The end of yet another year provides a new opportunity to share the songs I liked most from the past 12 months. Each year, I keep a running list of songs I like on my iPhone and at year's end, I cull the list down to the tracks I liked best. So here they are:
"Theia" - King Gizzard and the Lizard Wizard
Thanks to my brother, who has often sent me down musical rabbit holes (see The Fall), Australia's King Gizzard and the Lizard Wizard are like no one else -- in terms of both musicianship and sheer output. Since their founding in 2010, these guys have done it all -- from garage to prog to metal to blues to synth to microtonal tunings. This year's LP - their 25th! - is titled The Silver Cord - and leans into electronic music, as evidenced by this other-worldly track (whose extended version tops 20 minutes in length).
"Medicine" - Momma
Following up on last year's favorite "Speeding 72", the Los Angeles trio released another stellar single, love-as-drug metaphor "Medicine". Perhaps less spellbinding than King Gizzard, but no less addictive.
"Swooning" - JW Francis
Self described loft bedroom slacker jangle pop, JW Francis says he's trying his best. Francis, who was born in Oklahoma, raised in Paris and is licensed as a tour guide in New York City, released this gem -- a catchy little song about - what else? - falling in love.
"Amnesia" - M83
Did someone say France? The French electronic legends returned this year with their ninth studio album Fantasy. What I always love about M83 is the repetitive riffs that carry through their best work -- and the simple six-note phrase in "Amnesia" is - pardon the pun - unforgettable.
"Not Strong Enough" - boygenius
Phoebe Bridgers, Julien Baker and Lucy Dacus are the unlikeliest of supergroups, yet here they are. On this track, they take turns singing each verse -- each bringing their own style. And if you're not hooked when Bridgers' first verse rolls effortlessly into the chorus, you can't be helped. Then there's the simmering bridge, culminating in a minor chord change and some terrific harmony before clean-up hitter Dacus takes us home. Barack Obama loved it, and my father would have too.
"The Narcissist" - Blur
The questionably named The Ballad of Darren is the first Blur album in eight years -- and arguably the first legit Blur album - on which all four members participated - since 1999's 13. Damon Albarn's vocals have a particular warmth to them, and he says he was inspired in his songwriting by the giant mural of Leonard Cohen in Montreal (which we visited this summer.)
"Sole Obsession" - Nation of Language
Brooklyn's Nation of Language play synthpop like it was meant to be played. And how could they not? They took inspiration from one of the greatest synthpop tracks ever: OMD's "Electricity". And if you like that sort of thing, you will like this band. Full stop.
"The Trench Coat Museum" - Yard Act
The English city of Leeds has a rich musical history - Gang of Four, Kaiser Chiefs, The Sisters of Mercy, Utah Saints, and Soft Cell to name just a few. Add to that list this post-punk quartet, and their danceable track that frontman James Smith describes as being about "how our perception of everything shifts both collectively and individually over time at speeds we simply can’t measure in the moment." Either way, it's an absolute riot.
"Kisses" - Slowdive
There's always room on this list for shoegaze, and few bands do it as well as the legendary Slowdive. Formed in Reading in 1989, they are responsible for one of the genre's greatest albums: 1993's Souvlaki. After decades of dormancy, they released a beautiful album in 2017 (which made this list) and followed it up this year with their fifth album Everything is Alive. I could have chosen several songs for this year's list, but I chose the shimmering "Kisses".
"Quarry" - Wednesday
See if you can identify the obvious touchstone Asheville, NC's Wednesday references in the verses of this song. It's the Kinks classic "Waterloo Sunset", reworked with a Southern roots-rock touch.
"Snowman" - Blonde Redhead
New York's Blonde Redhead started life in the nineties as a noise rock band. Their sound has matured over the years, resulting in something more wistful and elegant.
"Bug Like an Angel" - Mitski
I've been slowly warming up to Mitski, whose music has graced the best of lists of others for years. There is a graceful simplicity to this song -- almost non-existent instrumentation and what amounts to an a cappella chorus. But I'm a sucker for the four chord progression she works here, and I find the quiet beauty of this track irresistible.
