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Everyone (or nearly everyone) I know loves awards shows, even if just to complain about the winners and losers. Hopefully, none of our lists will provoke too unpleasant a reaction, but as with our reviews, please don't hesitate to drop any of us a line and tell us what you think, even if it's just to scream "What about....???" or "How could you forget ....?" Just remember the adage, "There's always next year!" And now, as they say, the envelope please. (click on the reviewer whose list you wish to read, or just scroll down and read 'em all!) |
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Dene Bebbington: My top ten list for 2004 is of albums I first heard in that year, not all of which were released then. In no particular order:
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Michael Debbage CONTEMPORARY INSTRUMENTAL TOP TWENTY OF 2004 (ranked)
Last year I traveled the wide-open freeway and took the easy way out and alphabetized my top choices of 2003. This years is the route of the narrow curving road with a valiant attempt to rank what turned out to be a very good year for contemporary instrumental music. The year started off in tremendous form when I was given the privilege to review Jim Wilson's latest effort Sanctuary and its beauty floored me. Though Omar's effort Free As A Bird and David Arkenstone's Atlantis came very close, the soul of Sanctuary remained firmly entrenched as my number one pick throughout the entire year. While it was relatively easy to choose my first ten albums, it was very difficult to round out my top twenty, as the differences between them were nominal. But I would like to make honorable mention of two outstanding 2003 releases that I was not exposed to until later this year. They were the magical A Cup Of Moonlight by David Lanz and the graceful Finding Solace by Philip Wesley. I would like to thank the artists and the labels for entrusting me with their blood, sweat and tears. This is an honor that I do not take lightly and I hope that my reviews assist the readers of our website. I would also like to thank my webmaster Bill Binkelman for the creative outlet and my wife for her editorial assistance. Happy New Year. Mike Debbage |
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Bill Binkelman I have divided my lists in the same way that the review section is divided on this site. So, read on and enjoy!
AMBIENT RECORDINGS IN A LEAGUE OF THEIR OWN (the following three CDs are impossible to put into any category or judge against other recordings, either by their merit or their very conception/execution; they simply are exceptional releases). In no particular order, they are: DEBORAH MARTIN AND CHERYL GALLAGHER - Tibet - Spotted Peccary Listening to this fusion of drifting ambient soundscapes, Tibetan-flavored world fusion music, and field recordings from the actual locale is like being there in person with the artists as they spent time at the "ceiling of the world." A deeply personal musical portrait of the impact their trip had on these musicians. HAROLD BUDD - Avalon Sutra/As Long As I Hold My Breath - SamadhiSound Disc one (of the two disc set) is one of the most exquisitely beautiful and melancholy recordings I have ever heard. It has been stated that this is the artist's last recording he will release. If that is the case, what an outstanding "good-bye" to his many fans this album is. RUBEN GARCIA - Maybe Forgotten Forever - Trance Port Special Editions This is as essential as any CD ever released if you claim to be a fan of ambient music, especially if you have never heard of Ruben Garcia (or heard his music). Covering an assortment of subgenres that fall under the term "ambient" but specializing in minimalism, Garcia may be the most under-rated artist in the genre. ABOUT THIS YEARS'S AMBIENT TOP 10: Because of the sheer wealth of great releases I heard this year, as well as the folly (in my opinion) of lumping rhythmic electronic music (e.g. Berlin school, electronica, et al.) in with drifting ambient and spacemusic, I have decided to offer top 10s in these two vastly different subgenres of ambient music this year. Hopefully, this will not offend anyone, but I don't see how I could compete such disparate genres against one another in a single list. ELECTRONICA/EM
