My current top 25:
1 Tangerine Dream Zeit (1972)
1972 was the year that many people would remember for Exile On Main Street and Ziggy Stardust alone. Those looking slightly outside the range of Anglo-American rock music might also recall how strange Neu!'s self-titled debut must have sounded to the uninitiated masses. However, this album shocked and horrified as many people as it impressed because unlike Neu! this album lacked any similarity to rock music whatsoever. It lacked any discernible structure, familiar tune, rhythm, or percussion of any form. This is a precursor to ambient music.
The long-winded guitar solos of Electronic Meditation are by now long gone (perhaps for the better), and the mellotron of Atem is also not yet present. The only way the development up until this could possibly be discerned would be by noting the drone of the organ that goes through much of Alpha Centauri and starts to dominate towards the end. In this sense Zeit very much picks up from where Alpha Centauri left off, but this time delving into much less familiar territory.
Surely this album still has its share of nods to classical composers, but by this stage in their careers Tangerine Dream were buried in a niche that people did not yet know much about. It has not dated much, either - put on "Birth of Liquid Plejades" and your reaction might be similar to that of hundreds of critics worldwide who had to get around to actually reviewing this thing. No, these songs do not have the same noise all the way through - in fact while "Birth of Liquid Plejades" starts off with a string quartet building up a scale it blends in cleverly and almost seamlessly with the sound of a moog.
Many of the songs stop suddenly, much like waking up from a dream - at times the organ or strings seem like they could go on forever. This is how the album works: as its name suggests, Zeit is about time, and here time stands still. Most effective of all in achieving this aim is the title track, implementing a very much cold and bleak-sounding drone which proves hypnotic as fifteen minutes pass like seconds. However, the other tracks clearly demonstrate other ideas which the band had at the time - "Origin of Supernatural Probabilities" in particular does not evoke utter stillness, but rather the silent observation of something else: the sound of a clear, almost rhythmic series of thuds against the wall of sound that Tangerine Dream's drones create.
Unlike Alpha Centauri this album is not a journey through space, but rather the sound of aimless drifting between planets in complete desolation. Unlike popular music of the time and of our time, it is not a pleasant and "safe" escape from reality but rather it deliberately confronts and agitates the listener. The fact that it has infuriated so many people is almost indicative of its success - after all, not everyone would want to listen to an album like this - but unlike the "high-concept joke" that was Metal Machine Music this took skill and a lot of collaborations and puts forth a good few ideas (albeit at a snail's pace). All this time, one thing is clear: space, the stars and planets, and Tangerine Dream's Zeit are all an awful lot bigger than you are.
2 The Avalanches Since I Left You (2000)
After several years in the making and the use of over 900 samples, Since I Left You was unleashed at the turn of the century upon a largely unsuspecting public. Even though the album itself hasn't had quite the cult success (outside of The Avalanches' native Australia) as DJ Shadow's Endtroducing... or even The Go! Team's Thunder Lightning Strike, the album's first couple of singles "Since I Left You" and "Frontier Psychiatrist" came to public notice as elaborate party anthems to light up the dance floor with cleverly-conceived and well-crafted music videos.
In my mind at least, one thing in particular is certain: if this album was all about party music and well-conceived music videos (as many people have apparently perceived it to be), I wouldn't be holding it in such high regard. On the contrary, Since I Left You is so much more than a singles album: it is a cleverly-devised portrayal of perfect summers which have long since passed, consisting of eighteen elaborately-arranged tracks devoted entirely to the use of samples. Starting with the extended rave of the first few tracks, moving steadily onwards to the naive reflections of "A Different Feeling", then cruising through a sea of comic relief to the summer's saddening and inevitable close.
The album's first few tracks are to some dance-oriented, but to me are somewhat different in that they encapsulate the "feel" of a dance, so as to keep with the "past summers" theme of the album. By using such obscure samples as the whinnying of a horse and even a sample from Madonna's "Holiday", the basic dance beat is given an unprecedented level of elaboration and sonic colour.
