want it to make less sense. Feel free to then argue the results bitterly in the comments, across twitter and thus the national press who now think if it isn’t on Facebook or Twitter it doesn’t exist, and conversely if it is it must be news. And thus bump up my Google ranking and provide this blog with loads of free advertising…;-)
2009 was the year that:
It sounded BIG and LOUD in a Wall of Sound that probably surrounds Phil Spector in jail – not sure if it was in honour of the jailed frizzy haired freak or just that Glavegas was on sale, but it seemed that claps, Ronnettes style beats and distorted wall of sound a la Jesus and Mary Chain, My Bloody Valentine et al was completely in vogue – from The Big Pink to Pains of Being Pure at Heart and many many more. And others made it their business to sound like they had swallowed either that C86 shoegaze comp (School of Seven Bells, M83, to some extent Pains too even Fuck Buttons), or the entire Factory catalogue with some Sonics via The Fall for dessert (Horrors). It never sounded so 1988.
Joy made a comeback - it’s usually a dirty word, with looking mopey and clinically depressed being the indie/rock star norm - but that star-struck and wide-eyed joyous sound you’d usually associate with hippies or strung out folkies (more of that in a minute) became the most appropriate response to the darkness in the world…from Noah and the Whale to Girls, The Very Best to Leisure Society to that damn Florence and the Machine and Flaming Lips and many many more…happy (or at least sounding it) was the new black. Even in dance or more experimental quarters, from M83 to Fuck Buttons to *spit* Animal Collective that big building joyous almost spiritual sound was in. Also sounding like it was from a long lost John Hughes (RIP) movie soundtrack was a good thing (Phoenix, Passion Pit, many others).
Folk was not a four letter word – with the New Joy (ooh call the IPC sub eds I came up with a new genre!) it seemed the country/folk sound kept going by the likes of Bonnie Prince Billy, Richard Hawley et al was everywhere…from The Low Anthem to Noah and the Whale (of about 5 million Laura Marling offshoots like the Waterboys-molesting and yawnsome Mumford and Sons) and rather belatedly King Blues (well I missed their LP at the end of 08 so it’s a 2009 discovery to me!) and Fleet Foxes who were still around, probably foraging in the bins.
Ukeleles were cool – well they’ve always been cool, but Leisure Society and Noah & the Whale using them to Florence brandishing one on stage and the Ukelele Orchestra of Great Britain’s massive Uke-a-thon at the Proms and millions of Uke videos it did seem like 2009 Year of the Uke to me.
Dubstep went overground – sniffed around a bit, ate a few nuts, went to a rave, then went back underground and changed again. Probably hibernating now, either that or collaborating with The Wombles.
Bloc Party split. No-one really noticed. Ditto Oasis, although sub-eds must fear for their jobs having to look for better quotes in future.
As sure as Kilimanjaro rises like Olympus above the Serengeti, African music was a big influence – from Buraka Son Sistema to The Very Best via Vampire Weekend, Damon’s faves Amadou and Miriam, and Vamps inspired bands (The Drums is one I can think of on the top of my head, many more out there) – those beats and chiming guitars and vocals were legion.
Beards were big, I blame Fleet Foxes and Bonnie Prince Billy for this…in a nice way! Yay beards!
Someone called Michael Jackson died. Nope. I’m a blank…
Lily Allen did one great song, opened her mouth and put her foot in it again then stormed off. For a change.
Moz was in a coma, I know, I know, it wasn’t that serious. He did pull a few strops though, getting fans chucked out, generally acting the queeny diva he really is.
Steven Wells died. FUCKSTICKS.
Blur and The Specials played again and it was great – no Jerry Dammers, natch, but I got to shake the hand of Don Letts. I iz a happy man.
Peter Mandelson became the most hated man in Britain. Or should be.
Favourite Album of 2009:
Well I’ve gone through most of the best ofs recently, especially the NME and Rough Trade ones – some good ones, but strangely not this album. Maybe cos it’s a remix of a 19 year old album, maybe cos it’s only available at Rough Trade and mostly the Net on limited release, but Saint Etienne’s Fox Base Beta is most definitely my album of 2009. With Richard X at the remix controls, it was back to 1990 in the black cab time-machine to update a rather patchy but important classic with a 2009 sound – and yes his mix of ‘OnlyLove Can Break Your Heart’ is as good as Weatherall’s, yet he rather wisely leaves Nothing Can Stop Us Now alone – if it aint broke, don’t fix it?
