According to The Cambridge Dictionary, to be ‘Iconic’ is To be very famous or popular, especially being considered to represent particular opinions or a particular time. Like it, or not, Morrissey is an icon.
The world over, Morrissey is adored as a higher being and in equal measure he is ridiculed and disliked by those who misunderstand him, misinterpret him or simply just detest him. For Morrissey fans however, his egocentric nature that has stoked so many controversies over the years is part of the sadistic charm of the man. A man apparently alone but a man to whom every fan holds as their very personal own.
Morrissey live in concert is the ultimate experience for a fan but nothing is a foregone conclusion with the former Smith, predictably unpredictable and prone to a cantankerous sulk as history would show, the weeks, days and hours leading up to a Morrissey show can prove relatively nerve shredding. Whether it be poor health, current media coverage or the vile whiff of a pulled pork quesadilla, one should always be prepared for the disappointment of a cancellation or untimely retreat.
Until Morrissey released dates earlier this month for a tour in March 2015, one may have felt that this show had taken on even greater importance because of the news that he himself broke in the autumn of 2014 that he was receiving treatment for throat cancer. As one would expect, for this, his only UK date on his European tour, The gargantuan O2 Arena in North Greenwich had sold out its vast capacity which represented the whole range of Morrissey fan base, bridging nationalities and social class.
Anna Calvi opened the show before the audience were entertained and educated by carefully selected short films and archive footage projections covering 20th century cinema and anti-establishment montages, in particular a satire celebrating Maggie Thatcher’s downfall was met with rapturous applause.
As the lights faded in anticipation, a huge image of Her Majesty Queen Elizabeth II displaying ‘the middle finger’ to us all, loomed imposingly across the mass of quivering anxiety before the theatre of Morrissey began. A single spotlight isolated the increasingly burly figure, chest puffed out, sporting an all white outfit initially thought to be an Elvis like all in one jump suit. It was not but one wouldn’t dismiss the possibility as his self-confidence as an artist is the opposite of what one is lead to believe of how he thinks of himself as a male being.
The team huddle displayed the evident unity that past band line ups did not possess and on its dismantling, the scene was set for what all hoped for, The Queen Is Dead erupted like the splitting of the atom as band and crowd together did their best to immediately imitate the magic of when we first heard its frenetic and fractured schizophrenia.
A Smiths classic gave way to a solo classic as Suedehead proved the catalyst for a visual outpouring of emotion amongst some present, while Morrissey stood firm asserting his sermon to all and sundry. I can think of no other artist who can provoke such feeling amongst any crowd and that of such assumed dignity. Each verse was a chorus as the delighted joined their leader in the early 90’s favourite.
Many of Morrissey’s hits gave way to tracks from his new album World Peace Is None Of Your Business. Only time will tell how many of these songs will be ranked by fans alongside the likes of Suedehead but one cannot ignore just what a strong record his latest is and how well suited the material is for the stage. I Am Not A Man and Istanbul are amongst the best songs he has written as a solo artist but the centre piece of the album is the epic Kiss Me A lot and its instant attraction is identified as all sing along in one of the most uncharacteristic singles he has released. It is a rejoice of love and sex but with such liberation one must assume that his subconscious is in a similar state, for now.
Inevitably, an enemy of the time was singled out for wrong doing. Harvest Records were guilty of deleting a proportion of Morrissey’s back catalogue of recordings and so each band member wore a T-shirt demonizing the label throughout the show. The scathing bitterness is never far away, which may insight dislike from some but it can also act as a catalyst for his unforgiving, morose wit to spark the start of a formula for his best work. His best, undoubtedly is when his lyrics let loose the grievances he regrettably stores inside. Staircase At The University is the finest example from the latest album of the mans ability to create a paradoxical image of contentment and glee whilst the lyrics do everything to undermine the tone of the music and voice in their horror and despair. The song is greeted, by those who have heard it, as if it were the new Girlfriend In A Coma, surely such sinister content can only be celebrated at a gig of his?
Only Throwing My Arms Around Paris broke the conveyor belt of new material which teetered on the verge of wearing pretty thin. Scandinavia and Earth Is The Loneliest Planet are better placed on record than stage but that is not to tarnish the enjoyment that Neil Cassidy and the glorious The Bullfighter Dies stirred up in the pot of thousands, eyes glued to the charismatically awkward figure that Morrissey cuts.
It was though, with some relief when 1994’s intensely terrorising Speedway came into view if not just to offer a familiarity. For the majority who have seen a Morrissey performance before would be more than familiar with what would come next but none could have expected the sheer severity of the message that all must be aware of. MEAT IS MURDER plasters walls, posters and merchandise but when the terror of the abattoir is brought to life in film before your eyes the message transforms to a very real moral issue. The distant sounds of livestock and industrial machinery adorned the indifferent atmosphere so instantly changed from moments before. Images of slaughter and brutality were not diluted as the sinister waltz of Meat Is Murder meandered on despite pockets of upset and disgusted onlooker’s.