This album is not only danceable in places, it's atmospheric and has a sense of humour which is maintained with the artful use of samples throughout. "Frontier Psychiatrist" is the most obvious instance of samples being used adventurously in that it is a successful attempt at a hit single with a discernible song structure with the delicate craft of sampling, however also notable are the little interludes, such as the "Pablo's Cruise" and "Little Journey" which allow the album to have shape and form rather than just be a stiff collection of tracks. Whether it is in the solace of "Tonight May Have To Last Me All My Life" or in the reckless last dance of "Live At Dominoes", one may find that each track on Since I Left You has its own place and context.
Some will say that this is not music with a tune, this is just a bunch of samples. This does not do justice for the wonderful ear for melody that is demonstrated here and the harmonies that are made from such samples - hear it and find out for yourself. Speaking from my own personal experience, having had this since I began to develop a serious interest in music in 2001 the album has not stagnated in any way. In fact, due to the elaborate use of samples rather than instruments there are several background noises which may remain unnoticed even after years of playing, making each listen a comparatively fresh experience.
3 Einstürzende Neubauten Zeichnungen Des Patienten O.T. (1983)
In the early 80s Einstürzende Neubauten had come across a great resource of tools and fresh ideas in their quest for alternative forms of percussion - the results of which gave their early work a timelessness which bands using actual drumkits in the 80s generally did not obtain. However, in their first couple of albums there was also a sense of purpose - sure they could get the noise they wanted with a cement mixer or a pneumatic drill, but they also realised just how violent and destructive it was and wrote their songs around that theme accordingly. The result is an incredibly confrontational and involving album that transcends rhythm and tonality for the sake of intensity and inventiveness. Blixa's vocals are seething with vitriol, building up to the immense climax of "Armenia" and the chilling epilogue that follows.
4 Pan Sonic Kesto (234.48:4) (2004)
As its very name may suggest, Kesto (234.48:4) is absurdly long and is spread out over four CDs. And this is four CDs of noisy music of all kinds with many sources of inspiration (mentioned on the back of the cover of CD 4) including Suicide and Throbbing Gristle. When listened to in one go it is apparent that as time passes by the tracks gradually become formless and drone-like, in contrast to the electro-bounciness of the pulsating static rhythms of CD 1. What has come out of this project is sometimes relaxing, more often scary and brooding, but always hard to fault. If a seething drone sound from CD 3 annoys you, that's probably because it's meant to. What is of value to Pan Sonic is making synthetic noise at the kind of frequencies that would confront the listener and get a physical reaction. Listen with an open mind.
5 Current 93 Thunder Perfect Mind (1992)
Simple yet elegant and contrived but with purpose, this is an album that at first was something of a guilty pleasure when I had pretensions for preferring more elaborate music - most of the tracks are simple yet effective apocalyptic folk pieces, with David Tibet's unique crazed vocal style at its most powerful. From a lyrical standpoint David Tibet surely sets the bar for interpretation and representation of ideas and feelings, and also for seeing out an admirably cohesive album - unfolding beautifully over a length of time approaching the maximum capacity of a single compact disc. The sheer amount of collaborations that went on in the making of this album put David Tibet in a better position than he ever had been in before or since for writing music, and they pay off in spades with a wide variety of sounds covered to make this album the masterpiece that it is.
6 Darkthrone Transilvanian Hunger (1994)
The subtle, minimal touch is one that has been largely rejected or ignored in metal music, with the exception of pure black metal classics such as this one. Complaining about the murky production/mixing involved would be missing the point entirely - this is grim music, as raw in sound as it is in attitude. Haunting, hypnotic riffs dominate proceedings, relentlessly repeated throughout each song with twisted yet unrivalled textural qualities - this is the definitive "shoegaze" album of metal music, but for my money largely beating shoegaze bands at their own game. The result is a singularly admirable defining moment of Darkthrone's career and of pure black metal in general.