"Build a Bridge" - Deeper
Chicago's Deeper takes inspiration on this track from Television - with angular, dueling guitar parts - in what results in post-punk excellence. But there's more going on here: I almost hear something flamenco in some of the guitar riffs. Listen for yourself.
"Stone Killer" - 26fix
Provo, Utah's Erika Goodwin records under the name 26fix, and she says this infectious dance track was the culmination of two very different songs that blended together.
"Un Deux Trois" - MUNYA
Montreal's MUNYA pays direct homage to disco and electronic godfather Giorgio Moroder, name-checking him in the chorus, as well as iconic French electronic duo Daft Punk.
"Jamcod" - Jesus and Mary Chain
We'll end this list with its most recent entry, and celebrate yet another triumphant return for a musical legend this year. Scottish post-punks and 80s icons Jesus and Mary Chain are proudly back, announcing their eighth studio album du out next year, releasing this single late last month, and sounding as good as ever.
Another year is in the books, and with it, a return to normalcy and a whole batch of fresh new music. Let's get right to it:
"Angelica" - Wet Leg
I'll start here, only because Wet Leg's fantastic debut album first made waves last year. We wrote about debut single "Chaise Longue" in 2021's list. "Angelica" is the Isle of Wight band's fifth (of six) released singles and proves they are more than a novelty act or one-trick pony, although their slacker wit persists in lyrics like "I don't know what I'm even doing here/I was told that their would be free beer".
"Jackie Down the Line" - Fontaines D.C.
Dublin post-punks Fontaines D.C. lay on the gloom in this track, the lead-off single from their third album Skinty Fia. Listen closely to the chorus and if you're at all like me, you may end up singing "Guns of Brixton" by the Clash over it. Especially around the 1:28 mark when the rhythm guitars kick in.
"The Smoke" - The Smile
Some good things came from the COVID lockdown: Radiohead's Johnny Greenwood and Thom Yorke started working together without their bandmates, enlisting drummer Tom Skinner for a one-off project. Skinner's drums get us moving, followed by a mesmerizing Greenwood riff that powers the track. It's not until the minute mark that Yorke's distinctive vocals emerge, the first sign that we're listening to a Radiohead side project.
"Fleez" - Yeah Yeah Yeahs
I could have gone a few different directions here, because the Yeah Yeah Yeah's fifth studio album Cool it Down was so strong. The anthemic "Spitting off the Edge of the World" featuring Perfume Genius could have been a contender. Instead I opted for "Fleez", inspired by the NYC early 80s dance trio ESG, one of the most oft-sampled bands in hip hop history. (After all, I love tracing musical history across genres and generations.) "Fleez" naturally incorporates ESG's edgy funk with Karen O's snarl and isn't shy about paying tribute to its forebears with lines like "Fleez and me eating nuts in the leaves/That's where we dance to ESG"
"Bad Habit" - Steve Lacy
Another song that wears its influences on its sleeve, and in this case there are so many: 70s R&B, 60s harmonies, indie rock and hip hop, to name just a few. "Bad Habit" was easily the song of summer, with its wistful singalong refrain ("I wish I knew/I wish I knew you wanted me") and guitars and keyboards that sound like a humid, 90 degree day. It was as irresistible as it was genre-defying, becoming the first song ever to top the R&B chart, the Hip-Hop chart, the Rock and Alternative chart and the Hot 100.
"Down" - Hot Chip
London's Hot Chip have been around since 1995, releasing seven studio albums before this year's Freakout/Release. Leadoff single "Down" is a funky piece of synth pop, with flourishes that span 70s guitar rock and R&B and a swirling chorus straight out of the 80s.
"Shotgun" - Soccer Mommy
Soccer Mommy keeps getting better and better. I first took notice of Sophie Allison's music with 2018's "Your Dog". Fast forward four years to this banger: A menacing guitar riff that contrasts with Allison's delicate vocals as the verses build to a triumphant chorus about the feeling of falling - and staying - in love.