Arguably, the ‘Artist’ has a right or responsibility to shock in such a way, in order to present the moral message effectively, be it to expose their personal pain or their political or ethical persuasion. One is sure that the message was not lost on anyone present.
The air grew solemn as Morrissey introduced The Smiths b-side Asleep as his ‘Fate’. Was this a sincere farewell or….? Even, by his standards, Asleep is the most sullen song andconfronts death head on but only he will know how pertinent that choice was. On its conclusion the spotlight saw him stroll off stage.
Morrissey and his band returned immediately for, perhaps disappointingly, just one more song. The band he now leads with the long serving Boz Boorer at the helm and American Jesse Tobias sharing the guitar exploits, the band is a solid formation now, after years of upheaval, there is a continuity that does seem to free Morrissey of some stresses. His enjoyment is tangible, unlike past performances and as Everyday Is Like Sunday enlists us all to the O2 choir, we wonder, for how long will an experience as unique as this last? The contrast of emotions that Morrissey can provoke in ninety minutes is mirrored in the battle that will always rage on between those for him and those against.
Cloud Nothings are a contradiction in that they seem refreshingly new in this album as it was in Attack On Memory, but they imitate the best that grunge ever gave.
Kurt Cobain’s blood curdling, throat burning yell has never been so profound and within touching distance as it is with Dylan Baldi. Giving into Seeing and Pattern Walks, not only take us back to Seattle 93′ but it is glaringly obvious that Steve Albini has stamped his influence on this young band even though John Congleton produced this album. The raw aggression and daring distortion summons memories of grunge served the Albini way.
I’m Not Part Of Me is the best song on the album and demonstrates why Cloud Nothings are more than an archetypal grunge band. As Wasted Days and No Future, No Past did in their excellent debut, Now Hear In is able to catapult the dirge of the chords, seemingly swamped in a heroin din of 20 years before, up onto an almost optimistic plane of pop.
The album is not nearly as good as Attack On Memory or for that matter any Nirvana, Alice In Chains or Soundgarden record from that era but the evolution of music may have found a missing link in the forgotten archaeology of grunge.
25. WILD BEASTS – Present Tense
The bright yellow lettering plastered over a frankly, garishly segmented cover is a statement of the confidence that Wild Beasts have found after three excellent preceding albums. Present Tense is a disappointing fourth from the Cumbrian quartet.
On its own merits Present Tense is a perfectly acceptable and listenable album but that is it and that is not good enough for a band of their quality and stature. Lyrically, the album lacks the wit that Limbo Panto and Two Dancers possess and to some extent it fails to induce the same sexual excitement and uncensored double entendre that was so daring, particularly in their first two albums.
Present Tense does have fine demonstrations of glorious guitar guided pop but in fits and starts within an altogether unfocussed experiment. Thorpe and Fleming’s vocals are unsurprisingly pitch perfect but the contrasting harmonies are underused here. One should not blame Wild Beasts for trying something a little different but the keys and synths have engulfed the album, drowning out their, previously infectious, sparkling guitar sound that’s soars and flies.
Apart from the sensual groove of Sweet Spot and the marvelous A Simple Beautiful Truth, where one can celebrate in the fundamental elements that make Wild Beasts what they are, Present Tense is essentially weaker than what Wild Beasts fans have grown accustomed to. The album makes the top 25 but it is nowhere near as high as one would have predicted pre-release.
24. PARQUET COURTS – Sunbathing Animal
Following 2013’s incredible debut album Light Up Gold, Parquet Courts have released a more than capable second in Sunbathing Animal but the tempo is decidedly slower and therefore not nearly as spine tingling or as absorbing as the prequel.
2013 also saw an EP under their sudonum Parkay Quarts in Tally All The Things That You Broke. That is perhaps a fairer reflection of their DIY, frenetic punk than this record. That said Sunbathing Animal still oozes the accessible Pavement-esque content that position Parquet Courts amongst the most exciting guitar bands in the U.S at present.
Released on Rough Trade, Sunbathing Animal may not contain a You’ve Got me Wondering Now but tracks such as the title track, Ducking & Diving and Up All Night pack the Parquet personality and cocky clangy sound that Light Up Gold had in abundance.
Whilst we welcome another Parkay Quarts EP into our collection, one wonders that perhaps we would sacrifice the prolific for a guarantee of their undoubted quality.
23. WHITE LUNG – Deep Fantasy
On the UK leg of their European tour, American three piece White Lung enjoyed support from up and coming punk acts like LUVV and Chain Of Flowers who are both poised to hit the heights that White Lung have this year.
Deep Fantasy is a 100mph homage to what punk has now become. Influences from The Slits and Black Flag fester and bubble in this blistering debut from a band fronted by the bruising and beautiful Mish Way. Snake Jaw and Wrong Star rattle along on an album designed for the stage in some sweaty, depraved underground asylum. This record is one dimensional and one speed but pretends to be nothing cleverer. That is the attraction of Deep Fantasy. It is the epitome of what punk is about.
22. CARIBOU – Our Love
Dan Snaith has quickly scaled to the peak of electronica and dance and this, Caribou’s second album has confirmed his popularity and appeal across the contemporary and mainstream markets. Our Love showcases his talent in production and construction.