7 The Velvet Underground The Velvet Underground & Nico (1967)
OK so it's really obvious, but there is a lot more cohesion and even variety to this than any Beatles album I've heard. John Cale's noisy viola playing (among other instruments) gave Lou Reed's songwriting an edge that I feel I lacked after having to make music without him, and Nico's sultry yet oddly frightening vocals set the scene whenever they are called into play. Classic confrontational pieces such as "Heroin" and "European Son" still sound fresh and visceral to the modern listener today, and even then Lou Reed could evoke a powerful atmosphere with his edgy lyrics alone.
8 Joy Division Unknown Pleasures (1979)
The heartless and very recognisable post-punk beat, the atmospheric effects, and the desolate vocals and lyrics of Ian Curtis gave this the reputation of being a very dark and gloomy album. This much is true enough, but it also rocks - the angular yet catchy riffs and the supreme song-writing winning me over with every listen. The lyrics are also obscure and yet captivating, suiting the unfamiliar-sounding effects and lo-fi sound well. With such a dark atmosphere and yet such well-written catchy tracks, I believe that the appropriate word to use here is "cool".
9 Yes Tales From Topographic Oceans (1974)
This epic progressive rock album is very messed-up and bizarre, and made all the better for it. What some will tell you is self-indulgent instrumental wank just appears to me to be a very concentrated effort to maintain a changing atmosphere over more than eighty minutes. Consistently alternating between themes as in the "struggle between good and evil" of side four, the band also play in a disharmonious yet energetic and captivating fashion - reminding me somewhat of Captain Beefheart's Trout Mask Replica in its attempt to dodge familiarity and expectation. The themes of this album are explored by the shifting moods of the music, but also by the sombre vocals and surreal faith-driven lyrics of Anderson which are by far my favourites from the band.
10 Can Tago Mago (1971)
In my view this is undoubtedly Can's masterpiece, a wonderful accomplishment of five musicians brimming with ideas. It has often been said that the simple yet addictive funky beats of Jaki Liebezeit make the first side the pleasure trip that it is, and while this is indeed so saying such things does little justice to the very clever studio manipulations and effects that are taking place. The notorious experimentation of the second side of the album makes for a truly unique listening experience that make this even more the classic krautrock album that it is - being both supremely inventive and very atmospheric.
11 Leonard Cohen Songs Of Leonard Cohen (1967)
A cohesive and powerful collection of early Leonard Cohen material. The lyrics are eloquent and gripping enough to keep me captivated throughout, while the acoustic arrangements are top-notch with the band deserving much more credit than they actually get - this is song-writing fleshed out, as well as written, with great flair. Unlike the generally gloomy Songs Of Love And Hate, this debut album is quite well-balanced between moods - although ending powerfully with the "la la laaaarrggh"s of the final track which really took me by surprise.
12 Current 93 Of Ruine Or Some Blazing Starre (1994)
Once Thunder Perfect Mind had been released, it was clear that finally David Tibet had discovered a niche that had a potentially widespread appeal. Largely ignoring but not completely disregarding the obsessive nursery rhyme style and repetition that had marked releases such as Earth Covers Earth, it was clear that David Tibet was becoming a lot more confident and fluent as a songwriter in this folk style. Michael Cashmore's guitar playing had added a previously untouched depth and clarity to the proceedings, and Steven Stapleton's noisy contribution had gained a true sense of purpose to make for a truly fresh new sound. The following album Of Ruine Or Some Blazing Starre is in many ways a continuation of the progression that had been made obvious with Thunder Perfect Mind, as the central focus turns to a trio of Tibet, Cashmore and Stapleton who perform their songs in an even tighter fashion than before. This is notable for being ultimately one of the most optimistic Current 93 albums, a fresh outlook in contrast to the doom and gloom usually associated with the music of the industrial and post-industrial scene in general.
