2018 - A REVIEW.
2018 was one of those years where buying and listening to music often took a back seat to the ups and downs of life. Family illnesses, bereavement, and all the stress and upset that come with those things meant that i had little time for hobbies or interests, plus planning a wedding in the midst of all this meant that money was scarce. Not that i'm complaining: getting married was one of the happiest days of my life, regardless of the unfortunate circumstances surrounding it. But although i wasn't actively indulging my passion for records i still had one ear listening out for new stuff. So when things began to settle down later in the year i knew what i wanted to add to my collection. I've had most of the albums i wanted for Christmas - mostly on CD with a couple on vinyl - so i've been playing them over the festive period, and am still getting properly acquainted. I have, however, been using my iPod to download a few tracks (mostly whatever passes for singles these days) to create a "best of 2018" playlist, and one band in particular has stood out: IDLES. The Bristol agit-punks have been around since 2009, but it was a few years before they actually released anything. Their first album, 2017's Brutalism, passed me by, but once i heard the lead single from this years follow up i had that all-familiar rush of excitement. "Danny Nedelko" was all over 6music like a rash, and its shouty angry punk belied the message of unity and brotherhood with people of all nationalities in the face of Brexit xenophobia: "My blood brother is an immigrant/ a beautiful immigrant...... my best friend is Malala/ a Polish butcher, he's Mo Farah" and the words DANNY NEDELKO UNITY SO FUCK YOU spelt out towards the songs' close got my blood pumping whenever i heard it, and even more so when i witnessed their riotous performance on the otherwise "tasteful" Later..... I doubt Jools Holland has ever looked so terrified in his life! I listened to a few other tracks from the album Joy As An Act Of Resistance over the folowing months, ever more determined to have the album on vinyl, and i finally had it for Christmas. After playing it a few times i can declare it to be MY TOP ALBUM OF 2018!
IDLES stare into the face of modern life and what it means to be a man and a decent human being in Brexit Britain, and pick apart ill informed bigotry, xenophobia, toxic masculinity, the media view of council estates and "chavs", and kicking against the way we're supposed to perceive ourselves in a world where endless adverts and articles tell us we're not good enough unless we have perfect white teeth. "Love yourself" with all your supposed flaws, cosmetic or otherwise. And frontman Joe Talbots' heartbreaking and cathartic account of the birth of his stillborn daughter is astonishing. They deliver all this with incandescent rage, wit, intelligence, passion and honesty in a way you won't hear from any of your tedious and brainless chart pop artists. A raging and beautiful record.
I'll be writing a more detailed review of this album on another blog entry.
Aside from IDLES, the other thing that got me excited about music again this year was the return of a favourite band with what i consider to be their best album in a good few years: Muse. I've been into them since hearing "Muscle Museum" from their first album Showbiz, and they just got bigger and better over the following four albums, always changing and taking detours down different stylistic avenues - prog rock, electronica, classical - but still remaining recognisably themselves. 2012's The 2nd Law marked a downturn for me though: at least half the album wasn't up to scratch, and the two heavily electronic tracks at the close of the record just seemed gratuitous. The "back to basics" rock of 2015's Drones was too dark, too grey and sludgy, and i gave it one listen and never played it again. So to hear that the new record was going to be more upbeat with 80's Sci-fi influences gave some hope that it might be decent. After seeing them showcase a few tracks on Later.... i was impressed, especially with the anthemic rock of "Pressure" which burrowed its way into my brain! I bought Simulation Theory as soon as it was released, and i was not disappointed: a more synth heavy album but with a far lighter tone than its predecessor, it was chock full of big bright songs. As with all of their albums there is an overall theme, that of artificial reality and the idea that the universe might be a simulated reality, whilst also taking cues from the current political climate in the USA and the UK.
Songs like "Algorithim", "The Dark Side",and "Thought Contagion" have a synthpop/rock feel to them, whilst "Propaganda" and "Break It To Me" have a Prince-inspired funk feel allied to Hip Hop production by Timbaland and Swedish pop writer/producer Shellback. "Something Human" is a more acoustic folk-rock track, and "Dig Down" is a hopeful protest anthem written in response to both the Brexit vote and the election of Trump in the US, to give people inspiration to fight for their beliefs and causes. "Pressure" has a power pop feel with added brass. A welcome return to form.