Nothing comes close. Well actually few did. Sub Focus’s eponymous debut was the front runner for most of the year, like Chase & Status last year bringing drum and bass, dubstep and even Axwell-style piano rave and wobble basslines to the pop charts and Radio 1…Could This Be Real is not only a great pop tune, it’s a club classic. Way too short though.
The Very Best dominated the end of the year for me…album was a little disappointing but their Mixtape (which is the album’s bonus CD at Rough Trade before people moan it was 2008 or something!) was a brilliantly eclectic and East/West soundclash affair mixing classical music, Architecture in Helsinki, MIA and Vampire Weekend – all of which went on to colloborate with them funnily enough – and Michael Jackson who went and uncollaborated by dying.
Fever Ray took the warmth and energy of The Knife, what little of it was left after Silent Shout, and put it into the cold-hearted glacier that would make the world in ‘Let The Right One In’ proud…moody minimal dancehall if done by someone who’d never been to Jamaica nor heard any and didn’t really dance…with a haunting vocal and minimal synths. No-one sounds quite like Karin Dreijer Andersson and this album is timeless and also sounds completely alone and genreless and thus like nothing else. And thus sound like complete bollocks if you try and describe it.
Peter Bjorn and John – Living Thing- sadly ignored in most lists but compared to the (admittedly good yet overplayed) fluff of Young Folks the darkness and quirkiness of “It Don’t Move Me” and that video drew me in – and surprised me. This is the sort of electronic dark sound Air or Royskopp should be making, not shamed by those that wrote the whistley annoying one from a few years back.
Passion Pit are a late entry, it seemed to be rather quiet on the indie-dance crossover front this year so they along with Gossip were some of the few holding the side up – loved their Irish folk bothering Sleepyhead (I thought it was Chris De Burgh!) and best use of children since D.A.N.C.E.
Fuck Buttons – Tarot Sport another late arrival but love the electronic shoegaze MBV / post-rock Mogwai feel, it is basically drone rock ala Godspeed You Black Emperor! plus electronics so not everyone’s cup of tea, but real ambient bliss. And the electronic/glitch production is a development over the fairly obvious Street Horrrsing.
Mr B’s album is pure genius, mixing the ukelele with hiphop via ChapHop. It’s 2008 though so doesn’t count. As doesn’t Ladyhawke’s LP. DOH!
And another late contender I forgot to add was Leisure Society’s ‘The Sleeper’ – brilliant album, makes folk joyous and wonderful, even if the subject of the song is sometimes surprisingly dark.
Best Track of 2009
Has to be this – nothing cheered me up and wanted to make me dance like The Very Best’s ‘Warm Heart of Africa’, and more importantly delve into Victor Uwaifo’s back catalogue and do my first remix – like this track. Pure happy African/London/American hybrid mashup genius!
Other tracks: well Charlie Darwin by the Low Anthem was a definite earworm, as was The Drums ‘I Felt Stupid’, the live version of Franz Ferdinand’s ‘What She Came For’ which reclaims the small-gig energy of early Franz which seems a little missing on the album, Hyph Mngo by Joy Orbison displaying where dubstep can go next (ie ditching the rain samples, it doesn’t have to be so dark, etc), The Pains of Being Pure at Heart’s ‘Come Saturday’ bringing fun Ash-style power pop back, Fever Ray’s ‘Keep the Streets Empty’, Sub Focus ‘Could it be real’ proving that pianos and bassline doesn’t always equal cheese, Lily Allen ‘The Fear’ proving not everything she does is either shit or just for attention, Royskopp feat Robyn ‘The Girl and the Robot’ - shame about the album though, “It Don’t Move Me” by Peter Bjorn and John – dark and odd MJ-inspired video that probably gave him the heart attack, Prodigy – Omen and Warrior’s Dance showing how this rave bizniz is done…and French Navy by Camera Obscura is pure loveliness. Ladyhawke – I loved ‘Magic’ and ‘Dusk til Dawn’.
And who can forget probably the biggest get up and dance hits of the year – Dizzee Rascal’s Bonkers and Black Eye Peas – I Got a Feeling, this year’s ‘Low’, whatever you feel about the cheesiness of the track, you cannot deny the joyful reaction. Classic pop.