This album is perhaps not as immediately affecting as their first but its substance is arguably greater without losing any of the Caribou characteristics. All I Ever Need features the familiar ghostly vocal as if caught on the wind, whilst the samples are sparingly and wisely used in conjunction with the big bass effects, particularly on the title track.
Our Love is a somewhat more laid back affair than Swim. The big beat subtely subsides to a down tempo ambience. The timing of the strings and periodical pauses are tantalizingly backed up by a conveyor belt of layered sounds suitable for the dance floor, radio or living room. Mars is an image of extra-terrestrial travel, while in Your Love Will Set You Free the flutes, snares and synths create a scene of spacial tranquillity.
In a year that has seen Aphex Twin and Flying Lotus step up the challenge for the electronica crown, this relative new comer from Canada has shown why he is considered amongst such regal company.
21. THE WAR ON DRUGS – Lost In A Dream
Although the band are made in Philadelphia, one cannot ignore the parallel connotations of the music that are very English. Adam Granduciel once wrote and performed with Kurt Vile but Lost In A Dream feels as if it were dreamt in an area of rare British wilderness.
The tone of the album, as a whole could have been inspired on a Sussex down or a Yorkshire dale. Americana has taken a very definite influence from Dire Straits and in particular Mark Knofler. A Theme From Local Hero is echoed in, for me one of the best singles of the year, Red Eyes. This song is a triumph of optimism and assertive song writing. If there has been a song with as much gusto and purity, I have not heard it.
The music, more so than the lyrics of Lost In A Dream paint a blurred picture of isolation as saxophone and Granduciel’s Knofler style guitar swoon and develop throughout the album capturing Lost In A Dream in a foggy dawn light. It is a picturesque record of intrinsic melancholy but its beauty can be nothing but optimistic.
Under Pressure and the stunning An Ocean Between The Waves are results of months of painstaking work perfecting the vision that Granduciel has now realised. There is a degree of self indulgence that does take some gloss of the final result, as a number of tracks do needlessly drift past the six minute mark but overall this is a considerably strong album.
20. RURAL ALBERTA ADVANTAGE – Mended With Gold
The landscapes envisaged for this high energy album are set for the band to navigate you through the wide expanses of, well, rural Alberta.
This is their third album and it consolidates their epic, fast moving style of Americana that their two previous albums introduced us to. Yet again, the drums are the totem pole to which all else is based around. Some may argue that Mended With Gold is an extension of All That You Can’t Leave, but that is no bad thing. Why mend something that ain’t broke?
On The Rocks and particularly Terrified are familiar but the acoustic subtleties that give way to an explosion of gayle force gusts of drums and choral torrents are uniquely Rural Alberta’s. Paul Banwatt’s gurgled growl is an acquired taste perhaps, but its unkempt country cry is as aesthetically antagonistic as the music that motors it along. When twinned with the barely audible femininity of Amy Cole’s notes it is something of real wonder such as in On The Run.
The Canadian country band lead the field in expansive Americana, that even bands like Delta Spirit and Band Of Horses strive for.
19. INTERPOL – El Pintor
Interpol have inadvertently been their own worst enemies. They burst out of the Brooklyn scene over 13 years ago along side the likes of The Walkmen, in a golden period for their trademark slick styled guitar indie.
In releasing two impeccable consecutive albums (Turn On The Bright Lights & Antics), the expectancy was so great that even, by other bands standards, the more accessible and marketable but indisputably fine Our Love To Admire was greeted with indifference at best, amongst fans and the music press.
Since 2008 much has changed. The prophet like Carlos Dengler left the band amid a public spat with singer Paul Banks, who himself released a duo of solo records including 2013’s phenomenal Banks.El Pintor is a credit to Interpol’s focus and resolve. This is an album of power that represents what Interpol stood for and what they are good at.
Daniel Kessler is the star here by simply returning to what he produced in the same sparkling form on Turn On The Bright Lights as his cinematic high chords tower above the murky depths that Interpol constantly straddle. His riffs, as in Anywhere strike down like lightening, brightening the city scape of New York, that Bank’s so longingly yearns to love to hate.
El Pintor possesses singles just as hard hitting as PDA or Evil, but El Pintor is an album for listening to in its entirety. All The Rage Back Home and My Desire sit conceptually comfortably next to Everything Is Wrong and Tidal Wave as was the case in the perfect balance of the first two albums.
Paul Banks overproduced vocal efficiently slides across the synthetic kraut -rock projections that Interpol have made their own, casting aside the ridiculous similarities that they were always accused of from ignorant, ill educated critics.
Interpol have not had an easy ride in recent years but this album is a proud statement of intention and a certificate of excellence.
18. GOAT – Commune
Perhaps the most literal album title possible from these secret Sweedes is ‘Commune’, as that is exactly what they are, or what we have been lead to believe.
Their imposed freedom of individuality mirrors their freedom from musical restraints and, for some, ‘helpful’ classification. Goat are essentially purveyors of psych but Commune can not possibly be tied down to any particular genre as the album is formed from influences far across the world.