"Alpha Zulu" - Phoenix
More than two decades into their musical career, French popsters Phoenix have mastered the art of catchy dance tunes. This one is no different, yet it took me a while to warm to it. (To be honest, it took a while for me to get over the "Woo ha singing hallelujah" of the chorus.) Now I love it for what it is: A glimmering slice of electro-pop best played loud with the windows down.
"Anti-glory" - Horsegirl
Chicago's Horsegirl takes us back to the 90s, with a sound that's equal parts grunge and shoegaze. And just when you're getting comfortable, they stun you with a jarring, angular chorus: "Dance, dance, dance with me" that leaves the listeners with more questions than answers.
"New Beginning" - Automatic
After a quiet start, LA post-punk trio Automatic bust out a driving drumbeat, crazy screeching sound breaks, handclaps, and a slew of other captivating sounds on one of the more unlikely songs to hit satellite radio this year.
"Speeding 72" - Momma
My song of autumn, where weekend after weekend I'd load the bike on the roof of the Subaru, head west, and ride gravel. Leave it to a band from LA to write a song praising the therapeutic benefits of an aimless, endless drive. Throw in the best guitar riff in years and a not-so-subtle reference to Pavement's "Gold Soundz" and I'm hooked.
"New Body Rhumba" - LCD Soundsytem
Someone's been listening to The Fall again! LCD Soundsystem's James Murphy has long been a fan of the Manchester post-punks, and it's quite evident on this track, which loosely resembles "Cruisers Creek", "LA" or other Brix Smith-era Fall with its relentless groove, repetitive lead guitar and keyboard riffs, shout-along backing vocals and overall spirit.
"Betty (Get Money)" - Yung Gravy
The ultimate Rick-roll. I don't seriously mean to nominate this track for musical greatness, but you have to tip your cap to the marketing genius of Rochester, Minnesota's own Matthew Hauri. Besides the obvious homage to Rick Astley, the song is just pure silliness, and the only one I can think of which rhymes Filipino boxer Manny Pacquiao with the NBA's Jerry Stackhouse. Oh and it's damn catchy.
"Billie Toppy" - Men I Trust
Montreal's Men I Trust tick all the boxes on their non-album single "Billie Toppy". Motorik drumbeat? Check. Peter Hook-style bass riff as a lead? Yep. Shimmery guitars on the chorus? It's all here.
"New Gold" - Gorillaz featuring Tame Impala and Booty Brown
I'm not gonna lie: I'm a sucker for Gorillaz, but they're never gifted a spot on my best of list. They keep pushing things forward, with creative collaboration and unlikely pairings. This track earns its place for figuring out how to meld the psychedelia of Australia's Tame Impala with the Pharcyde's Bottle Brown into an intoxicating stew. And fans take note: It's Bootie Brown's first collaboration with Gorillaz since 2005's "Dirty Harry".
"I Was Neon" - Julia Jacklin
I spent a fair bit of time at Guitar Center this year, messing around on guitars as my son was taking bass lessons. And it seems every time I was there, this lovely alt country gem was playing, sucking me in with its mysterious chorus "Am I gonna lose myself again?" I had to Shazam my way to track it down, and I think Australian singer-songwriter Jacklin deserves better than that. So here she is.
The air is chilly, the sun is low, the tree is trimmed and the work has been put aside for a few days. And that means one thing: It's time to reflect on the best songs of the past year. 2021 was full of great new music: I was wowed by newcomers and comforted by much-loved bands that saw themselves successfully taking artistic risks. Let's get right to it:
Song of the Year
"Heartlow" - Jane Weaver
Cheshire's Jane Weaver dropped an immensely beautiful album earlier in the year, and it became my go-to as we fought through a surprisingly difficult year. "Heartlow", a pastiche of psychedelia and electronics, became the soundtrack to my Spring -- its hopefulness tied to a time when we began to emerge from the last long, dark winter with the help of science and the promise of the vaccines. I have returned to this song -- and this album -- time after time as the year's difficulties ebbed and flowed. And upon every return I have been reassured by its loveliness and lifted by the thought of what tomorrow may bring.