Best mashups
This is hard for me since I don’t regularly listen to as many mashups as I used to, unless I’m involved in making videos or compilations with them, but Dunproofin was probably the man of the year for quality mashups (again)- bit naughty plugging one of my productions but the reason I made the video for Pjanoo Dance is it’s one of my favourites, if not the favourite of this year. Others that produced stone-cold classics were 10000 Spoons especially his Astley Gone to Heaven, Celebrity Murder Party, Phil Retrospector, djbc’s and DJ Fox’s Fleetwood Mix tracks and Menorah Mashups.
Well again it’s more people that specific tracks but ThriftshopXL suddenly came back to life this year and was a video mashup machine and I loved his Lily Allen, Cure (even if it did include that annoying Bat For Lashes woman) and Phil n’ Dog bootlegs.
Other video mashers I rated were Pogo, Ricardo Autobahn, rx, Cassetteboy, BorisB, DJ Le Clown, dascottjr with his literal version of Total Eclipse of the Heart, Philretrospector and Reborn Identity who produced a whole DVD of the Mashed in Plastic David Lynch compilation. Good stuff.
And come in at the last moment is Earworm’s United States of Pop 2009. I really didn’t like the last one, but this is a real development, has some really nice touches and is slick, slick, slick, using the cutup techniques that are more Ricardo Autobahn to create a song than yer usual A vs B. Even though I hate some of the terrible source material…but that’s what you get if you challenge yourself to mash the top 25 tracks! Like the Taylor Swift vs Kanye bit
But in retrospect it probably was all about The Bloody, Bloody, Bloody Apprentice. Cassetteboy pwns!
Biggest disappointments
Jarvis’s second LP. How could you? The incomprehensible and 6th-form poetry of Angela didn’t bode well, and the album was crushingly yawnsome and rather desperate rock attempt which left that acoustic/country Richard Hawley produced sound just as it began to get fashionable. Doh!
Bat for Lashes. If I wanted sub Kate Bush/Peter Gabriel Guardian-reader dross, I’d kill myself, not listen to this. What was it and 2009 and awful 80’s MIDI sound Casio-keyboard production? BFL, Little Boots and La Roux, I’m looking at you.
X-Factor like Scientology is still massive and about as good for you.
3 strikes law annoyed everyone; G20 violence and police hitting people randomly, world is still terrified of it’s shadow and the ridiculous Pantsbomber terrorists hiding in it, of course.
Not getting to Glastonbury and Bestival AGAIN this year for the 100th year running, Gah. I would like to go at least ONCE before I die…
It’s all a bit meh, really
The Horrors LP. Best LP of 2009 according to NME. The Most Obviously Derivative But Not Even That Good according to me. It’s not terrible – like the Krautrock meets acidy bleeps of Sea Within a Sea, but really it does sound like they swallowed the whole Factory/Manchester back catalogue, from A Certain Ratio attempting Krautrock to baggy to The Fall copying The Sonics. So far so good if not exactly original influences – but with one-flaw sub-Wedding Present/sub-Ride songwriting abilities. Nice producer, shame about the band.
Yeah Yeah Yeah’s idolatry. Yup ‘Zero’ is good, brilliant bassline, rest of the LP is fairly boring, the acoustic versions actually sound better than the produced tracks…definitely didn’t follow the brilliance of ‘Zero’
Dirty Projectors – Bitte Orca. One word: Terrible…maybe Noah’s Whale should eat them up.
Air’s LP, and Royskopp’s LP. Just mehness incarnate.
Future of the Left. Sorry At the Drive In was nearly 10 years ago now. Rage was nearly 20. We don’t need a unpoliticised version babbling what you think are, like, ‘Gang of Four’ but are actually inanities that make Wire seem positively on point…Arming Eritrea? WTF? We do need a politicised and on-point band in said mold, though.
The only time of the year I can trot this one out so I may as well work it (the rest of the year it lurks in the corner, gollum style sulking that it only gets the chance to shine for a few days a year)…this is ‘SCarey Xmas’ – Mariah Carey’s perennial ‘All I Want For Christmas’ given a right royal kicking by DJNoNo and Friends (those friends – in the Twitter ‘I don’t really know you’ sense – being Dillinja and Unknown Error, who actually make far more of a contribution than the estimable DoctorNoNo as he is also now called mWAHAHAHA!)