Suede followed up their 2016 nocturnal indie opus Night Thoughts with another twilight journey into the soul, The Blue Hour. A world away from the anthemic glam-indie hits they're best known for, this album delves into the unsettling world of rural life, with a vague story of a missing child. Epic, soaring strings and moody synths are present throughout the album, from the theatrical opening track "As One" to the entirely symphonic "The Invisibles". Monks chants and the sounds of carrion crows appear, themes of death, regret, and reflection litter the grandiose orchestral feel. There are hints of the bands previous swagger on "Life Is Golden", "Wastelands", and "Cold Hands". Very much an album to immerse yourself in alone, headphones on.
I''m still in the process of really acquainting myself with most of last years albums, having only had them in my possession for a few weeks, but i've yet to hear anything that i didn't like: Anna Calvis' third album Hunter has all her hallmark sounds: atmospheric synth washes and twangy echo-laden guitars that sound like they belong on a David Lynch film soundtrack, vocals that range from seductive whisperings to soaring banshee wails, the occasional warped and shredding riffs, lush percussive and classical touches. Gender fluidity, sexual awakening and female empowerment are the overriding themes of the album, leading it to be described by critics as her "queer record", but it's much more than that: "Alpha", " As A Man" and "Hunter" all take the strong male/weaker female myth and turn it upside down in a wild, almost predatory flourish. Calvi has yet to top her debut album in my mind but it's close.
One of the most startling reinventions of 2018 has been that of indie rock titans Arctic Monkeys. After five albums of clever wordplay, catchy riffs and indie disco anthems, Alex Turner led the band into a complete stylistic turnaround. There were no songs released to radio, no lead single, just a few tracks played live before the albums release. A short video appeared on Youtube featuring short snippets of the songs, but most of the public didn't hear the music until the album was released. Tranquility Base Hotel & Casino was released on 11th May, and to say that its contents divided opinion would be an understatement. The indie rock style was replaced by what most people would describe as "lounge music" - a mixture of jazz, easy listening, early electronica, and various Latin style pop that usually resembles 1960s' film soundtracks. A concept album about a fictional luxury hotel on the Moon, the lyrics are sung from the perspectives of various staff or guests in various suave tones by Turner, whilst the music is mostly played on vintage keyboards and synths with percussion such as vibraphones and timpani. There are no typical verse-chorus-verse singalong anthems here, no hooks, no radio friendly crowd pleasing chord structures. It's very much an album that requires attention whilst playing. I've been listening to it on Youtube for a few months until i got around to buying it, and i can say that it is definitely a slow burner. Despite the initial confused reaction it still debuted at No.1, and the first single cracked the Top 20 when released a few days later. TBH&C has also scored highly in most end of year Best of lists.
My favourite song from it so far is the title track, which never fails to make me chuckle upon hearing Turner sing "Mark speaking, please tell me how may i direct your call".
Other acts whose music has taken my interest this last year but whose albums i've yet to buy have been electronica and Krautrock duo Fröst, whose album Matters i've heard a few tracks from, most notably "Record Still Spinning", very Stereolab inspired.
A friend pointed me in the direction of a French band called Juniore, whose recent album Magnifique was showcased on 6music. Dark, sixties retro sounds and seductive Gallic vocals. I downloaded their 2016 album Ouh La La, and was impressed, so i'll be adding the follow up to my collection soon.
Ska - and Jamaican music in all its many guises - is one of my favourite genres, and two bands who i've discovered through the pages of Vive Le Rock have definitely piqued my interest this last few months: Brighton ska-punks The Barstool Preachers and US 2-Tone influenced four piece The Interrupters. The former are more political in tone, especially on their recent 2nd album Grazie Governo (Thank You Government in Italian) is full of righteous fury at the current political climate.
The Interrupters Fight The Good Fight is full of vim and bounce, less political but still angry in places.
I'll be writing a more detailed review of this album on another blog entry.
Aside from IDLES, the other thing that got me excited about music again this year was the return of a favourite band with what i consider to be their best album in a good few years: Muse. I've been into them since hearing "Muscle Museum" from their first album Showbiz, and they just got bigger and better over the following four albums, always changing and taking detours down different stylistic avenues - prog rock, electronica, classical - but still remaining recognisably themselves. 2012's The 2nd Law marked a downturn for me though: at least half the album wasn't up to scratch, and the two heavily electronic tracks at the close of the record just seemed gratuitous. The "back to basics" rock of 2015's Drones was too dark, too grey and sludgy, and i gave it one listen and never played it again. So to hear that the new record was going to be more upbeat with 80's Sci-fi influences gave some hope that it might be decent. After seeing them showcase a few tracks on Later.... i was impressed, especially with the anthemic rock of "Pressure" which burrowed its way into my brain! I bought Simulation Theory as soon as it was released, and i was not disappointed: a more synth heavy album but with a far lighter tone than its predecessor, it was chock full of big bright songs. As with all of their albums there is an overall theme, that of artificial reality and the idea that the universe might be a simulated reality, whilst also taking cues from the current political climate in the USA and the UK.
