23. Steven Wilson - The Raven That Refused to Sing (And Other Stories)
No other release struck me in quite the same way this year. Wilson's disconsolate songwriting reaches its apex throughout the album's six mini symphonies, and, as a response to those who criticize prog-metal as lacking the emotion to complement its awe-inspiring musicianship, it stands as one of the most definitive statements to come along in years. Add to that a Murderer's Row of players such as guitarist Guthrie Govan, bassist Nick Beggs, keyboardist Adam Holzman and drummer Marco Minneman, and the picture regarding why it tops my list becomes crystal clear. Wilson is focused just as intently on lyrical impact as he his on flooring listeners with the virtuosity of his band, something which he doesn't get nearly enough credit for. The title track is especially poignant, because his elegiac vocal possesses a stinging sense of foreboding that balances beautifully against the album's explosive instrumental backdrop. When the narrator is lamenting over the loss of his sister, we feel as if a member of our own family has been prematurely taken from us. The vibe is stoic, the words resonant, and the entire outlook on life exists just on the outskirts of hope for a new beginning. You won't find artistry such as this on mainstream radio, because it requires a degree of patience no longer synonymous with casual consumers. It wasn't created on a laptop, and it certainly didn't assemble a fancy array of electronic distractions to divert one's attention away from the music. What we're hearing is the result of years of practice from a group of masters who have dedicated their lives to being able to perform at a high level. They didn't need a reality show to sell them. They simply perfected their craft, and allowed the fame and respect to follow accordingly. As is true in any medium, genius doesn't require 24-hour pronouncement to make it real. It just is.
Words by David Hens
22. Graham Lambkin And Jason Lescalleet - Photographs
I can forgive sceptics of electro-acoustic improvisation and its associated genres. It's a rather difficult prospect, to say the least, for most people to enjoy and connect with. Take, for example, Good Morning Good Night, collaboration between eminent Japanese artists Sachiko M, Otomo Yoshihide and Toshimaru Nakamura, which prominently utilises high-pitched sine waves and turntable scratches. While I do like the album, it's clear that the majority of people would not be prepared to listen to over an hour-and-a-half of uncomfortable, room-filling tones, with very little variation in the artists' modus operandi. Good Morning Good Night was released on the Erstwhile label, which incidentally released Photographs, an aural meeting of Graham Lambkin and Jason Lescalleet, earlier this year. While many releases under the EAI bracket could potentially be deemed as cold and incongruous affairs, Lambkin and Lescalleet have proved, both as a duo and independently, that it can make some for evocative and moving music. Photographs is the third in a trilogy between the two that began in 2008, and with each record, Lambkin and Lescalleet demonstrate a masterful approach towards the manipulation of found sound. Photographs, like the other two releases between Lambkin and Lescalleet, is something of a self-revelation. It's a strikingly honest, insightful examination of the brilliance of everyday life, from the poignant (a visit to a church) to the mundane (a car journey), all drawn together by some deft manipulation of their source material. Even with the presence of alien textures piercing waves of sound, dissonant tape recordings it's still one of the most strangely heart-warming releases of the past year.
Words by Joe Sherwood
21. Laura Marling - Once I Was An Eagle
Laura Marling, queen of country and femme fatale of folk, continues her extraordinarily prolific song writing career. It has earned her yet another Mercury nomination, a #3 hit in the UK and a spot in our top albums chart. The 19-track album begs the question: If she once was an eagle, which majestic bird of prey has she reincarnated as in 2013? Strains and twangs of Bob Dylan showcase her folk and country Americana influences, most notably in 'Where Can I Go?' but the list goes beyond one particular track. The Hampshire-born, Quaker-educated singer, with her sometime husky low-toned songs such as 'Master Hunter', holds firm to a devilish preoccupation with death and loneliness. Her subject matter and style suggest she could have been born in the Deep South with her dark poetic interpretations of Biblical and musical traditions. The binding, enslaving quality to the tone of her music is mediated by a fierce sense of independence. This arena of conflict provides the landscape for the album which is at times dark and hellish and at others free as an eagle but one bound by an albatross around its neck. 'Undine' distances Marling from her material as she acts as both narrator and protagonist. It is unclear, however, whether she is persuading her listeners or attempting to convince herself that she "can know not love... bound with ropes around her wrists". Entrancing and intriguing, Once I Was An Eagle is a thought-provoking album with the lyricism of an accomplished storyteller. We look forward to her fifth album, which may finally force the Mercury Prize committee to recognise her fully. She should join the likes of PJ Harvey in being a double-winner of the award.
Words by George Meixner