The Final Countdown: Albums of the Year - Numbers 25 to 18

Howdy.

So, not just The Final Countdown of this year's best albums (best  by my standards, that is) but a final countdown to the end of 78s Don't Wobble. I'm at the very least mothballing this blog for an indefinite period (think Fugazi's indefinite hiatus as a starting point) or bringing it to a permanent end following the chart rundown that'll bring us to my personal number one album of the year.

Now, as with other years this is based on the records I've heard and loved in 2012 and if there's something that's not on there that you like, then I've either not heard it or not enjoyed it enough for it to be included. Got it? Good. If there's a glaring omission that I personally have forgotten about, then I clearly haven't cared enough to remember it. So, on we go with numbers 25 to 18....

25. Sam Willis - Winterval 

2012 seemed to be the year where I rediscovered my dormant-since-1997 love of dance music. Probably inspired by my experience at Festival Number 6 where I caught excellent sets by Andrew Weatherall, Derrick Carter and Francois K, I've enjoyed electronic music more this year than in many previous years. Weatherall is probably an excellent reference point for Sam Willis' first solo album. The DJ half of Walls has, on Winterval, channeled the sound of minimal house music circa Sabres of Paradise's Haunted Dancehall and Aphex Twin's Selected Ambient Works. It's a record with a clear narrative, and while there are plenty beats to be found, it's more about emotion, textures and melody for Willis. An exceptional dance record.



24. Neil Young and Crazy Horse - Psychedelic Pill

After having the Horse on ice since 1996's Broken Arrow (the last NY record to bear the name "and Crazy Horse") this year saw the release of not one but two NY and Crazy Horse records. Americana was a slightly daft distraction of Young and his old mates racing through feedback-damaged versions of American standards and seemed simply to pave the way for this two-disc epic. Psychedelic Pill hangs on two epic numbers: the near-30min jam of 'Driftin' Back and the controlled riffing of 'Walk Like a Giant' are evidence enough that Young, with Billy Talbot, Frank Sampedro and Ralph Molina were back on electric form, sticking two fingers up to all-and-sundry and showing that when it comes to amped soloing and psych excursions, there's never really anything better than these old warhorses.



23. El-P - Cancer for Cure

While not the best hip-hop record of 2012, Cancer for Cure served as a reminder of how brilliant El-P can be at his best. More focused than 2007's I'll Sleep When You're Dead, Jaime Meline is joined by Killer Mike, Paul Banks and Mr. Muthafuckin' eXquire on a brutal and unforgiving meditation on death that serves as a reminder that this is the man responsible for the unmatched genius of Company Flow. Futuristic beats that still manage to sound antiquated, El-P spitting rhymes with an anger he's not had for a while and guest spots that don't detract from the main event all add up to fine, fine record.



22. Dark Dark Dark - Who Needs Who

The breakup of the romance between band members Nona Marie Invie and Marshall LaCount is writ large over the Minneapolis band's latest record. A collection of songs that veer from folk, to piano ballads to Eastern European jigs, the focus is generally on Invie's gorgeous voice and piano as she becomes accuser to LaCount's guilty party. Never an easy listen, it's impressive that the band managed to hold themselves together long enough to write Who Needs Who, and we should be eternally grateful that they did.



21. How To Dress Well - Total Loss

Tom Krell returned with his second full-length record of minimal R&B, an album full of intense sadness and -as the title suggests - loss. Combining his love of vocal harmony groups like Jodeci and Boyz II Men with his love of ambient acts such as Brian Eno and Grouper, and the orchestral work of Michael Nyman, Krell has produced something that's both claustrophobic (probably due to his muffled vocal delivery) and welcoming. You'd be hard pressed to find a more meticulously produced record in 2012: the beats are clear and crisp, the ambient noise never anything more than necessary and when he sings clearly Krell has the voice of an angel. This was heady stuff, and the exciting thing is that HTDW is only likely to get better and better.



20. Peter Broderick - www.itstartshear.com

The first of two releases in a year from the genius that is Peter Broderick, this album exists for all time via the website of the same name: www.itstartshear.com. Containing videos and audio, liner notes that explain the history behind each track and an overall comment on download culture, the actual music could have been overwhelmed by the concept but thankfully that's not the case. Another combination of Broderick's beautiful voice and playing, ably assisted by the excellent Nils Frahm, it's warm and welcoming and contains some of Broderick's finest writing to date; he's an artist to be cherished.



19. Death Grips - The Money Store

In all the fuss that came with the leaking of Death Grips' second album of 2012, NO LOVE DEEP WEB, and discussions over whether it was a marketing ploy or proper DIY punk ethics from the band, people tended to forget just how brilliant and visceral The Money Store was. The trio of virtuoso drummer Zach Hill, MC Ride and Andy Morin produced the angriest album of the year, packed full of samples, insane drumming, mangled synths and as many crazy noises as you could possibly fit on an album. Unfocused, messy, brainless, but a fascinating and addictive listen all the same.



18. Swans - The Seer

Primal. Intense. Ambitious. Cathartic. All words we can associate with the brilliant second studio album from Michael Gira's Swans since he "got the band back together" in 2010. Nearly two hours in length it's a battle between beauty and hideousness captured by the endless battle between noise and melody that's been the focus for the entire existence of Swans. Single songs contain more ideas than most bands have in their entire careers and you have to admire Gira's still-burning passion for the music he makes. Not perfect in terms of musical content, but it's an incredible testament to a singular vision and for that it deserves your full attention.