Starting at the top, Jon O'Bergh shows he can be every bit as slinky-sly and witty as the maestro of "cyber-chill out" (that'd be Richard Bone, in case you didn't know) with his own delicious take on groove-laced electronic keyboard music, done in a space station-cocktail lounge vein. No better time was had by yours truly than when listening to this album. Next, we have another idiosyncratic slice of brilliance from Andrew Mays, a.k.a. Eien. No one is recording music this imaginative, quirky (yet accessible), and full of a sense of whimsy without a trace of faux sentimentality. Gert Emmens once again demonstrates his singular take on modern day Berlin EM with music that is beautiful, moody, and continually evolving. Zero One proves that he is a master of SF-themed chill-out and electronica with one of the most consistently excellent CDs of last year. While Ryan Farish's music is relatively lightweight in structure, I simply could not get enough (and still can't) of his catchy, infectious EM "pop" which contains the best hooks I heard this year. Can Attila delivered the most "pump up the volume" release this year, featuring a selection of retro EM that grabbed me from first listen and never let go. Oystein Ramfjord (a.k.a. Amethystium) continued to refine his trademark elegant lush chill-out on the conclusion of his "dragonfly trilogy," and this is his most accomplished effort so far. The duo who are cyberCHUMP displayed a singular fusion of chill-out, ambient, glitch, and jazz elements on their recording which deftly defines a "thinking person's" brand of ambient music. Peter Mergerner showed he still "has it" by recording the most "fun" album of 2004 which was filled to the brim with a cheery collection of retro EM tracks that put a big grin on my face every time I played it. From the artists collective Novabeats Sound System came the ultimate party disc of 2004, with its a mixture of soul, jazz, world, downtempo, glitch, bossa nova, and lounge that never failed to make me tap my feet. HONORABLE MENTION (not ranked, but alphabetical by artist)
Alidan displayed a solid talent for retro EM and classic spacemusic soundscapes, while Darshan Ambient found a way to weave laid-back chill-out beats and rhythms in amidst his pastoral ambience. The duo Enterphase's album was a meeting of traditional English-style EM with a dash of spacemusic and contemporary beats and textures. The Norwegian duo Green Isac once again offered proof that they have a non-traditional but highly energizing and enjoyable view of electronica-world fusion. Finally, the group Yney released the most far out yet still mainstream (after a fashion) electronica CD of the year by interweaving lounge/jazz elements with glitch, techno and assorted contemporary sounds and throwing in a dash of the pleasingly bizarre. AMBIENT/SPACEMUSIC
When an artist as talented as Michael Whalen releases his first new music (in the genre) in over ten years, my expectations were sky high. Yet, he still blew me away with this recording which just goes to show how sorely he was missed. The Canadian trio Sylken win the top "drifting spacemusic" award for their cosmic CD, which was a real surprise for me. Pete Kelly did something I didn't think possible - record an album of "short" spacemusic and drifting ambient pieces, and it turned out to be a smashing release with deep dark evocative snapshots of outer space. Hidemasa Kondo (a.k.a. Brain Ballet) proved the adage "less is more" by recording the best example of minimal electronic ambient music I heard last year. Improvisational ambient music was well-represented by newcomers The Amaranth Signal who wielded considerable chops on their debut. Dwight Ashley visited the darker side of ambient music with his melancholy and compelling release. If ever a genre needed re-invigorating it was ethno-tribal ambient and Jeff Kowal (a.k.a. Terra Ambient) was more than up to the task with what is probably the best recording in the subgenre in several years. Canadian Dino Pacifici once again shed one of his skins as he transformed his musical self into a master of deep spacemusic and dark ambient soundscapes. The trio Formaria offered up the best blend of electronica and vocals this year - a haunting mysterious mixture of female wordless vocals, electric guitar and electronics. Mark Mahoney (one third of The Amaranth Signal) crafted ambient sketches from unusual sound sources as well as traditional electronic instrumentation to produce songs that challenged the listener without alienating him or her. HONORABLE MENTION (not ranked, but alphabetical by artist)
