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Steve Hoare - 08 Dec 2017


The absolute highlight of my musical year came with a visit to Italy's Terraforma Festival. Sets from personal faves such as GAS, Objekt, Andrew Weatherall (more from him later) and Donato Dozzy were sure to get my juices flowing. Add in a blissful set from Laraaji and I was almost in heaven. Laraaji gave us a preview of his wonderful Bring on the Sun album, which was probably my most-played set of the year.

It was a good year for ambient and electronic music with Call Super's 'Arpo' the pick of the bunch for me. Call Super takes the best bits of Artificial Intelligence-era Warp stuff and brings it right up to date with some intricate techno programming. He creates a beautiful tropical paradise vibe with added clarinet - I kid you not. I think this will stand the test of time like the best bits of Aphex Twin, Burial and Boards of Canada. It's that good.


Of course, the master returned to ambient music in 2017. I haven't indulged in Brian Eno's never-ending self-generating Reflection app, which must represent some kind of pinnacle of distilled Enoness, the ultimate expression of a lifetime's work in ambient music. The thought of it is simultaneously very attractive and a bit daunting. However, the music contained on the regular album works just fine; morphing subtly between sounds, gently caressing the eardrum with each movement. This is truly a master at work.

While many artists burn out or lose inspiration, others refine their skills. I first had this thought a couple of years back, when listening to The Black Dog's excellent Tranklements LP in 2014. Twelve albums and 24 years into their music-making lives, Tranklements is so skillfully put together, you can tell that these guys have devoted a huge chunk of their lives to honing their craft. Ditto Eno.

The former Roxy man also found time to fit in a collaboration with another master of his craft, Kevin Shields of My Bloody Valentine. I've been waiting for Shields to do something like this for about 20 years. Here's hoping there's more to follow.

Also falling into the master craftsman category is Brighton's Simon Pyke. Formerly operating as Freeform, Pyke has been crafting electronic sounds since the mid-1990s. I don't know where he has been hiding but his music has been a criminally underrated secret to such an extent that even an ambient techno geek like me had never heard of him...until now. In 2017 Pyke released three sublime ambient records in the shape of his Slow Glow One, Two and Three


Justin Adams took ambient music in a completely different direction. Adams is probably best known for producing Tinariwen but on his solo album Ribbons, he took the music of North Africa as a starting point for a dreamlike reverie, which was compared in some quarters to the Cocteau Twins. To these ears, it is much lighter than the 4AD trio and somehow more rooted but the comparisons are understandable. It really was one of the most innovative yet simple releases of the year.


For more proof that this was the Year of Ambient, check the delights on offer in this Massive Survey of Ambient Music by Joe Muggs.

At the dancier end of my spectrum, Four Tet returned (was he ever really away? er, no) with perhaps his best album yet in New Energy. The previews of these slick (too slick?) and warm grooves did not do justice to the album, which did not reveal its beauties until listened to in one sitting. My only reservation is that it sounds a little too perfect.


There was nothing particularly slick about James Holden & The Animal Spirits. Although I am slightly torn between thinking The Animal Spirits is a staggering work of trance genius or all a bit prog.

Best newcomer award must go to Kelly Lee Owens, who released a beautiful album that touched on trance, shoegaze, ambient, house and a whole lot more. Hers was a similar vibe to Kiasmos and Bicep, who both released lovely music in 2017, but - dare I say it - possibly better?


Elsewhere, cosmic disco godhead Lindstrom went all pop with It’s Alright Between Us As It Is. Damn fine it was too but I think I liked him better doing 20-minute space jams. Floating Points continued to release 20-minute jams on his outstanding Ratio single and then got sandblasted with his Reflections/Mojave Desert LP.


Another hybrid delight arrived in the shape of Les Amazones d'Afrique's 'Republique Amazone' album, which brought together Angélique Kidjo, Kandia Kouyaté, Mamani Keita, Mariam Doumbia, Mariam Koné, Massan Coulibaly, Mouneissa Tandina, Nneka, Pamela Badjogo and Rokia Koné. And a splendid noise they made together too.


Not a supergroup but another super femina, which is what I thought her album was called until realising it was Semper Femina, is Laura Marling. She can certainly sing.


Oh, a roundup from me would not be complete without a lickle bit o' reggae. Not a whole lot here. I really wanted Inna de Yard to be my favourite record of the year. Kiddus I is one of my favourite singers of all time but the album just lacked grit for me. Ditto Damian Marley's album Stony Hill, which had a bit of grit but also some real fluff.

The best reggae I found came from the mighty Zion I Kings production team. (You have to write 'mighty' in front of good reggae production teams. It's the law.) Their Dub in Zion (Zion I Kings Dub Vo.2) is modern dub reggae at its very best.


And they also sneaked out a lovely little collaboration between Akae Beka and Jahdan Blakkamoore just as I was writing this article.


And finally on the new stuff, a beautiful curveball arrived in the shape of a violinist on Madlib's Stones Throw label. Seemed a bit of an odd combination but Sudan Archives sings like an angel. One senses great things will follow.


Perhaps the strangest music I heard came in the shape of two of the year's best reissues.

Alice Coltrane's mindblowing cosmic hippy chants mesmerised. This was without a doubt the compilation of the year.


Japanese culture has been making inroads into the Western psyche since Lost in Translation. It permeated further this year with a widely admired new release from Ryuichi Sakamoto among many others but it was the strange sounds of Midori Takada & Masahiko Satoh and their Lunar Cruise album, which really caught my ear.


