- 1: PJ Harvey – Let England Shake
2011 was a remarkable year for PJ Harvey, and her 9th album was by a long shot my album of the year. According to Last.FM I played her tracks 278 times; and played The Words that Maketh Murder 48 times. I’m willing to bet that is an understatement.
Considering her 2009 effort with John Parish was at best patchy, Let England Shake was an emormously satisfying album. In February this year I wrote “It is almost impossible to describe just how immediately brilliant this album is” and the album is one that will mature beautifully into a modern classic. Fittingly, as some want Britain to retreat into the foggy, parochial confines of the Island mentality, this album is infused with Englishness…which in terms of culture is no bad thing. We’ve a lot to celebrate and a lot to mourn and somehow Harvey manages to do both; this is an album inspired by war and yet, there’s a sense of triumph here, but that’s perhaps down to the inspired form Harvey is on.
I was lucky enough to see Harvey perform a lot of this album at I’ll Be Your Mirror – the small festival curated by Portishead. She performed before Portishead, in one stroke creating an almost unbeatable lineup, and it was a thrill to hear these beautiful fragile tracks come to live in the glorious main room of Alexandra Palace. All in all, this was PJ Harvey’s year and no talk of Adele’s sales can deny that.
PJ Harvey – Let England Shake
- 2: Radiohead – The King of Limbs
The King of Limbs is something of a curious Radiohead release; amongst all of the crazed anticipation when they announced its release, people fell over themselves to declare that they will once more rock like in the olden days. Had Radiohead succombed to a sub-section of their audience and decided to party like it’s 1995 again, then we’d all be much worse off for losing out on TKOL.
This was the first Radiohead to ever baffle and unnerve me, and that was hard to admit at the time. This is nothing like In Rainbows which is a stunning album of light and beauty, and it shows Radiohead’s deft ability to merge electronic and organic sounding music. It sounded enormous and it frankly left behind any lingering doubts that they weren’t the world’s greatest modern rock band.
TKOL cannot emulate that, and Radiohead didn’t even attempt to do it. Instead, they crafted something that is so perfect in its own way that it is impossible to not slowly fall in love with it. Tracks like Bloom and Feral are superb examples of what the band can do with electronics; listen to how Feral opens with such gorgeous clarity and really controlled bass, massaging the centre of the headphone space. Marvel as they float other sounds on top, adding in some earth-shaking bass before they force more frenetic beats, adding layer upon layer of sound. Each layer is perfectly distinguishable from the last, and then…the bass starts to shake the house down, making me wonder if my headphones can cope. It is an absolutely superb piece of sound design, that ends with the most beautiful electronic beeps…astounding. Feral is not the best track on the album.
Radiohead sequenced the last half of TKOL to perfection; Lotus Flower acting as the lone “rock” track on the album that is just a wondrous mash of drums, swirling guitars, deep bass and hand claps. All the best songs have hand claps and all the best music videos feature Thom Yorke dancing. Codex is achingly beautiful and is a match for Pyramid Song for the best slow song they’ve ever made. That they are basically musical sisters sharing the same themes makes it even more perfect. Give up the Ghost was the last track on the album to fall into place in my affections, and now I find the simple structure and *gasp* actual guitar playing a real treat to get me ready for Separator which is sometimes my favourite track on the album, and sometimes not. It’s quite simply perfect and when it builds up the peak, I feel relaxed and really happy.

Do the Yorkey dance
Radiohead also gave ouT further goodies with The Butcher and Supercollider. The Butcher wouldn’t make sense on the album, but it’s the equal to anything they’ve ever released. Tricky beats, synths and Thom’s falsetto equals a superb extra treat.
The Butcher
Fantastic remix of SeparatoR









































