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Fopp. Here it is, our comprehensive list of the best albums of 2. Top Of The Fopps, as voted for by staff in all of our nine stores, compiled here in all its glory. You can read about our favourite albums and films in more depth in this month’s Best of 2. The Fopp List – available for FREE in all of our stores, right up until the end of January. Nick Cave & The Bad Seeds – Skeleton Tree. Much of the Bad Seeds’ 1. Arthur Cave’s fatal fall at Ovingdean Gap in July 2.

Skeleton Tree is deeply infused with the horror of that event, and the effect it has had on his family. Nick Cave has often dealt with dark themes in his work over the years – murder, heartbreak, fire- and- brimstone justice – but none of it proves as blankly chilling as Skeleton Tree, Cave’s deepest masterpiece.“I used to think that when you died you kind of wandered the world in a slumber ’til you crumbled [and] were absorbed into the earth,” he sings on Girl In Amber. Well, I don’t think that anymore.” Here, as on the seven others, Cave sounds broken, his voice infused with none of the drama he often invokes – as a result, listening in is overwhelming and uncomfortable. Underneath his voice are layers, some sparse, some dense, of warm piano and strings, and cold electronics. Some of Skeleton Tree’s songs are almost ambient, in fact: Magneto is anchored by bass groans, echoed guitar and strange synth tones. The urge to kill somebody was basically overwhelming,” mutters Cave.

At times, all five of the Bad Seeds are barely there, a testament to their sensitivity and feel for restraint. It’s a stunning, bruising combination. With the last two songs, some kind of dawn breaks – it’s not redemption exactly, more survival or endurance. On the closing title track, Cave actually sings, showing a tenderness that the numb, despairing earlier songs lack. It all ends with Cave standing at the sea and calling out, even though “the echo comes back empty”. Make no mistake; this is a difficult album, both in its subject matter, its sound and the effect it has on the listener. As a reaction to a tragedy and as a bona fide work of art, however, Skeleton Tree is peerless.

David Bowie – Blackstar. Viewed from a distance, it is of course impossible to separate David Bowie’s death from his final studio album, Blackstar – released days before the artist succumbed to cancer. It is certain that for years to come, listeners will pore avidly over the music searching for clues that, somehow, the album was effectively Bowie’s last will and testament: not just a record but a stunning coup de theatre that may never be equaled. What we know for certain is that the roots of Blackstar lie in the 2. Bowie recorded with the Maria Schneider Orchestra – Sue (Or In A Season Of Crime). A seven- minute post- modern jazz experiment, the song found Bowie operating in an unfamiliar idiom with a new set of musicians drawn from New York’s vibrant contemporary jazz scene.

Clearly inspired by these sessions, Bowie conscripted Sue… saxophonist Donny Mc. Caslin’s muscular reed- playing to act as bandleader on Blackstar. Of course, it’s not a totally new Bowie that emerges from all this. There are subtle resonances of his previous personae throughout the album.

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The cryptic, fragmented lyrics of Girl Loves Me have been created with cut- up techniques similar to the ones he used on Diamond Dogs. Blackstar itself shares a dark theatrical atmosphere with Aladdin Sane while the song’s sudden and transfixing detour into soul where Mc. Caslin’s sax rolling and swooping ire recalls the euphoric brass swells on Sweet Thing/Candidate/Sweet Thing (Reprise) from Diamond Dogs.

Lazarus glides along with the same sumptuous, melancholic grace as Heathen’s grand centrepiece, Slip Away. And while Blackstar and ‘Tis A Pity She Was A Whore feature some Scott Walker- ish mannerisms, Bowie’s warm, soulful timbre on I Can’t Give Everything Away echoes A Word On Wing or perhaps a less operatic take on Wild Is The Wind. Bowie elects to close Blackstar with two relatively straightforward songs.

They are a strong reminder, perhaps, that despite giving free reign to his experimental tendencies, he remains very capable of classic songcraft. An elegant, relaxed and rather touching end, all things considered. Christine And The Queens – Chaleur Humaine. Héloïse Letissier – better known by her nom de plume, Christine and the Queens – is a mainstream pop star in her native France. It says much, perhaps, about the progressive mindset of our European cousins: Letissier is a brilliant, provocative artist who has admitted to being “obsessed with the idea of having a dick and being a man” and who only turned to music after being co- opted by a group of London drag queens. Arguably, it might prove a more difficult task for her to find room for her endlessly brilliant, envelope pushing music in a UK chart dominated by more conservative pop musicians.

Nevertheless, Christine & The Queens is bold, empowering music. Originally released in 2. Chaleur Humaine, it showcases not only Letissier’s idiosyncratic brand of synth- pop but also critically it explores the nuances of her queer identity and what that means in private and public spheres. Striking and intoxicating. Mogwai – Atomic. Mogwai’s Atomic is composed of reworked versions of the music recorded for the soundtrack to director Mark Cousin’s acclaimed documentary Atomic: Living In Dread And Promise, which first aired on BBC Four last summer. Showtime Full Ratko: The Dictator`S Son Online Free. Constructed entirely of archive film, Atomic is an impressionistic kaleidoscope of the horrors of our nuclear times – protest marches, Cold War sabre- rattling, Chernobyl and Fukishima – but also the sublime beauty of the atomic world, and how x- rays and MRI scans have improved human lives. Mogwai’s soundtrack encapsulates the nightmare of the nuclear age, but also its dreamlike qualities too.

It is the latest in the band’s series of impressive soundtracks and scores, following acclaimed albums Les Revenants (The Returned) and Zidane: A 2. Century Portrait. Bat For Lashes – The Bride. Characters have always been important in Natasha Khan’s art – from Sarah and Prescilla on Bat For Lashes’ debut and the alter- egos of 2.

Two Suns, right up to Laura and Marilyn on 2. The Haunted Man. Yet Khan’s fourth album is her first that seems truly cinematic. The Bride is a bona fide concept album, telling the story of a woman whose fiancé is killed on the way to their wedding. A little like Truffaut’s The Bride Wore Black remade by David Lynch, it’s noir- ish, romantic and unsettling, from its Western guitar tones, Angelo Badalamenti- esque electric piano and the early ’9. Even the call of “fire, fire, fire” that ends In God’s House, Khan’s voice vaulting octaves and wreathed in digital reverb, seems like something Lynch would approve of.

The tale is told through varied textures: “Honeymooning Alone” starts with the sound of a car crash, and soon moves into acidic chords and jazzy drums reminiscent of Portishead; Sunday Love, powered by a motorik beat, is the most accessible moment here, while the following lament, Never Forgive The Angels, could be an ancient, droning folk melody. Nightmares come but they don’t go,” Khan intones.

I will never forgive the angels for that.”Strings become more prominent as the album draws to its final third, and the story of the bride’s mourning and subsequent salvation comes to a close.