2009 Isn't done yet - more new music, part 13

Over the last few days there has been lot of discussion about music in 2009 and, I have to admit, I've been involved in some of it whether that be in person or, as this evening on the likes of MySpace and perpetuating that, right here right now. That is fine, in so far as it goes, but why draw a line under 2009 in music when there are still two months to go? I know that the few weeks before Christmas may not be the best but surely that's no reason to write it off already and who knows from where it might come? In truth my wish-list is probably now longer than ever and here are just four rather diverse examples from it:

It seems an age since Norway's Anne Lilia Berge Strond (aka Annie) released her first solo LP 'Anniemal' and actually it was 2005. This one is her second and it is 'Don't Stop'.
Next up is a long underrated star of the UK rock guitar scene, though to very good effect, more recently prominent as the guitarist in Bat For Lashes' live band: she is former 'Ash' guitarist and solo artist Charlotte Hatherley.

Her second solo album, The Deep Blue (2007), garnered a reputation for being somewhat difficult to get to know and possibly not without reason. I have it on vinyl, so that is not for want of trying, but this one seems rather more approachable and that is not to say it is in any sense derivative, for it is not, rather she seems to be reinvigorated and if you have seen a live 'Bat For Lashes' gig this year then it is surely not hard to understand why.

Next up is another band that I have mentioned before but this time one from France. A garage/rock/punk four-piece, with something curiously Parisinenne, 'Plasticines' return with their second album 'About Love', which is a follow on from 'LP1' (2007), except that it isn't quite as simple as that...

Zazie Tavitian left the band after the first album and has been replaced, albeit in a different rôle, by drummer Anaïs Vandevyvere.

Now that's interesting: but just try persuading almost anyone that France has home-grown pop (it most certainly does) and you will find it at best difficult, at worst Sisyphean. The very thought of trying to convince anyone that it has [even one] credible all-female rock band is almost too scary to contemplate. Why are we so blinkered?

To finish how could I possibly resist adding yet another album of folk/Americana to my list?

This one is the third release by Lisa Redford and one much championed by Bob Harris on BBC Radio 2 - and the same 'whispering Bob Harris' for those of us whose memories can just about stretch back to the 'Old Grey Whistle Test'- therefore absolutely no chance whatsoever.

A strange beast called Anniemal! Those 2005 albums... (part 3)

This time it is not rock, which has typified the previous parts of this occasional series, that is in the spotlight but pop and it is good to be reminded from time to time that, for all the rubbish that it brings, it has still has a shimmering diversity. It sadly also goes to show that good albums don't necessarily sell well regardless of the reviews they garner. These were three that greeted this:

• An astonishing debut - The Sunday Times
• Brilliant spiky electro-pop - NME
• Life affirming in every sense - Q Magazine

I find it very hard to disagree with the above comments and that is why it appears again here - in fact I'm a serial reviewer of this album!

Imagine a very strange pop cocktail:
Start with a large shot of new millennium Kylie, (Who knows what will she do on her forthcoming album? That, for now at least, is still anyone's guess and maybe Dumfries' Calvin Harris, producer and songwriter, simply isn't telling and who could blame him!), a shot of Rachel Stevens at her best and finally fill up the glass with quirky fizz, that of the kind that has made the Scandinavian countries legendary for producing more good music than their small populations might suggest reasonable. If you can then you might just have some idea of what to expect from 'Anniemal'.

Annie is from Norway and this is her début LP but you would never guess. Although neither conservative nor self-consciously weird in style or content it is very listenable from start to finish and it only gets better with repeated listening. That it is far more than a competent début is quite obvious it but it is also a stunningly confident one. It combines a mixture of electronica - both new and old - with pop of many kinds, touches of R'n'B and rock, and a noticeable dance sensibility in a way that is somehow quite lacking in both self-consciousness and pretension. It is one of those rare albums that gives the impression of actually being created, rather than merely planned, perhaps helped by the fact that she co-wrote and produced the majority of the tracks.

It starts with 'Intro', which has Annie talking over a variety of bleeps and electronic anniemal noises. This is followed by the Richard X produced 'Chewing Gum'; he also produced the quite different sounding 'Me Plus One'. As he produced Rachel Stevens' 'Some Girls' the connecting influence is certainly there.
Another outstanding track is 'Heartbeat' again co-written and produced by Annie. Many a well-established artist would kill for a track like this, while on the other hand the rather happy dance influenced 'Greatest Hit' (this is slightly reminiscent of Faithless tracks featuring Dido, if she were on Prozac) samples 'Everybody' by Madonna, who is undoubtedly a big influence on Annie's music.
The title track 'Anniemal' seems to me to be a subtle parody of Abba's 'Money. Money. Money.' with the opening lines, " She's a locked up girl, in a RICH MAN'S WORLD" and so it goes on, but it is far too clever to ever be crass. It is very hard to find a filler track on this album, or indeed even a predictable one.
There is also the wonderful 'Helpless Fool For Love' that is as near to perfection as a pure pop song gets and, towards the end, the epic disco pop of 'Come Together', which runs to a little more than seven minutes. Buy it - these days almost nobody makes albums like this!