Some of the music posted on this Tumblr during 2013…
Accelra’s The Woodworker (remix), agonisingly slow piano and drifting synths.
AKB48’s Heavy Rotation, relentless hooks from J-pop queens (possibly NSFW video depending on circs/point of view)
A Little Orchestra’s Josefina, redefining, or perhaps inventing, the term “chamber indie”.
Alpaca Sports’ Telephone, sweet Swedish indie jangle.
Antonymes’ The End Of Everything II, stately modern classical.
Árstíðir’s Heyr Himna Smiður, Icelandic choir set up shop in a train station ticket hall in Germany, with extraordinary results.
Athenly Knoll’s Quarry Traxin, homemade acidic notes.
Atilio Doreste’s Murmur, dérive soundtrack from the Canary Islands.
A Winged Victory For The Sullen’s Ti Prego Memory Man, return of the modern classical big guns.
Belong’s October Language, overwhelming hazy drone.
Birds Of Passage & I’ve Lost’s I Was All You Are split EP, slowly unfolding drone and euphoric minimal guitar.
Billy Bragg’s Between The Wars, mid-80s protest song performed live on Top Of The Pops.
Blancmange’s Living On The Ceiling, remixed by fellow synthpop pioneer Vince Clarke.
Brandon Hurtado’s Please Let Me Know If You Can Hear Me, blissed-out Rhodes samples from underrated Virginia experimentalist.
Brave Timbers’ For Every Day You Lost, muted autumnal tones.
Brian Lavelle’s The Night Ocean, shimmering, drifting example of “the sub-genre LNW (Lovely Noise Wall)”.
Capob’s Paradigme #4, like a disturbed child playing piano on the beach.
Caterpillars Dressed In Their Finest’s Zephyrus, looping, slow-paced poetics.
Chantal Acda’s Jason, affecting modern folk produced by Nils Frahm.
Christ’s Pylonesque, bubbling Public Information Film electronics.
Claudia Brucken’s Everyone Says Hi, David Bowie cover.
Clem Leek’s Home Again: Live Sessions, minimal modern classical piano.
Concretism’s Forewarned Is Forearmed EP, droning synths and degraded Cold War samples.
Corsica_S’ Northern Cascades, textured guitar ambience supported by captivating found video.
Dalot’s Hands Reworked, wonky but sweet electronics from Greece.
dbh’s Fix, minimal folk ambience, video filmed in an abandoned, half-built hotel.
Delia Derbyshire & Barry Bermange’s Inventions For Radio #1: The Dreams, BBC Radiophonic Workshop collaged experimentalism from 1964.
Derby Sunshine’s Italo Riviera, indie-ish synthpop to put a spring in the step.
Dollboy’s Ghost Stations, live performance of concept album about abandoned underground stations.
Ed Hamilton’s Pebble Beach (For Harriet Moore), spellbinding, enveloping ambient.
el fog’s Snow Storm, solo vibraphone delight from Masayoshi Fujita.
EL Heath’s Yr Sioe Afanc, Welsh-language Krautpop by the Bard of Shropshire.
Elizabeth City State’s Year Of The V-Neck, one-off stunner by mid-90s unknowns with Dusty Springfield fixation.
Elli Et Jacno’s Mans Dans La Main, from when life was simpler, and all you needed were monophonic synth lines and a girl in a red mini-skirt.
Emphemetry’s Emilelodie, glorious solo piano.
epic45’s Defeat, understated synth melancholy from Staffordshire’s post-rock gods.
Ex Confusion’s With Love, chiming deep patterns of piano.
Fabrizio Paterlini’s There’s A Light We Might See, elegant modern classical.
Fiat Lux’s Blue Emotion, blend of 1980s synths and socialism that stormed the British charts to reach number 59.
Field Harmonics’ Edgelands, discreet snapshot of West Midlands decay.
Flamingosis’ Falling Love, laidback reworking of Telepopmusik’s Brighton Beach.
Fortress Central Park’s Under Barafundle, coastal field recording from a distant northern isle, possibly.
Fougou’s Gogmagog, minimal ambient drone from what sounds like inside a stone circle, somewhere over the far side of the woods.
Fountains Of Wayne’s NPR Music, live acoustic radio session.
Frazier Chorus’ Born With A Headache, comforting slice of lost gossamer pop.
Girls Aloud’s Call The Shots, relentless chart single.
Grouper’s Being Her Shadow, sub-aqua lo-fi guitar atmospherics.
Happy Trendy’s #07, bedroom cassette ambience.
Harold Budd’s Jane 9, gentle electronic waves.
Heathered Pearl’s Beach Shelter, dense but graceful ambient drone.
Hiroki Sasajima’s Offshore, startlingly vibrant field recording.
Hofli, Kazuya Matsumoto, Yui Onodera & Sawako’s 20120527 album, gorgeous, summer evening improvisation.
Howlround’s live performance with four reel-to-reels, tape recorder experimentation is alive in the provinces.