13 Carcass Reek of Putrefaction (1988)
I love Carcass, but Heartwork struck me as being quite a dull album (never mind Swansong). Why resort to actual riffs when one could be making strangely catchy wails of down-tuned guitar noise as found in "Genital Grinder"? The guitarist, bassist, drummer, and even the voices all sound utterly inhuman - not in technical ability, but in the perverse and gross way they sound. Everything that might have creeped you out about lo-fi underground 80s extreme metal is here in spades - unlike the comedy that is much of modern gore-grind, this album is incredibly dark and atmospheric. The songwriting is as always cleverly conceived, and the use of low bassy sounds from all areas is unique and effective - particularly that of the strangely funky bass drum, which sets the tempo of each musical regurgitation. Based on what I have heard this is grind at its most effective - if this music makes you sick, then mission accomplished.
14 Tindersticks Tindersticks (1993)
I must admit that I don't often get the urge to sit down and listen to seventy-seven minutes of chamber music, but when I do I really can't fault this album. The melancholy atmosphere of this album sets the scene with fresh compositions and beautiful arrangements to boot. Attention-drawing and slurred vocals deliver the powerful lyrics to make for my favourite album to play when I'm feeling rather empty. If you have any level of tolerance for moody symphonic pieces, then this one is an absolute must-have - even if you wind up not playing it much, the band are still mature and level-headed enough to ensure that this one is a real keeper.
15 Slayer Reign In Blood (1986)
The album that got me and many other people into metal music is a glorious testament to pure, timeless thrash metal. Araya's monotonous and threatening speed-vocals follow a rhythm section which by today's standards is rather simplistic but still does the trick - but what is most notable here is the guitars, which provide heavy and scary riffs and solos that scream along at a breakneck pace without regard to harmony. Controversial themes such as Christianity and the Holocaust at first scared me a bit when listening but at the end of the day this is just music, a portrayal of vicious atrocities and one's own fears and a rather fitting one at that.
16 Black Flag Damaged (1981)
What first comes to mind when I think of Black Flag's Damaged is Henry Rollins and his harsh spitting vocals, and they really do define the tone of this great hardcore album. The first side may have all the catchier individual gems ("Rise Above", "Six Pack", "TV Party"), but it is the second side which defines this album - all overwhelmingly bleak journeys through violently depressed minds delivered quite fittingly by the vein-bursting vocal delivery of Mr. Rollins himself. Brilliant guitar noise creates a bizarre texture and atmosphere that add to the overall effect of a very much intense yet heartless record without the romantic slant of more political "punk rock".
17 Captain Beefheart Trout Mask Replica (1969)
As far as I'm concerned, if you haven't heard this album you haven't lived. This album more often than not defies harmony, instead focusing on the unfamiliar sounds made by each individual instrument within the notably elaborate framework set by the fantastic drumming. Vocals are off-tune and neglect the idea of following any particular key, instead representing the mainly incoherent ramblings of a madman. These twenty-eight tracks are at once humorous and strangely profound while maintaining this perverse yet surely difficult to perform (it allegedly took nine months for them to rehearse this) approach to music. Unlistenable? It just sounds cool to me.
18 Tears For Fears The Hurting (1983)
The investigation of controversial ideas in modern psychology lead up to a very intense and emotional synth-pop album that like so many debut albums is vastly superior to whatever came later. The inventive and somewhat industrial sound crafted for the sake of the very bleak song-writing is not nearly as dated as that of many of the contemporaries of Tears For Fears or even of their own later albums. Sure it has "Mad World" on it (a version that for me betters the by now more famous cover), but it also features such pleasant ditties as "Watch Me Bleed" and "Suffer The Children". Watch out for the vocals - somewhat buried within the mix, they can often be mistaken for a heartless synth or wailing horn.