Commune is eclectically ethnic with images of Santana, Ammadou and Miriam and Tinariwen. Talk To God summons images of sub-Saharan mirage laced with acid, as The Light Within sees Arabic rhythm’s dissected by a Peter Green- esque guitar prayer that resonates throughout the album like a spirit overseeing everything.
The amalgamation of world music and P-Funk is a marriage of delight in Commune as the presence of George Clinton is tangible from song to song minus the Bootsy absurdity.
Although, by their design, we do not know much about their formation and inspiration, it is clear from listening, just what a culturally versatile understanding of the globe Goat have. Who needs words when a thing of such blissful insubordination translates questions into answers from the Commune of Goat?
17. EAGULLS – Eagulls
The best album cover of the year cloaks one of the most invigorating and organ spinning albums that the UK has seen in Punk in years and years.
Eagulls debut is unapologetic and assertive in its brutal intent and genre defining brilliance. The opener, Nerve Endings catapults us into the fire of distorted debauchery driven by an angst of Yorkshire goth endeavour.
From touring, seemingly constantly in the last 18 months, with the likes of Cardiffs Chain Of Flowers to appearing on The Letterman Show, Eagulls have earned everything that has come their way. Not always do long hours and hard work pay off, especially in Rock n Roll but the Leeds 5 piece have realised that a dedication to what they love will pave the way for the majority to be exposed to their true quality.
In just 1 year I have seen them on four occasions and in that it is plain to see that punk music is best served sweaty and in a swollen underground larder of loud.
Hollow Visions gives way to the equally as intrusive Yellow Eyes. The Parker cloaked lead singer George Mitchell is utterly involved in all that Eagulls stand for. He jabs and cajoles us at every line and chorus, he is possessed by his belief and it is as authentic as ever a punk lead was.
Tough Luck is a reverberation of back room echo vocal in an eye popping demise against the nuclear wall of Tom Kelly’s machine gun bass and Goldworthy’s and Matthews clanging swords of lead guitar. When Possessed slaps us around the face that slapped Lettermans plastic version of the same, we are by now in awe of a humble bunch of lads capable of domination.
16. DEATH FROM ABOVE 1979 – The Physical World
Comeback’s, these days are regularly overhyped and essentially boring. The Stone Roses, Fleetwood mac even Kate Bush have returned for the applause and the dwindling pound sterling but it is not so with Death From Above 1979 because their renaissance is one of substance and sheer astounding amazement.
The Physical World is like the second coming of the messiah in rock to all that actually know and love what they profess to. Unlike the critics unexplainable favourites of this year Royal Blood, Death From Above have uncovered the secret of how to achieve such head spinning noise from 2 men, yet allow the volume to catalyse such a cutting edge result in under appreciated pop music.
Cheap Talk, Right On Frankenstein and Virgins could have taken off at Cape Canaveral, each comprising of Doctor Who guitar conventions with a meet and greet with the drum daleks.
At no point in this album does quality suffer from over exuberance or a showy side so evident in many rock formations. Every movement is an objective that transpires in such classics the masses will never hear like Crystal Ball and Always On.
Time has been nothing but an inspiration to the godfathers of rock. Where all else fails Death From Above 1979 have produced a well overdue but absolute classic second album of earth shattering proportions.
15. TINARIWEN – EMMAAR
Emmaar translates as ‘The heat of the breeze’ and as Toumast Tincha sweeps us into the record, one can sense the effect that the sub-Saharan landscape has on Tinariwen’s sound and its religious meaning that is inbedded in the bands essence and psyche.
Tinariwen swapped the Sahara dessert for the American Joshua Tree in its Western expanse. The Malian men have continually proved themselves as pioneers in African and World music over the last 15 years and Emmaar is no different.
The marriage of electric guitar with traditional African instruments creates a spiritually soothing environment to explore the wonders of Tinariwen. The qualities of the albums production is paramount to capturing Tinariwen’s live sound here on record but still manages to somehow transport the essence of the region of its birth into your room.
Although Ibrahim Ag Alhabib wrote and takes lead on the majority of Emmaar,the workload is spread amongst the vast band and that is the one of the strengths of the record as a whole as the authenticity of the religious chanting harmonies make it a genuinely emotional experience. In Imidawan Ahi Sigdim and Tahalamot, the echoing, skyward guitar twinkle and spark amid the mystery of the godly gifts they bare from the Sahara.
Tinariwen continue to break through to the west, whilst making music integral to them.
14. OUGHT – More Than The Other Day
Ought are from Montreal and join the likes of Metz and Solids as Canada’s best bands in contemporary indie rock.
There are so many sub plots and elements to findin every listen of this album but the overall ragged, seemingly improvised result is ultimately as interesting as anything released recently.