I Am Robot & Proud’s Center Cities, typically lovely, bleepy electronics.
Isan’s Descette mini-album, whimsical loop experiments.
Ivy’s No Guarantee, mid-90s NYC jangle.
Jasper TX’s Abandon, beautiful electric piano chords and atmospherics.
Jez Riley French’s Suketchi, tiny field recordings.
Joanna Gruesome’s Secret Surprise, sprightly punk pop.
John Maus’ Bennington, captivating atmospheric piece of modern synthpop.
Jordskred’s Summer Chords, memories built of drones, loops and gentle guitar.
J Poorgrass’ Mother Mountain Dweller EP, homemade acid experimentalism from Derbyshire.
July Skies’ Where The Days Go album, post-war rural guitar ambience.
Karl Bartos’ Life, ex-Kraftwerker who’s getting on with things and in no way dwelling on the past.
Kelis’ Milkshake, damn right it’s better than yours.
Kompakt Kat’s In My Bedroom Floor: Compilation 2011-12 album, Russian homemade electronics of the lowest sort of lofi.
Komputer’s Headphones & Ringtones (Addison Richards mix), crunchy drum machine, organ and electric piano under doleful vocals.
Kowalski’s For The Love Of Letting Go album, wide-eyed dreampop from coastal Northern Ireland.
Kraftwerk’s Computerwelt, obscure 1981 12” remix.
Lana Del Rey’s Ride, towering post-Instagram classic.
Last Days’ Hanami, beautifully balanced piano and strings.
Laura K’s This Happens Every Time, Casiobeat tweepop.
lefolk’s Gennady, quietly glitch drone.
Library Tapes’ Sketches, Outtakes & Rarities album, modern classical piano from Sweden.
Lily Glass Group’s A Piece Of Summer, catchy electro indie.
Looks Realistic’s Where Does It Come From? album, American take on hauntological collage pop.
Lost Trail’s October Mountain album, decaying ambient Americana.
Lowpines’ Heavy Hander, ghostly minimal indiepop.
Marcus Eads’ Historic Grain Elevators album, super-lofi collection of solo guitar tunes recorded direct to cassette and a karaoke machine.
Margins’ Brook, tape hiss acoustic experimentation.
Mathématiques Modernes’ Disco Rough (Ivan Smagghe edit), very early 80s synthpop from France.
Melverton’s Inca EP, lofi house.
Men Of Focus’ Open Theatre, pleasingly rickety analog pop, during which a drum kit is pushed downstairs.
Men Without Hats’ Freeways, multilingual anthem to the joys of the open road.
Metroland’s 2013, New Year’s greetings from Brussels synthpop-with-vocoder types.
Ming’s La Ballade De Johnny Guitar, experimental technopop from Belgium, remixed with an 8 bit-style video.
Mogul’s Better Than Sex, thrashy, trashy Casio-driven indie.
Momus’ Anthem Of Shibuya, toytown paean to hip district in central Tokyo.
Morrissey’s Every Day Is Like Sunday, student disco classic, live in Manchester in 2004.
Motorama’s One Moment, Russia’s finest purveyors of urgent, Joy Division-esque guitar pop captured live in St Petersburg.
Mount Eerie’s Clear Moon, songwriting of unbelievable tension and control.
New Musik’s Back To Room One, lost gem of an early 80s album track.
Nils Frahm’s Live at the Boiler Room, short concert from the darling of ambient/modern classical crowd.
Northern’s Drawn album, beautifully understated electronics.
oh/ex/oh’s Crepuscule, hold-your-breath ambient drone.
Oh, Yoko’s Grand Prix, drum machine pop experimentalism from Japan.
Olafur Arnalds’ This Place Was A Shelter, stately yet glitched-up acoustic/electronic.
OMD’s Stanlow, live recording of the sprawling, oil refinery-inspired classic from 1981 tour.
Pale Saints’ A Thousand Stars Burst Open, majestic pre-postrock.
Parenthesis’ Your Excellency (Pot & Pine Apple remix), characteristically catchy house-pop from ex-Baxendale vocalist.
Part Timer’s Only Natural, glistening electroacoustic folk.
Pawn’s Glimmer Of Sunlight album, whispered ambient experimentalism.
Pet Shop Boys’ Can You Forgive Her, 1993 hit from poker-faced duo.
Petrels’ Wat Tyler, constantly evolving drone with the subtlest of textures and melodies.
Phil Legard’s Angelystor, field recordings and rural folk drone.
P Manasseh’s UUVVNN, detailed-but-minimal ambient electronica.
Pizzicato 5’s Dentaku, Shibuya-kei cover of Pocket Calculator.
Porya Hatami’s The Waning Branches, poignant field recording from Iran.
Pye Corner Audio’s Electronic Rhythm Number 18, resembling incidental music from an imaginary children’s sci-fi series.
Quies’ Stills & Postcards From The Centre album, gripping field recordings/audio diary of an Australian road trip.