Also available for you festive-fiends, all one of you, is the video for Voicedude’s ‘It’s the Little Things’ the wonderfully strange combination of Blink 182 and BTrans Siberian Orchestraw, hich not only has recently made it onto A Very Bootie Xmas 2 but also his latest (?) Chrismash compilation which I can’t find the link for sadly – I note a re-pitched updated version…which isn’t this one. The video is Box of Delights which I might crack out again and watch. It’s one of my favourite books and TV series of all time.
Calling All Shipping – MV Soundhog is broadcasting on all frequencies for possibly the last time with Radio Soundhog 7 (but then again Ben Hayes like his mate Frenchbloke always says ‘never again’ then pops up on the starboard bow when you least expect it).
It’s a wonderful and in some parts jaw-dropping hour-long mix, if you’ve tuned in before you’ll know what to expect, but if not you get funky 60’s grooves, modern electronica, 80’s tunes and rock all mixed like you’ve never heard before in one special transmission. Expecially amazing this time is the Renegades of Funk vs Human League section, and the Gang Of Four punk backed Mirror in the Bathroom going into manic drum and bass (has he been listening to DJ-C’s mix of ‘Mirror’?).
I hope he increases the frequency (hoho) of this sort of thing, if not long mixes like Radio Soundhog, then remixes or even *gasp* bootlegs or DJ gigs, basically he should stop moaning and get out there
And I love the Tempest quote it ends on, with Dr Who / Mr Wurzel Gummidge Jon Pertwee reading:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp’d tow’rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
I’ve been so busy only now have I had time for a proper ‘debrief’ of International Mash Bash in Saarbruecken – also wanted to wait til I had all the videos and pictures uploaded. There have been far better ‘debriefs’ such as Shiggi’s aka Defunkto who had far more exciting and dramatic time than me…so I’ll keep it quick.
Friday morning was stressed – I was running late and the supposed Stansted Express is anything but, stopping at the likes of Little Buttf**k, Essex for no apparent reason. I ran – well shambled – as fast as I could to the gate, to find this is the Uprising crew method of flying:
So I made it with plenty to spare, sadly Shiggi didn’t – as you can read in her report…and this wasn’t first of the RyanAir hassles – several of the Who Boys massive got surcharged with that ripoff scam where you have to print out your boarding card – to turn up with the booking number like you can on other airlines means you get a 20 or 40 quid charge! Horrible airline.
Anyway safely in ZweiBruecken, we met up with Andreas and made it to Saarbruecken on the coach…it was at the hotel I met DJ Fuller (who is crazy) and DJ M.i.f. again – he was also at Trier. After much wandering trying to find the other hotels, finding a massive German sausage met Bacon (ooh! Insert Carry On Style joke here) and DJ Fuller attacking children’s bouncy play areas in the high street, we eventually found and lured the Who Boys to the Alligator, a 1 Euro per drink dive near the Continental. As you might have guessed, this set the tone for the rest of the weekend.
I finally met up with John later – the hotel had despite me mentioning him on booking email, and asking about him that evening by name – had booked him into a seperate room! It was by pure chance we met, so went and had a nice Italian meal…totally wrecking my German acclimatisation. The club started at 11pm, and we got there at 11:15.
Modul is a great club, quite civilised with loads of places to sit, sofas (of which several varieties became Jimmi Jammes home for most of the weekend) and an upstairs and downstairs bar. To kick off was Andreas akamouzpusha doing his first ever DJ set, video’d by his dad – ahh…a rather bigger camera was the SaarTV who interviewed Andreas on the dancefloor despite Jez mit Horsehead going up behind him..
Here’s Morgoth DJing in the upstairs bar:
I danced to his set but my dancing ‘duck’ was broken earlier by Mr Whitelabel who played a great mashup of Pjanoo vs Robin S, and if there was a song of the weekend, that was it for me.
(Djing AND taking pictures? Man after my own heart)
And here’s the start of CMP’s set (the ‘You Bastard!’ you hear part way through was as I realised he was playing one of the tracks in my set. He theen went on and played the next track I was going to play in my set – in exactly the same order! Hence a quick set change/panic on the Saturday for me).
BTW may look a bit empty but that’s cos Fusion’s crowd cleared out at the end of his set before ; Jez had the floor packed in 1-2 songs after this.
