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MAXMILLION DUNBAR - ' HOUSE OF WOO' [RVNG Intl] Maxmillion Dunbar is a complete obsessive when it comes to records.

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The album’s best song, the hyper-sensual [Selim Bulut] Further reading: ' House Of Woo' review 17.JOHN WIZARDS - ' JOHN WIZARDS' [Planet Mu] In this moment, I'm struggling to think of an album that's more "2013" than the self-titled debut from South African six-piece/duo/one-man-band John Wizards.For a start, there's that line-up - the ad jingle guy (John Withers) whose boundless imagination met his laptop and spawned an album full of so many musical ideas he struggled to contain them, the chance collaboration and friendship with Rwandan refugee Emmanuel Nzaramba behind the whole project and the four extra musicians he had to recruit to make the album even close to playable live.It’s more “live” in a traditional sense now than it ever has been, having added a full-time drummer to their guitar and bass.There’s a jamming quality to much of ‘Cold Spring Fault Less Youth’; analogue and digital instruments bounce off one another, melting into an indeterminable blur.That mix is not new, but in Kimbie’s hands it feels radical.

For all the breaking down of genre boundaries in 2013, there still exists a chasm between the laptop legion and the guitar-wielding gang.The album’s compelling energy springs, in a roundabout way, from the response to ‘Crooks & Lovers’.They’ve been on the road practically non-stop since it came out and, unsurprisingly, their live set has grown and evolved.King Krule) by Mount Kimbie Woo by Maxmillion Dunbar Lusaka By Night by John Wizards Thor’s Stone by Forest Swords Ainnome by Laurel Halo The Mirror Reflecting (Part 2) by The Haxan Cloak Renata by James Holden Union by Deptford Goth Green Light by E.m.m.a Our Father by Ka Zebra by Oneohtrix Point Never Papi by Dean Blunt Digital Lion by James Blake Without You My Life Would Be Boring by The Knife The thread that seems to weave its way through all of Dummy's favourite albums of 2013 is nuance; curious and sensitive, many of these 20 releases explore the spaces between extremities, breaking free of the lust/heartbreak pop dichotomy and expressing familiar emotions in unfamiliar ways (and vice versa).The Haxan Cloak did it with his depiction of the descent (or ascent) into the afterlife, shaded with as much light as darkness; Laurel Halo did it by communicating the unspoken in the haphazard sound of ' Chance Of Rain'; Connan Mockasin did it with his blurring of person and character, of sensuality and strangeness, of reality and fiction in ' Caramel'.Where ‘Crooks & Lovers’ zoomed in close on a specific tone, its sequel splinters off into a dozen different directions: pop, country, cosmic boogie.