Rangefinder’s Night Ride album, blissful arpeggiated electronics.
Richard Ginns’ craftmorning EP, quietly charming suburban ambience.
Rion’s Spirits, Ian Hawgood and Ryo Nakata’s low-key evening drone.
Rodney Allen’s Saturday The If, sensational vocal melody from the Billy Bragg of the south west.
Ruhe’s Organs EP, short but superb collection of sampling, textures and drones.
Sally Shapiro’s If It Doesn’t Rain, beautiful chords and octave bassline from Sweden’s queen of Italo disco.
Sea Stories’ For A Thousand Years, lost Australian folk gem.
Shining Bird’s Distant Dreaming, super-laidback disco.
Shojoskip’s Glory Of The Snow, sweet Japanese indiepop.
Sima Kim’s Faded album, ambient snapshots and memories.
Simon Scott’s Aki, bucolic field recording/electronic minimalism from ex-Slowdive drummer.
Skanfrom’s Phon Sweet Phon, beautiful warm analog.
Solvent’s RDJCS5 EP, endlessly creative electro made with a Yamaha CS5 monophonic synth.
Summer Twins’ Forget Me, knowing, cute-as-a-button 60s-style storyboard pop.
Talk West’s Old Wired Fault album, minimal dustbowl folk.
Talulah Gosh’s Talulah Gosh, from Oxford’s queens of the Girl Guide harmony.
The Adelines’ Alleyways, characterful indie jangle.
The Advisory Circle’s Farmland, Freeland, mysterious hauntological electronica . Mwa ha ha ha haaaa!
The Anthony Rochesters’ Keep Your Eyes On The Prize, indie so laidback it’s horizontal.
The Bats’ Live on KEXP, radio session by Kiwi legends.
The Bilinda Butchers’ Hai bby, treble-turned-way-up indie synth, navigating their way to the heart of Planet Regret.
The Damned’s I Just Can’t Be Happy Today, thundering Peel session version.
The Declining Winter’s Shore Leave, acoustic, bucolic, romantic and a delightful DIY video.
The Dickies’ Fan Mail, supremely catchy West coast new wave.
The Eccentronic Research Council’s Ghost Of Elizabeth Southern’s Returns, address to the nation full of the blackest humour.
The Finks’ Things Work Out mini-album, charmingly ramshackle homemade indie.
The Flatmates’ Happy All The Time, Bristolian mid-80s indiepop legends.
The House In The Woods’ Bucolica album, sinister analog synth from Mr Pye Corner Audio.
The Hurries’ Not That Easy, relaxed 60s-influenced pop.
The Just Joans’ What Do We Do Now?, kitchen sink drama of quiet but all-consuming failure.
The Lemonheads’ It’s A Shame About Ray, early 90s mainstream indie drugged-up slacker rock.
The Magic Shop’s It’s True, lost twee brilliance from late 80s Sha-la-la series of flexidiscs.
The Magick Heads’ Back Of Her Hand, irresistible strummed folkpop that sounds like it was made in someone’s kitchen.
The Mantles’ Shadow Of Your Step, beguiling Bay Area folk-rock.
The McTells’ Virginia MC, ultra lofi indiepop from back in the day.
The Narrows’ There’s A Ghost In Me mini-album, thoughtful electroacoustic modern classicism.
The Resource Centre’s Series EP1, chiming retro electronics.
The Rural Tradition’s Embrace Our Rural Traditions EP, subdued acoustic folk minimalism.
The Teardrop Explodes’ When I Dream, ecstatic early 80s chart hit.
The Undertones’ (She’s A) Runaround, underrated yumminess from Derry’s finest.
Tony Whitehead’s Newbridge album, ultra-minimal field recordings made on Dartmoor in rural south-western England.
Ultravox’s Quiet Men, jagged post-punk fronted by John Foxx, live at Reading in 1978
Vanilla Beans’ Nicola, charging over the line marked Too Sweet, Possibly?, a delicious slice of uptempo Japanese Scandipop.
Vector Lovers’ Warm Launderette (Solvent remix), minimal acidpop workout.
Vitaly Beskrovny’s Life On Paper album, charming work from Ukraine combining piano, minimal electronics & field recordings.
Veronica Falls’ Nobody There, foot-stomping indiepop.
Water Of Life’s Water Of Life EP, field recording combined with an oddly experimental pop approach.
Western Standards’ The Stress Of The Sun, tiny touch-sensitive ambience, somewhat unexpectedly from Houston, Texas.
World Bank’s With Landscape Sweaters (Isan remix), experimental-but-somehow-just-right electronica.
World Order’s Welcome To Tokyo, nailed-on certs to play the opening ceremony of the 2020 Olympics… or are they?
Wouter van Veldhoven’s Composition For Modified Toy Piano, Sine Waves, Tape Recorders & Other Antique Machines, wonky homemade experimentalism.
Yazoo’s Peel session, classic old school synthpop.