Juana Molina - 'Salvese Quien Pueda'

Two things brought me to this record. First, there was the involvement of Four Tet. I am, on the sly, a bit of a Four Tet fan. He always strikes me as someone who understands how music is put together, and in his records the right things generally happen at the right time. Second, it’s on the Domino label, the most reliable musical indicator of our era. You rarely go wrong with a Domino record. If I ran a label – and I can’t say I haven’t thought about it – I like to think it would be a bit like Domino.

So to this 12” from someone called Juana Molina, with a couple of Four Tet versions on one side. And do you know, it’s bloody lovely! I play this on return from a stressful day spent selling off small, irreplaceable, parts of my soul in exchange for not very much money at the coalface of pointless administration, and my troubles quietly subside. A Radox bath and a mugful of something soothing – like malt whisky – couldn’t work this magic. For your money, you get three versions of Salvese Quien Pueda (this is Spanish, apparently, and her rather cute website is also in this language, with Molina evidently hailing from Argentina… hmm, does this make this ‘world music'?). There’s two from Four Tet on the A side, an ‘ugly’ version, which is crunchy and liquiduous, and about which there is nothing wrong, and a ‘pretty’ version, which is the real gem here. It isn’t pretty; it’s beautiful. Imagine walking through a gorgeous, sunlit meadow with the girl of your dreams on your arm. She sings to you softly, while make-believe animals low in the distance. You’re there. Towards the end the drums come in, at which point the whole thing leans back, lifts off and gently hovers.

On the other side Ms Molina adds her own version, wherein the song stretches out and gives itself a little room to let things develop. Murmurous noises and sleepy sounds are joined by some pleasant acoustic guitar, and we end with my favourite ‘la la las’ so far this year. I’m never terribly au fait with genre boundaries, but it’s possible that this is ‘folk music’. But if this is folk music, how come everyone isn’t doing it?

Scout Niblett – 'Kidnapped By Neptune'

This is glorious and quite unnecessary record. I’m scared of analysing it, because really there’s not much there. It’s simple and ultra-repetitive, in some ways a brainless footstomper, a mantra woven from the milk, bread and potatoes of drum, guitar and voice. (You can still work magic with those basic ingredients.) An army could march to this. Every so often a sleazy-sounding woman interrupts the proceedings, the whole thing grinds to a halt and then starts up again. By the end she sounds somewhat exercised. This fits in somewhere between Stereolab if they were any good and Solex if she could occasionally resist the call of wackiness.

Once again I will betray the fact that I live in some kind of musical vacuum built out of endlessly reissued Fall CDs by shamelessly confessing that this woman had never previously crossed my path before I heard this on some radio show or other. Oh hang on, I just checked the website, and this is the person who did that loathsome cover version of Althea and Donna’s rare gem, Uptown Top Ranking? Glad I hadn’t realised that before, or this one would probably have lingered in the shop unpurchased. Anyway, it’s quite rightly a 7” only, and it’s on Too Pure, which is even kind of a proper record label, so there can be no excuse.

Sunnyvale Noise Sub-Element - 'Techno Self-Harm'

Since the death of John Peel and the disappearance of all manner of outré music from the radio, I find I've been buying more and more records on spec, unheard. Fortunately I earn more money than I used to - just as well because records are expensive and it costs me an absolute bloody fortune to keep up. How much easier and cheaper it was in the days when you could hear stuff, find out you liked them and go out and buy them. These days I follow hunches, read reviews, hack my way through record shop e-mails, then listen and sift. The crap quickly sinks to the bottom of the pile, never to be heard again. The good stuff stays on the top. The weekly e-mail from the great Norman Records of Leeds (the best record shop on the web, bar none) is a more reliable guide than most. Refreshingly honest, if they really think a record stinks and you’d be a fool to part with your cash for it, they'll tell you, which makes a change from most record shop e-mails that clog the in-box, which like to pretend that every single thing they sell is fantastic.

And so to this one, which I bought from Norman Records purely on the basis of their description. Never heard of these buggers, although according to their website they've been around for years, making ‘improvised electronic music’. No, don’t go, this is actually good. Norman Records said it would appeal to fans of 65daysofstatic, and it’s an observation that’s hard to fault. This is more in that 'glitch rock' / post-post-rock vein, but going much further than the abstracted and pretentious meanderings such a description usually bring to mind. Basically, as the title track demonstrates, Sunnyvale know there are few records that can’t be improved by collision with a filthy great guitar riff, as happens about one and a half minutes in. Once that happens, there can be no looking back. Truly this is the new wave of moody fucked-up techno rock you can shake a leg to. The only complaint can be that, at just over five minutes, I wouldn’t have minded a bit more of this.

Techno Self-Harm is the best song on this five track CD, which also boasts a longer live version. Despite their stupid name, not all elements of which I can hold in my head at once, Sunnyvale also prove they know how to make a good title with There Are Already Enough Photographs of People and Doors. And how right they are. It’s on Field Records – no, me neither – and you can buy it on their website. This one’s staying on the top of my pile.