The influences are many and in most part substitute themselves within the same tracks, as in the brilliant title track that changes time signatures and sees a Rage Against The Machine’s De La Rocha repetitive sermon encouraged by the pace of the bass that picks up and gathers volume as if rolling down the north face of The Eiger. The vocal transforms to a more positive realisation like a Satori, as the crescendo of garage guitar and drum blow the lid skywards. Beeler is a Mark E Smith/David Byrne hybrid of character and unhinged poetry.
Pleasant Heart is an image of The Pixies at their unclassifiable best. It is a six minute torrent of home made noise as singer Tim Beeler shrieks like Black Francis “Something crawled into your pleasant heart and cried out for the head”.
Today More Than Any Other Day will uncover new surprises at every corner but nothing more than the versatility of Beelers vocals from song to song. David Byrne could have added Habit to the set on Stop Making Sense while The Fall and Pavement would be proud of the frenetic foolery of The Weather Song.
13. APHEX TWIN – Syro
Time waits for no man unless you are Richard.D. James aka Aphex Twin, a.k.a A whole host of other a.k.a’s.
13 years since his last studio album Drukqs, has done nothing to diminish his regal standing within modern music. Syro, even by his standards, is superb.
Syro is a periodic table of electro music, demonstrating every element of it and more or less perfecting it along the way. The formulae is nothing new from Aphex Twin, the instantly recognisable beeps are the backdrop for his chemical reactions to take place within the multiple test tubes genres.
Aphex Twin is certainly not for everyone but no one should doubt his commitment to pushing the boundaries of what is possible which makes Aphex Twin so important. This album is as relevant as any before even though it does not yield a shocking hit such as Come To Daddy or Windowlicker.
Minipops 67 is as accessible as anything on this album or any other as the big beat approach compounds the dub and disco to keep the music constantly evolving and far more satisfying than the I.T song titles would suggest.
In years to come the flag barer of Warp Records will be considered as one of the greatest composers of this country or time.
12. BENJAMIN BOOKER – Benjamin Booker
Quiffed Owl’s undoubted man of the year has produced excellence on this self titled debut album.
The secret of success, as far as one can make out is that he and his merry band, in bassist Alex Spoto and the wonderful Max Norton on drums, enjoy what they are doing and are having fun throughout. Not only is that clear in their live shows but the album is a joyous one and it is a celebration of a band at the beginning of an almighty adventure.
This is Americana from the depths of the Bayou as Booker’s Everglade guided guitars clash and squeal in a full fuelled album of high skill and complete commitment to rhythm and blues.
The album opens with Violent Shiver which is a whole hearted introduction to Bookers sublime guitar playing. The single is followed up by the equally thrashing Wicked Waters.
Norton’s drums are at a speed which pose the question- Just how many hands does he have? The connection to gospel music is never far away as the organ is the canvas to which the other parts are laid on, but essentially this is an album of loud guitars carefully adorned by an ever present rhythm section so skilful in their playing it allows Booker the freedom to improvise and reinvent on almost every song.
All of the band members have found themselves in New Orleans after a move from their child hood Tampa Bay in Florida. In songs like Always Waiting and Have You Seen My Son it is apparent that the music of the southern states have influenced their playing and song writing.
The incredible Old Hearts is a stunning rendition of soulful rock and roll encapsulating everything good about the album. Bookers voice is achingly beautiful but powerful and resolute as his gravelly husk forms yet another reason to fall in love with this album, Booker and the band as a whole.
11. SOLIDS – Blame Confusion
Once upon a time, the concept of two piece bands were a novelty and they were greeted with a degree of doubt and indifference. Death From Above 1979 and The White Stripes showed the music world that to create a metallic noise of such proportions, just from a guitar and drum was possible.
Drenge and now Quebec’s Solids have continued on in the same loud vein. Blame Confusion is a glorious debut album from Solids. Ten tracks of earth shattering guitars at break neck speed allow us to put our faith into the rock music of the present.
The album tears off with Over The Sirens. The guitarist and singer, Xavier Poitras battles with himself as vocals and strings are caught up in the nettles and vines of noise circling and climbing over the album.
The album is a courageously brash effort and its purity of belief is evident in its heart felt choruses that are so surprising in such a, frankly deafening record. Solids mount a short but lasting assault of unpolished post punk, they are disinterested by marketability but instead the constant flow of fantastic songs blow up from the distortion of Blame Confusions distortion. Haze Away, Cold Hands and Through The Walls all follow the same script but each places a determinable feeling of warmth and security on the listener.
Laisser Faire is perhaps slightly slower but it generates a less obvious power. On closer inspection, Blame Confusion is an intelligent and concise record of power and emotion from a solemn soul. Solids are amongst the top two finds of the year.
10. HOOKWORMS – The Hum
Forget the concept of the difficult second album cliché. Hookworms have picked up exactly where they left off with last years Pearl Mystic. The Hum, like its predecessor is sublime.
I don’t know the process by which fellow writers review an album, it is probably along the same lines as how I do under normal circumstances, but with Hookworms, the only thing to do is to clear the room of furniture and get ready to completely ‘lose it’!
These lads from Leeds have cooked up a soup of drowsy psychadelia to feast upon with The Hum. It is a full body and mind experience utilising their giant live sound which makes you feel sorry for the poor folk who may live next to Hookworms’ practice rooms.