Songs like "Algorithim", "The Dark Side",and "Thought Contagion" have a synthpop/rock feel to them, whilst "Propaganda" and "Break It To Me" have a Prince-inspired funk feel allied to Hip Hop production by Timbaland and Swedish pop writer/producer Shellback. "Something Human" is a more acoustic folk-rock track, and "Dig Down" is a hopeful protest anthem written in response to both the Brexit vote and the election of Trump in the US, to give people inspiration to fight for their beliefs and causes. "Pressure" has a power pop feel with added brass. A welcome return to form.
Suede followed up their 2016 nocturnal indie opus Night Thoughts with another twilight journey into the soul, The Blue Hour. A world away from the anthemic glam-indie hits they're best known for, this album delves into the unsettling world of rural life, with a vague story of a missing child. Epic, soaring strings and moody synths are present throughout the album, from the theatrical opening track "As One" to the entirely symphonic "The Invisibles". Monks chants and the sounds of carrion crows appear, themes of death, regret, and reflection litter the grandiose orchestral feel. There are hints of the bands previous swagger on "Life Is Golden", "Wastelands", and "Cold Hands". Very much an album to immerse yourself in alone, headphones on.
I''m still in the process of really acquainting myself with most of last years albums, having only had them in my possession for a few weeks, but i've yet to hear anything that i didn't like: Anna Calvis' third album Hunter has all her hallmark sounds: atmospheric synth washes and twangy echo-laden guitars that sound like they belong on a David Lynch film soundtrack, vocals that range from seductive whisperings to soaring banshee wails, the occasional warped and shredding riffs, lush percussive and classical touches. Gender fluidity, sexual awakening and female empowerment are the overriding themes of the album, leading it to be described by critics as her "queer record", but it's much more than that: "Alpha", " As A Man" and "Hunter" all take the strong male/weaker female myth and turn it upside down in a wild, almost predatory flourish. Calvi has yet to top her debut album in my mind but it's close.
One of the most startling reinventions of 2018 has been that of indie rock titans Arctic Monkeys. After five albums of clever wordplay, catchy riffs and indie disco anthems, Alex Turner led the band into a complete stylistic turnaround. There were no songs released to radio, no lead single, just a few tracks played live before the albums release. A short video appeared on Youtube featuring short snippets of the songs, but most of the public didn't hear the music until the album was released. Tranquility Base Hotel & Casino was released on 11th May, and to say that its contents divided opinion would be an understatement. The indie rock style was replaced by what most people would describe as "lounge music" - a mixture of jazz, easy listening, early electronica, and various Latin style pop that usually resembles 1960s' film soundtracks. A concept album about a fictional luxury hotel on the Moon, the lyrics are sung from the perspectives of various staff or guests in various suave tones by Turner, whilst the music is mostly played on vintage keyboards and synths with percussion such as vibraphones and timpani. There are no typical verse-chorus-verse singalong anthems here, no hooks, no radio friendly crowd pleasing chord structures. It's very much an album that requires attention whilst playing. I've been listening to it on Youtube for a few months until i got around to buying it, and i can say that it is definitely a slow burner. Despite the initial confused reaction it still debuted at No.1, and the first single cracked the Top 20 when released a few days later. TBH&C has also scored highly in most end of year Best of lists.
My favourite song from it so far is the title track, which never fails to make me chuckle upon hearing Turner sing "Mark speaking, please tell me how may i direct your call".
Other acts whose music has taken my interest this last year but whose albums i've yet to buy have been electronica and Krautrock duo Fröst, whose album Matters i've heard a few tracks from, most notably "Record Still Spinning", very Stereolab inspired.
A friend pointed me in the direction of a French band called Juniore, whose recent album Magnifique was showcased on 6music. Dark, sixties retro sounds and seductive Gallic vocals. I downloaded their 2016 album Ouh La La, and was impressed, so i'll be adding the follow up to my collection soon.
Ska - and Jamaican music in all its many guises - is one of my favourite genres, and two bands who i've discovered through the pages of Vive Le Rock have definitely piqued my interest this last few months: Brighton ska-punks The Barstool Preachers and US 2-Tone influenced four piece The Interrupters. The former are more political in tone, especially on their recent 2nd album Grazie Governo (Thank You Government in Italian) is full of righteous fury at the current political climate.
The Interrupters Fight The Good Fight is full of vim and bounce, less political but still angry in places.
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