The Who Boys disappeared for most of the night, and came back with strange tales of midgets and polish women. Here’s a sample of a new video podcast called ‘Friday Night With The Who Boys’ I am not producing
John was flagging so left around 1am ish – but I wanted to stay to the bitter end, mostly to hear LV15’s set at 5am. I didn’t know what to expect, but as it wasI think his first set in about 5 years, and apparently the last I wasn’t going to miss it…I wasn’t disappointed, it was the best set of the whole weekend for me – old skool drum and bass bootlegs, as I’ve posted here a few days ago. Total class, and was one of only two sets where I danced like a loon.
(Warning, audio is seriously not safe for work:)
So after that most of Saturday was rather quiet – John went off to visit the sights while I slept, then stirred around 1pm – well was actually awoken by a call by Robin aka Superelectro and practised my set, panicking that after CMP’s set it might seem a bit like a rehash. I calmed down, got my soundcard working with Traktor properly and felt a lot better. Stumbled out at around 4pm, looking for food and collided with the gang who were going down to the 6nul3 venue to show us where it was. It looked like a rundown secret cinema, and the poster had gone, rather worryingly.
Wandered around, got some food at a local Imbiss (the sausages are lovely!) and then drank in the Markt with the Uprising crew and Nick Deep Disco Force who was over from Trier…oh and Shiggi arrived! That was a pleasant surprise as we were all bummed she missed the flight…apparently she got in from Munich on the train at 4am. Ouch.
8pm: Soundcheck: oh dear. The place looks like a bunker and sounds like it, bass reflections all over the place. Their idea of soft furnishing and sound proofing is building the walls from those sorts of rocks you get in B&Q rockeries. Ouch. Set up my laptop and scarpered cos I was meeting John for dinner. A fraught yet nice affair – fraught cos I was nervous about my set, and the fact that I hadn’t been able to setup the projector.
Get back to the club with John, get lost finding the ’second floor’ til I learn it’s in the toilet. Cue much laughing (but later taken (a)back when I realise the acoustics were actually better in there) and learn the projector can’t be setup, as despite there being a big fuckoff strobe that’s always on, a projector will ruin the ‘ambience’. What ambience? Were they going for 60’s ski-resort torture dungeon that week? So it means my specially created hour-long video set is now going to be on TV only. Sigh.
Noise. The place is noisy. Even the ‘Second floor’ is noisy. Bass in your face and every other nook and cranny. John does not look happy as he’s agreed to stay for my set until 2am, so proceeds to get drunk. I can’t blame him. I partly join him, cos I am not looking forward to my set. Nick Deep Disco Force plays storm in the toilet, sorry second room, and I have fun taking pics in that room with it’s odd lighting.
My set rolls around, and I take to the ’stage’, well bit by the bar – it goes well for the first few songs, despite aggro trying to get the DVD to start with German OSX which Andreas sorts out (thanks)…but during the piano-house / modern AC Slater – Jack Beats style section I lose them…I couldn’t really work out what they liked, cheese? electro? rock? Strangely they seemed to react well to one of the earlier Metal bootlegs, and I’d not brought any metal – apart from Electro Sandman – in my set which they didn’t really like either. I’d gone for a surefire commercial electro/mashup floorfiller type set, demo’d elsewhere successfully, and it turned out to be far from surefire. I probably should’ve done ’silly’ but the point was to prove that I can do other things, like a credible set, like I’ve done successfully at Bootie or Eclectic Kettle. It failed.
Also I learned you can’t DJ in a top hat! I’ll be posting my set and my video in the next day or two so you can make up your own mind. Some of the bootleggers liked it – LV15 and Mrs Pilchard said nice things, which meant a lot. I stumbled off the stage into John’s arms – he thought it was wonderful, and no he doesn’t usually say that automatically The irony was I was half thinking of making it my last DJ set too, the response probably has made up my mind – if I was a good DJ I could’ve rocked that place. Oh well.
Still the night was young and I could now get very drunk and had nothing to worry about! Wayhey!
Pilchard went on and did a great set despite me knocking over his beer, and the soundsystem and then it was the Who Boys:
It was their retirement set, and sadly there weren’t a lot of people left by the time they went on, mostly bootleggers…the club was only partly full to begin with – not Andreas’s fault, the posters were everywhere and flyers in massive quantity – which we got to see when Andreas asked the owner if he had any flyers left and he pulled out a massive box full – not given out. Andreas was not pleased…tbh it seemed like the owner didn’t really care as he was selling the place.