The Impasse strikes instantly just as Away/Towards did in Pearl Mystic. The song distorts and spirals out of control that never actually ceases to be in their grasp. It, like the entire album ahead, is a kaleidoscope of atmosphere in a steam room of reverb and synth but where the bass is the ringleader of festivities, domineering over each time signature and leading every rhythmic attack.
When watching Hookworms live, you immediately feel them as you hear them as if stepping off a plane in a tropical clime. This is communicated on record so seamlessly. The second track, On Leaving conjures visions of Primal Scream in the Exterminator/Evil Heat era. That signature foundation of suffocating atmosphere on which the blocks of progress are teasingly stacked pave the way for improvised expression.
Like the superb Revelations by The Brian Jonestown Massacre this year, The Hum is a picture book of fairground memories effervescing in a haze of lucid doubt. The album is a mescaline infused cacophony through Beginners and onto the more tranquil Off Screen.
It could be that Hookworms vocalist ‘MJ’ articulates his lyrics as clearly as Dean Martin ever did but the dense bramble of emotive reverb and organ mesh the vocal as another instrumental layer in the sound construction. The architecture is proud and bold.
In a year so blessed with great music, The Hum makes the top ten and places Leeds as one of the major musical cities in the UK.
9. BECK – Morning Phase
Arguably the great singer song writers still circuiting today have probably gone on a bit too long give or take your Bob Dylan’s or Neil Young’s. Beck has obviously not yet had the longevity or travelled the decades that the fore mentioned legends have but his continuous quality spanning so many styles put him on the verge of being such a musical master.
Morning Phase confirms Beck as one of the most important and ground breaking singer songwriters of the last 25 years. In all honesty this is probably his best.
Like Sea Change this album is a chapter in the story of the mans career and a later chapter of focus and maturity, although not nearly as adventurous as 1995’s Odelay, Morning Phase utilises every strength that Beck has in his repertoire of song structure. This is a laid back orchestration of strings that effortlessly sails us on a mill pond from Cycle to the final track Waking Light.
The mellow hum of Morning readies us for the Californian 60’s feel that Morning Phase brings. The albums production encompasses a hazy, stripped back escape to the natural organic world. The stunning Heart Is A Drum, for me, could be his best song. Subtle vocal changes are never hurried with languid, loitering piano keys contributing to the overall cheer in the record.
Morning Phase is an album in cruise control navigating the winding road of Becks route to another phenomenal result from a great.
8. MORRISSEY – World Peace Is None Of Your Business
Morrissey has never enjoyed the critical acclaim as a solo artist, domestically as he does outside of the UK. The music press and in particular the NME have, according to Mozza, done all they can to slander his name and creative exploits as an ex-Smith.
World Peace Is None Of Your Business is his best album since 1994’s Vauxhall And I, showcasing all of Morrissey’s attributes used to their best. The album is packed full of morbid wit and moral cynicism as we are accustomed to and the content covers the usual loneliness, unrequited love and the oppressions of society, but the songs are just consistently stronger than anything for 20 years, including on You Are The Quarry and Ringleaders Of The Tormentors.
Morrissey seems to have approached the writing and recording of this album with a liberally carefree attitude. What is noticeable is the capability of Mozza’s vocal range because his voice is more commanding than ever and even technically better, hence the under use of the yodel. World Peace’ is crammed with quality. Kiss Me A lot is a rousing single to rank alongside Suedehead, as Istanbul is a romantic eulogy of ambiguity bursting with poetic passion.
A theory to try to explain his reclaimed stature and strength is perhaps his reliance and trust in his band. Which has not always been the case. Long time guitarist of Morrissey’s, Boz Boorer is inspired by the young, international cast around him. Jesse Tobias guitar playing compliments Boorer’s well and his Spanish style playing takes the lead on a number of Latin sounding numbers, such as Neil Cassidy and the simple but loveable The Bull fighter Must Die.
The highlight of the album is Staircase At The University that captures the essence of Morrissey. This sing along tells a tale of depression, abuse and suicide in the spirit of Girlfriend In A Coma. One cannot help but to be buoyed and perked up up somewhat as Mozza rhymes ” If you don’t get three A’s…….and her head split three ways”, to explain a female student throwing herself to her death at her University after failing to cope with the stresses and pressures from family expectation.
What a joy.
7. GRUFF RHYS – American Interior
Without a shadow of a doubt, this enigmatic visionary artist is Wales’ greatest export.
American Interior sees the ‘Concept’ album precisely doctored by Gruff Rhys so that the story is followed but with individually superb pop songs rather than self indulgence often found festering upon such an album. American Interior is a vision of magnitude and the result has the intended impact.
American Interior is based on his book, Gruff follows the footsteps and documents them in song following 18th century explorer John Evans who ventured to America in search of his Welsh ancestors that crossed the Atlantic for a new life.
The albums conceptual direction could have lead it into self indulgent, nationalist novelty but instead it is carefully arranged and its abundant humour and insight, whilst always referencing John Evans’ experiences, contributes to the records artistry.