Meanwhile, a special mention for the outstanding output of Andrew Weatherall, who seems to be maturing gracefully into a kind of John Peel for our times. This year, he sold off huge portions of his record collection but used the clearout as a catalyst to release 10 of the compilations of the year in the shape of his RGC Archive Hours on Mixcloud. His NTS Radio show Music's Not For Everyone was a monthly delight. His irregular Love from Outer Space club night with Sean Johnston has become a cherished institution and the Convenanza Festival, which sprung from it is heading the same way. He found time to release a new album Qualia full of grinding DJ tools. I had the pleasure of witnessing a three-hour set in Italy, which was so much  goddamn fun, it had the whole field grinning and boogying like loons. You can listen to it below.


And while we're on the subject, NTS Radio is really rather good. David Holmes ploughs a similar furrow to Weatherall to similar effect. Similarly cool crate digging came from the reliably excellent Dr Rob, whose was my blog of the year.



There is always a bit of a consensus among the Uncuts, Mojos, Guardians and Pitchforks of the world. The following seem worthy of further investigation if you're that way inclined:

LCD Soundsystem - American Dream

Oumou Sangare - Mogoya

Kelela - Take me apart

SZA - Ctrl

Omar Souleyman - To Syria With Love

Vince Staples - Big Fish Theory

Richard Dawson - Peasant

Kendrick Lamarr - DAMN

Jane Weaver - Modern Kosmology



Check The Quietus Albums of the Year and the Reissues, Mixes and all-important etc. list is even better.

Resident Advisor always has some albums I missed in its annual selection of albums.

The Vinyl Factory does a nice list of Albums of the Year too. You can thank them for this beauty:






Pete Lawrence

Brilliant overview of the year’s music. I’m enjoying many of these clips. Thanks @Steve Hoare


Claire Stevens

Discovered the music of Pete Williams a few years ago and his work has remained as my ear-worm, my go to tracks throughout 2017. Born to Black Country parents just inside a new decade, Pete went to school, had a paper round, dreamed and played clarinet. At age 14 he bought a bass guitar and was soon playing in various bands appearing in social clubs around the industrial West Midlands.

Four years later he was invited by an old school friend to join a ‘new wave soul group’ as yet unnamed, which later became Dexys Midnight Runners. Their first release ‘Dance Stance’ was issued on Bernie Rhodes Oddball label and soon after they were invited to support The Specials on the first 2TONE tour.

After recording ‘Searching For The Young Soul Rebels’ (an album considered by many to be one of the best debut LPs by any UK band) and garnering a U.K. No1 single with ‘Geno’, extensive touring and many festival appearances followed. However at the end of an exhausting trans-European tour; Pete left Dexys Midnight Runners in Zurich and returned to England and formed The Bureau.

The Bureau had top ten singles ‘Only For Sheep’ and ‘Let Him Have It’ in Australia and Canada, and toured Europe and the U.S. with The Pretenders. Their eponymous album was left inexplicably unreleased and overlooked in the U.K. They disbanded in 1983. (The Bureau finally saw the light of day with a release in 2005).

After a short siesta Pete, as vocalist, hoofer, raconteur and front-man, formed These Tender Virtues with Fred Skidmore. Some called them ‘The Vicars of Vaudeville’, others “Dickensian Nutters”. These boys, with hearts like the afternoon; completely and wilfully out of step with the mid 80s trends, gigged extensively and toured Britain. Their E.P. ‘The Continuing Saga’ and single ‘Waltz’ were released through Cartel/Rough Trade, but after almost a decade of continual recording, rehearsing and touring, Pete called it a day for These Tender Virtues.

2003 saw the reformation of Dexys Midnight Runners and Pete taking centre stage alongside Kevin Rowland on the critically acclaimed tour of the UK and Europe ‘To Stop The Burning’. ‘Pete has a glorious voice’ reported Dave Simpson for The Guardian.

After a short power nap a fortuitous meeting took place on a canal towpath with bassist Al Gare (Imelda May) and drummer Dean Beresford (Richard Hawley). The seed was sown and Basehart was formed.

With the line up bolstered by pianist Danny McCormack (Roy Wood); trombonist Paul Taylor (Snowboy) and Tender Virtue Fred Skidmore, the band went from strength to strength, delivering blisteringly memorable live shows along the way.

2012 saw Pete dropping any band name and releasing the long-awaited debut solo album “SEE”. Featuring all the aforementioned musicians the album also has a stunning guest appearance by Richard Hawley on guitar.

Running in parallel to this, Pete and Mick Talbot were asked by Kevin Rowland to work on demo tracks, that they later recorded as the critically acclaimed 2012 album 'One Day I'm Going To Soar '. As the newly named ‘Dexys’, a live show was developed and toured extensively, culminating in headlining the acoustic stage at 2014 Glastonbury Festival.

Between February and August 2014 with the help of Pledge Music, Pete returned to Sheffield to record his second solo album ROUGHNECKS + ROUSTABOUTS at Telsa Studios, Sheaf Bank. Alongside Dean Beresford and Shez Sheridan, with guest appearances from Mick Talbot, Clive Mellor, Fred Skidmore, Danny McCormack and Josie Lawrence. The album was produced by Mike Timm and engineered by David Glover and received critical acclaim from peers and press alike.

This year Pete has been back in the studio and is due to release his third album in 2018. I've been lucky enough to listen to some of the new tracks and I can tell you we're in for a treat!

Here's a clip of Pete performing at one of the BBC's Quay Sessions - enjoy...

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