Max Corbacho blended subterranean ethno-tribal with fractal and glitch beats in a daring and heady mixture. On his second spacemusic recording, Kevin Kendle emphasized guitar and retro EM elements while still retaining the deep drifting sense of spaciness on his second foray into the spacemusic genre. Finally, Michael Whalen's classic release of years past was brought back to life with additional tracks and a cleaner more revealing mix. NEW AGE/ACOUSTIC/WORLD FUSION/ADULT CONTEMPORARY
After just a few albums, piano and keyboard artist Laura Sullivan has risen to near the top of the genre by composing and releasing music that embraces a warmth, sincerity, and charm head and shoulders above many of her contemporaries. One of the founders of the genre, acoustic guitarist Will Ackerman, re-recorded his favorite songs and ended up proving that his place in the "hall of fame" is not just deserved but mandatory. Another acoustic guitarist (there are four on this list!) earns the honors for best debut in this genre and that would be Tony Sandate whose recording was also the most poignant I heard this past year. Harpist Áine Minogue showed that Celtic music is far from being passé or played out, as she (and her accompanists) wove delicate and sublime music that enchanted me every time I played it. Dedicated forester-educator-guitarist Clarelynn Rose just keeps getting better on her third album, featuring both sprightly and softer acoustic tunes in the spirit of DeGrassi and Renbourn. Another artist on his third recording, Peter Janson, continued his unbroken string of superlative and serene acoustic guitar soundscapes, evocative and easy to love. The duo (acoustic guitar and cello) of Montana Skies far surpassed their solid debut with this, their second effort, which mixes uptempo toe-tapping tunes with more somber fare, all of it done with style and grace. Multi-instrumentalist Terry Oldfield easily matches his great effort from last year, this time turning to a spiritual East Indian/Asian-flavored mix, fueled by his adroit flutes and mysterious singing bowls, chimes and bells. Pianist Eric McCarl infused uncommon quiet power into his dark melancholic reflective solo piano songs. Finally, Norwegian Eric Wøllo, who can wear any number of musical hats it seems, recorded an album featuring assorted guitars and electronics that evokes images of his native country's jaw-dropping natural beauty, as well as the intensity of the environment. HONORABLE MENTION (not ranked, but alphabetical by artist)
Bradley Powell (The Candlelight Guitarist) jazzed things just a little on his second release without abandoning the easy-going and friendly appeal of his earlier recording. Absent for a few years, piano player Armen Chakmakian gathered some of his talented friends to fire up this high-spirited and kick-ass collection of world/jazz fusion music. The duo Deep Sky Divers continued their streak of excellent contemporary instrumental music recordings, this time criss-crossing from ambient to new age to chill-out to infectious synth-pop, and excelling in each of those genres. Gnomusy showed a true flair for recording piano/keyboard music that had the catchiness of electronica and the warmth of the best new age music - no small feat that! Wayne Kelling, on his debut release, offered up simple unadorned old-fashioned electronic new age music that made me wish others were following suit in creating music unashamed of being pretty. Chuck Wild (the man who is Liquid Mind) still has it, and still knows what to do with it, on this, his seventh release which is more of the "good stuff" with some subtle new wrinkles added for good measure. Pianist David Nevue recorded a surprisingly (given its title) complex and rewarding solo effort which showed "night music" doesn't always have to be "soft" to be "quiet." Salva Moreno (Psicodreamics) evolved his neo-classical/new age EM music to a still higher level on his latest CD which once again belied his fondness for concept albums. Hammered dulcimer player Maggie Sansone shows why she is considered one of the best, if not THE best, performer on that instrument today on an album which blended Celtic fusion music with elements of Persia! Electronic keyboard player Martin Mayer (recording as Sounds that Soothe) offered up an album that hearkened back to the golden days of new age music that flowed with gentleness, beauty, and heartfelt emotion. Finally, featuring assorted flute and wind instrument selections (by some of the best artists in the field) that were hand-picked by Robert Gass, this was hands down the best compilation released last year and a fantastic album in its own right as well.
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