The Super Fury Animals frontman could be forgiven for resting on his laurels after his two, leftfield Neon Neon albums but Gruff Rhys’ musical biology forces him to constantly create and he guides us through, the partly assumed route that John Evans took. A proud Welshman, Gruff Rhys is genuinely fascinated by his heritage and he has taken his album on tour as a part overhead presentation to entertain and educate. He is accompanied on stage as he in the album art work, by the 2ft puppet replica of John Evans.
Far from being a gimmick, American Interior has no weak point in regards to the music. The title tracks simplicity is its strength, so to is Lost Tribes as piano and strings build up to an infectious chorus line. The usual song in the Welsh language is present here and so to a jovial jaunt repeating the name Iolo. Liberty is the best song on the album, again it references the new world as violins soar in an ego free celebration of pop perfection.
6. OLIVER WILDE – Red Tide Opal In The Loose End Womb
Oliver Wilde is for me, the most exciting young songwriter in the UK at the moment and his latest album has kicked on from what A Journey Through Unnatural Light Years started. His imagination is fantastical bringing to life visions of the unconscious and he communicates these to song wonderfully well.
This, his second album on Howling Owl records in as many years takes us into another dimension, one of no pressures and of sedated pop pschycadelia. The albums art work introduces the kaleidoscope of colours that we will meet in our journey through the delicately arranged song list.
The dream lucidly begins with On This Morning, the woozy synths and strings picture an altogether harmonious location to what the opening lyric may otherwise portray – “They get their best friends the opiates and pour them down some drain”. Where as the ‘Screamadelica’ single Stomach Full Of Cats conveys a Wizard Of Ozz like vision of two headed dolphins and twin ragdolls in a mouth watering rhythmical carousel that continues through Red Tide Opal’ like a story book of poetic poison.
The heart melting Play And Be Saved is amongst a cluster of effortlessly soothing presents gifted to us by a man destined to earn a place on a pedestal along with his hero Nick Drake.
5. THE BRIAN JONESTOWN MASSACRE – Revelation
The best thing about music and being a music fan is ability to continually shock, surprise and excite; and thanks to a well respected musicians recommendation, an introduction to The Brian Jonestown Massacre may have been the most overdue discovery, shamefully.
Revelation is exactly that – A Revelation. The distorted ambience floods this record but the album and the band is essentially ruled by resolute, rhythm guitars, riding together in a caravan of percussive beat movement.
This upbeat rock and roll collection is opened by Vad Hande Med Dem?, the multitude of guitars drown in a muddy sea of feedback as the drums at the fore act as a lifeboat with the siren – a trumpet, calling out like a saviour. It is epic and overwhelming in its power and as the first few drum beats and organ keys of What You Isn’t marches into view it is evident that a triumphant second successive song will incapacitate you as the magic unfolds.
The fact is that nothing much changes throughout Revelation, the notes repeat as the same nonchalant vocal drifts atop the rhythms in a master class of time control. The basics are executed with surgical precision allowing the introduction of wind instruments and organ to add to the majesty of the album.
The flute flutters above the rich syrup of organ and guitar that swishes around in the Jonestown’ cauldron. In Food For Clouds the instrumental bombardment continues with horns and synths added to the wagon always rolling towards the crescendo, stirring the soul as it goes. Bowel bruising bass takes the lead in Memory Mix which takes prog rock up a Chemical Brothers path.
Revelation is a resounding success from my newest, old favourites.
4. THE PHANTOM BAND – Strange Friend
Unsurprisingly Strange Friend opens with an odd keyboard sound effect as if from an intergalactic battle but the men from Scotland have made the ‘odd’ their own and expected, in this, their third studio album.
Strange Friend is a unique marriage between the traditional and the futuristic. The Wind That Cried The World pieces together synthetic sounds with percussion and chimes as the lynch-pin lead, Rick Redbeard growls and graces his folk song amidst the somehow, seamless amalgamation of styles.
Clapshot is a delightful and merry arrangement of organ and rhythm section bustling along in yet another brilliant Phantom Band single. It apparently discuses the many different Scottish dialects forming into one.
The Phantom Band are rightly considered one of the best live bands in the UK, but for some unknown reason they have not enjoyed the recognition their reoccurring quality deserves. Since 2009’s seminal debut Checkmate Savage, The Phantom Band have stayed true to their identity which is grounded in guitar based folk with an idiosyncratic indie experimentational side.
(Invisible) Friends is a simplistic ballad where Redbeard’s delicate tones contradict his masculine aura. No Shoes Blues is an equally slow moving waltz of infinite beauty, dressed in cymbal and various percussion tools.
The Phantom Band are the most underated rock band in Britain, they are familiar in their comprehensive musical oddities, they are our Strange Friend.
3. TRICKY – Adrian Thaws
Tricky is a Bristol institution and should be so much more. Adrian Thaws is his name and is a personal homage to his life and career. Never far from darkness, Tricky has developed so much more since the classic mid 90’s album Maxinquaye.