But despite this the Who Boys played a brilliant set to the few people who were there. I danced like a loon, and it was great to see others like LV15 do too…
In the second room Shiggi was mixing up a storm playing house and later evil dubstep which reverberated the tiles and turned it into a giant bass unit – I wished I could be in both rooms!
So 5am comes around after Jimmi Jammes great set and taking loads of mad pics like these ones of ToTom and Shiggi with the Evil Strobe which was now on overdrive:
We walk to the after party where Ciaran Whitelabel will do his set as the 6nul3 is closing, to find that the other place has closed too – sorry Ciaran And we had a laugh as LV15 cajoled and told off everyone in the group, especially Scott Pilchard who had fallen off the wagon rather hard…and Shiggi and ToTom escorting him down the street…I stumbled into bed, but not after having breakfast at the hotel which Fuller and M.i.f. wangled every day – that man could talk the legs off a donkey, but knows how to get food and cheap alcohol, if you see DJ Fuller follow him for a good time
Despite my set etc. I had a great time in Saarbruecken, esp. the Friday, and pretty much all the sets rocked…it was great to meet more of the Europe contingent, from ToTom, Gaston, FM24, Morgoth, mad Danish posse, Fusion and Andreas – big thanks to him for organising this crazy catherding experiment. I hope there are many more!
You can find all the Saarbruecken pics that strangely appeared on my camera although I wasn’t taking pics, right? here.
Also I’m looking at VJ softwares as possibly moving into that direction, so interesting to see what Scratch-Live can do – does it mix video live (ie. a video for BOTH sources, or just 1 vid per tune – so you have to premake your mashup vids? If it’s the former that’s more what I want to do, mix multiple sources).
Nothing comes close. Well actually few did. Sub Focus’s eponymous debut was the front runner for most of the year, like Chase & Status last year bringing drum and bass, dubstep and even Axwell-style piano rave and wobble basslines to the pop charts and Radio 1…Could This Be Real is not only a great pop tune, it’s a club classic. Way too short though.
The Very Best dominated the end of the year for me…album was a little disappointing but their Mixtape (which is the album’s bonus CD at Rough Trade before people moan it was 2008 or something!) was a brilliantly eclectic and East/West soundclash affair mixing classical music, Architecture in Helsinki, MIA and Vampire Weekend – all of which went on to colloborate with them funnily enough – and Michael Jackson who went and uncollaborated by dying.
Fever Ray took the warmth and energy of The Knife, what little of it was left after Silent Shout, and put it into the cold-hearted glacier that would make the world in ‘Let The Right One In’ proud…moody minimal dancehall if done by someone who’d never been to Jamaica nor heard any and didn’t really dance…with a haunting vocal and minimal synths. No-one sounds quite like Karin Dreijer Andersson and this album is timeless and also sounds completely alone and genreless and thus like nothing else. And thus sound like complete bollocks if you try and describe it.
Peter Bjorn and John – Living Thing - sadly ignored in most lists but compared to the (admittedly good yet overplayed) fluff of Young Folks the darkness and quirkiness of 
Passion Pit are a late entry, it seemed to be rather quiet on the indie-dance crossover front this year so they along with Gossip were some of the few holding the side up – loved their Irish folk bothering Sleepyhead (I thought it was Chris De Burgh!) and best use of children since D.A.N.C.E.
Fuck Buttons – Tarot Sport another late arrival but love the electronic shoegaze MBV / post-rock Mogwai feel, it is basically drone rock ala Godspeed You Black Emperor! plus electronics so not everyone’s cup of tea, but real ambient bliss. And the electronic/glitch production is a development over the fairly obvious Street Horrrsing.
(Djing AND taking pictures? Man after my own heart)
And we had a laugh as LV15 cajoled and told off everyone in the group, especially Scott Pilchard who had fallen off the wagon rather hard…and Shiggi and ToTom escorting him down the street…I stumbled into bed, but not after having breakfast at the hotel which Fuller and M.i.f. wangled every day – that man could talk the legs off a donkey, but knows how to get food and cheap alcohol, if you see DJ Fuller follow him for a good time 
