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|Liberi's Best Of 07|
The Emperors New Clothes
From appearances, Tom Withers aka Klute seems no more than your average musician and skater. The Emperor's New Clothes however is an album that strives to be all that it can be, with Withers exploring a huge array of sounds, melodies and beats. Our Leader and Hell Hath No Fury demonstrate his skill at crafting melodies soft and mesmerizing. And the contrasting jarring bass lines of Toiler and We Control the Vertical seem to forget the confines of Drum & Bass, instead just going with what works, what sounds good. With no pretensions about what his music should sound like, Klute has created an album that is honest, rewarding and rich in sound.
It seems every man and his dog wants to capture what makes this album so special, sum it up perfectly. Yet though the countless deions on the internet, television and in print often do an apt job, they never quite capture the true magic. The album simply exceeds expectations at every turn; its construction, vibe, pacing and subtle design all contribute towards what is a mesmerizing experience.
Fanu's music often seems lost in beautiful landscape. Many would credit him to the Drum & Bass genre, yet even his songs that most closely follow Drum & Bass conventions seem to possess a spirit far more mystical. Comparable to artists such as Tangerine Dream and Paul Schutze, Fanu's soundscapes in songs such as Snow People and When Gods Wake Up seem to stretch out, capturing something far away from the comforts of home. Rich in emotional depth, and not wrapped up in bullshit, Fanu in Daylightless stands higher than artists with bigger names and bigger egos.
You?d be hard put to find an album with a better starting quintet of songs than The National's Boxer. Many great songs are often beautiful in design, yet with songs such as Squalor Victoria, Mistaken for Strangers and Green Gloves it seems The National create beauty both through design and execution. The vocals and the lyrics are a strong focus in the album, and the emphasis put on them only highlights the superb job done, complimented by unique and beautiful instrumentation. Like a well oiled machine The National ease through each song, yet each song leaves a mark on the listener not easily forgotten.
Direct comparisons to Daft Punk don?t do this French duo credit, instead the album harks back to the early days of Daft Punk in Homework. Sure D.A.N.C.E. is as much a killer club hit as any, yet the essence of the album lies in other songs such as Genesis and Phantom which pump out style and funk in every beat and note. D.A.N.C.E. no doubt preempts the future direction of the duo, but the rest of Justice's album follows the same groove as Daft Punk's Around the World, and such comparisons don't even do justice the irresistible punch of each thumping bass line in Cross.
Sound of Silver
Summer of 07 is over for most, yet for the Southern hemisphere the months keep on warming towards summer, and if any song captures the spirit of summer vacations with friends, it is All My Friends. Sure North American Scum doesn't live up to its hype, but that doesn't render it irrelevant. Rather every song on the album contributes in a unique way, each song serving as a focal point with All My Friends standing tallest and as one of the highlights of 2007.
|7|| ||Liam Finn|
I'll Be Lightning
His father Neil Finn and uncle Tim Finn have had successful and noteworthy careers in music, and this former frontman of New Zealand band Betchadupa seems willing to follow a similar path. I'll Be Lightning reflects much of his fathers style, yet such comparisons do not reflect badly, instead merely proving a compliment on what is for the most part a unique sound. The New Zealand hit single Second Chance should be noted for its simple, unburdened sound; through it capturing emotion and beauty. The hits keep on coming though, with much of the album proving highlights not compliments to the main event. If I'll Be Lightning does anything, it shows Liam is ready to stand on his own rather than just be son and newphew of New Zealand's Finn brothers.
It seems unusual for an album such as this to have received such a following and such praise. Yet in their splintered and uneven songs there is often much to revel in while at the same time muttering 'what the hell' The lack of conventional style does not do the album harm though. Mirrored instead stays relevant and stays entertaining, with the overall result being an album far more interesting and enjoyable than most.
Tough Guys Dont Dance
Though an expert at stringing together tight breakbeats and creative vocal samples, High Contrast's music has always had a childish edge to it and at times his songs have sounded annoyingly happy or upbeat. Tough Guys Don?t Dance reflects more maturity and experience in his style with no drop in his execution of addictive vocal samples throughout the album.Nobody Gets Out Alive highlights just how much High Contrast has grown, and it seems now High Contrast is living up to all his potential.
From Here We Go Sublime
It is hard to find modern electronic songs with a minimalist construction that do as good a job as The Chemical Brother's Star Guitar in creating something unique and beautiful. Yet if anything The Field's From Here We Go Sublime replicates the magic of Star Guitar and transfers that magic into a whole album. Each song takes its time, building up hair-raising segments in songs such as Everday. The sound is often pure and uncorrupted, the pulsing beat creating a mesmerizing effect when overlaid with beautiful vocal samples. Even if purely used as background music, its hard not to just drift away into the music
|Awesome list. I really like that Burial hit it big on our staff list. I'm listening to it now and it's all I want to listen to lately. I like it more and more every day.|
Rest of the list is pretty great from the ones I've heard. I'll look into those I don't. The Field is awesome half the time and then really boring the other. "Silent" is an awesome track. Fanu looks really good now, so I'll look into that. Klute is growing on me as well.
|If I focused on and looked for faults in The Field's From Here We Go Sublime I'm sure I would find fault in it. Yet I find it stunning to just drift away in. Especially Everday which teases you for 2 and a half minutes, ready to surge forward but never quite; then finally bursting with life and just continually escalating.|
|Cool list, but as usual, I recognize less than half of those artists, haha.|
|Check 'em out than|