After leaving Massive Attack to pursue a solo career, the ‘Tricky Kid’ lead the trip-hop revolution that oozed from the famous city of Bristol. Along with Massive Attack and Portishead, he earned marked chart success and critical acclaim with both Maxinquaye and Pre-Millenium Tension. Although not as widely regarded or coveredin the press in recent years, Tricky’s high standards have not been neglected or slipped as Knowle West Boy and now, Adrian Thaws hit home, exactly how good Tricky is, and has always been.
It starts with the ominously bleak Sun Down, his dub like amble of deep bass contrasts exquisitely with the female vocal that has become so familiar. On this occasion the angelic voice belongs to Tirzah but, just like at the beginning, the best songs are when the expertly sensual lament belongs to Francesca Belmonte.
Something In The Way is an open dialogue of regret and hurt with no masculine response. The minimalist synths fill the air in another fine example of Tricky’s skilled production in Keep Me In Your Shake.
The ‘Trip-Hop’ has evolved over the years and has probably had to but the roots are vital to what his music has become. The effects are subtle to co-exist compatibly with the tempo changes and informed use of samples. Tracks such as Gangster Chronicle confirm that, what we hear is ‘his’ version of UK hip-hop. This song in particular is an aggressive change in mood nevertheless showcasing the talent that he is always keen to work with. Bella Gotti’s verse is high quality and very British. There are even Unfinished Sympathy like samples repeating in case we needed reminding just who’s art this is.
2. THE TWILIGHT SAD – Nobody Wants To Be Here And Nobody Wants To Leave
The Glaswegian three piece’s fourth album – Nobody Wants To Be Here And Nobody Wants To Leave is another of their symphonically bleak but astoundingly moving orchestrations.
Nobody does heartbreakingly emotive Goth like The Twilight Sad. There’s A Girl In The Corner, paints the stark set in brush strokes of black as the repetition of “She’s Not Coming Back” besets the pained tone the singer – James Graham and his band design, as if each track were a film score for a movie directed especially for the very song it adorns. Perhaps a violently gritty David Lynch picture?
Perhaps there finest song so far comes next, Last January follows the blueprint that they themselves drew up and was so evident in 2009’s Forget The Night Ahead. Loss, despair and doubt move like darkness through the record representing the lurking shadows in everybody’s life. Grahams vocals are genuinely moving. They rise and fall like a hymnal prayer and form a lasting effect, long after the record is back in its sleeve.
I Could Give You All That You Don’t Want and It Never Was The Same contain similar opaque blankets of atmospheric reverb so haunting and utterly intriguing. In the otherwise dense ash of synthesised gloom, flashes of light taking form in piano keys, or xylophone in the case of Pills I Swallow.
Graham’s high reaching notes and endearingly proud Glasgow accent take away any notion of ‘feeling uneasy’ no matter how dark the sound, it is honest and uncorrupted. Something as wonderfully constructed and haunting as this album is nothing but irrepressibly pleasurable.
1. PROTOMARTYR – Under Colour Of Official Right
How is it possible, bearing in mind some of the dross that filled up the ‘Mainstream’ end of year polls, that an album as good as Under Colour Of Official Right went almost completely unnoticed?
That is until now.
In a year of music unrivalled by any in memory, it was the best album released. Protomartyr are a band who, with this album, reserve the right to commentate on the social injustices in the U.S today and expose the sleaze and controversy, Americans tread through, in an unequal political and economic nation.
The record is of power and revolution personified in a post modern, post punk Magna Carta.
Under Colour Of Official Right starts with Maidenhead. A dimly lit red light illuminates the otherwiseclanging blackness, a deeply resonant yet, forlorn Joe Casey croons “Shit goes up, shit goes down”,almost defeated by life in Detroit.
The title Under Colour Of Official Right was chosen by the band because of its topical political relevance. A local senator was impeached for:
Extortion under color of official right involves the obtaining of property from another under color of official right. It is the wrongful taking by a public officer of money or property not due to him or his office with or without force, threats, or use of fear.
Protomartyr are an informed, intelligent and involved band from a city more than familiar with political wrong doing, however one would be doing them a huge disservice by concentrating solely on the content.
This album is as diligently planned as it is executed. The tight rhythm section are so in tune with eachother that Scott Davidson’s bass often is the wand that evokes the, almost arrogant time signature changes and thus, the continuity of enlightened amazement for the ears of the rest.
Heavy, bullish guitars balance the gleaming bass lines on tracks such as Aint So Simple and Trust Me Billy. Gang Of Four or Wire lead the UK post punk influences but it is ubiquitously laced with US grunge.
Casey’s versatility in his vocals impress continually. Sometimes, as in Son Of Dis and definitely in Bad Advice, Mark E Smith is recognisable in a slurring and boisterous narration. Also Black Francis pops in on Want Remover momentarily paralyzing us with his paranoid shrieks. Come And See tops the lot, the debauchery and imminent threat of something…terrible is addictive. We give in to the temptation of nameless evil and allow Under Colour Of Official Right to consume our glad souls.
Quiffed Owl 