19 Neu! Neu! (1972)
On a personal level, this is one of the albums that proved to be most important in shaping my musical tastes. Unlike Kraftwerk's famous motorik beat that was suited for travelling down a highway or taking the "Trans-Europe Express", this particular static beat may lead the listener into a much darker realm as evoked by the album's avant-garde second track. Creepy build-ups and steady beats are key to the very cold first side, but the second side is a maddening journey through mysterious samples and unfamiliar-sounding effects - finally ending with a bizarrely delivered, totally off-key vocal track. There is a movement that appeared recently called "post-rock" which to the most of my knowledge has not advanced further than this album did in 1972 - if you like Mogwai, Tortoise or Silver Mt. Zion, check this one out.
20 Depeche Mode Violator (1990)
Violator, as a name, eloquently summarises the at once sexy and threatening attitude evoked by the vocals and lyrics of this very album - the nine songs work as portrayals of a dangerous yet wonderful lover, with an eerily twisted charm. The "perfect" production and well-crafted song-writing compliments the ideas on display in a more than adequate fashion. For a clever yet mechanical synth-pop group this in 1990 finally transcends the dated sounds of the 80s, and hence freeing it of any trace of cheesiness that it may otherwise have had. If you have developed a bad taste for Depeche Mode, give this one a few spins and see if it changes your mind...
21 Bob Dylan The Freewheelin' Bob Dylan (1963)
This album reeks of the attractive odour of attitude - what do you expect, it's Bob Dylan at his best. Clear vocals and clever lyrics are the standard with a consistent level of songwriting held throughout the album. Sure it is acoustic Dylan, but there are more ideas here than in many of the classic releases that were to follow - just look at the number of short songs for evidence of this! Arrangements are pretty sparse even though the simple guitar playing can at times be memorable - this is a clever album of social commentary, lyrics first and music second!
22 Slint Spiderland (1991)
The atmospheric yet sloppy nature of this album may not appeal to some (vocals don't get more affected than this) but for those who want a very depressed noise-rock experience this is one of the best albums that money can buy. Guitar lines are noisy (duh) and very unpredictable, and the tempo of the band changes enough to induce motion sickness on this lonely voyage out to sea. Legend has it that a few of the band members were in therapy during the recording of this album. It hurt them as much as it will hurt you.
23 Cave In Until Your Heart Stops (1998)
As far as I can tell, there has been a recent trend covering a lot of North American heavy music that favours multifaceted chaos over consistent throbbing blastbeats. This is for me one of the most impressive conceptions of this movement with original and progressive music, and lyrics that are in actual fact reasonably mature and perceptive in contrast to many of Cave In's contemporaries. The album owes a lot to brilliant production values as well as impressive musicianship and songwriting ability on behalf of the band: the drums, which as always are elaborate and define the sound, are very present and the loud and heavy bass helps to make this a very intense as well as inventive metal album.
24 Coil Horse Rotorvator (1986)
Coil's mysterious masterpiece was conceived along the lines of death, fear and negativity. Surely these themes were popular with many in the English industrial/post-industrial scene of the 80s, but I have not yet heard an interpretation of these themes as intense as this one. A wide variety of styles are explored here by the means of tape loops and experimentation, and nineteen years after its conception the music still sounds fresh. From the undeniably cool interludes to the creepy symphonic pieces to the catchy electronic songs that for some bands would be big singles, this is an album of many sides and much importance. Essential for any fans of NIN in particular despite its out of print status.
25 Bathory The Return... (1985)
A sorely overlooked album that has not dated at all in contrast to Bathory's own self-titled debut album or the music of Venom - unlike either of them, there are no present and somewhat cheesy vocals to contrast with the wall of noise guitar style that defined black metal. In the place of these rather camp yet threatening vocals are harsh and bitter growls, setting an atmosphere that can make this album very hard going but equally worthwhile. The music is heavy and frequently changes tempo from a slow, plodding trip through dense sludge to a pace that almost rivalled that of the second-generation black metal that would take about five years to completely materialise. R.I.P. Quorthon.