"Scratchcard Lanyard" - Dry Cleaning
Fans of the Fall always wince when music critics compare other bands to the Fall. So I was suspicious when reviewers commented on Florence Shaw's spoken word delivery as something akin to Mark E. Smith's. Sure enough, I don't buy the comparison: Smith actually sings MORE than Shaw. Musically, there's an angular edge at play in the South London outfit's sound -- with jagged guitars reminiscent of Wire. And then there is the issue of Shaw's lyrics: They're largely derived from snippets of overheard conversations and comments she read on the internet -- a perfect reflection of the nonsensical banality of 21st century life.
"Chaise Longue" - Wet Leg
Just when Dry Cleaning seemed poised to carve its own musical niche, along comes this Isle of Wight duo. Riding on the coattails of Florence Shaw's sing-song lyrical style, Rhian Teasdale and Hester Chambers introduced this laugh-out-loud banger like some sort of next generation all-girl Bloodhound Gang. Put aside the makes-you-blush lyrics of this track (and its followup single), and what you get is an irresistible piece of post-punk pop that will make you never forget the proper pronunciation of a forgettable piece of furniture. But at least you'll be smiling.
"Walking at a Downtown Pace" - Parquet Courts
I've long been a fan of these Texas-to-New York transplants because of their unique garage sound in songs like "Stoned and Starving", "Borrowed Time", "Berlin Got Blurry", "Almost Had to Start a Fight" and "Wide Awake". This year, they found yet another gear -- incorporating Manchester influenced dance music and experimental sounds for their seventh studio record Sympathy for Life. Written in 2019, the prescient lyrics worry about returning to crowded spaces and generally encapsulate the stop-start of life in 2021:
I'm making plans for the day all of this is through
Seeing my path there, hearing the song I'll sing
And food that I'll taste and all the drinks that I'll consume
Return the smile of an unmasked friend
"Solar Power" - Lorde
Madchester raised its wonderful head in other ways this year. Take this sun-splashed single by New Zealand's Lorde, who cited Primal Scream's "Loaded" as an inspiration for this made-for-summer anthem and ode to sunnier times.
"King of Carrot Flowers Pt. 1" - Death Cab for Cutie
Politically, 2021 was marred by a coup attempt in which supporters of a lame-duck president tried to overturn the will of the American people to wrongfully keep him in power. It was as dark a moment for American democracy as could be imagined. And yet it's easy to forget the year started off with a pair of stunning victories by Democrats in Georgia, where a groundswell of support was set to music by a collection of cover songs: Death Cab for Cutie covered five iconic Georgia artists -- including TLC., REM, Cat Power and Vic Chestnutt. But the standout track on the five-song Georgia E.P. was their version of this track, from Neutral Milk Hotel's 1998 classic In the Aeroplane Over the Sea.
"Thats What I Want" - Lil Nas X
There's no shortage of pop music in my life -- largely thanks to the teenager I often chauffeur. Much of what I hear on pop radio doesn't resonate for me, but this brutally honest anthem of longing did. It's just over two minutes of power pop, a great hook, an infectious chorus, a universal message and no bridge to speak of. And I'm grateful we live in a world where Lil Nas X can be rewarded for continuing to break down barriers.
"Head On" - José González
The classical guitar work of the Argentinian-Swedish González in this sliver of a song harkens back to Jorma Kaukonen. It's the perfect soundtrack for a moment of quiet introspection.
"The Things I Miss" - Constant Smiles
From Sacred Bones Records, the simplicity of this achingly beautiful song about loss knocked me out when I first heard it this fall. It comes with a beautiful film to match.
"I Don't Live Here Anymore" featuring Lucius - War on Drugs
Adam Granduciel and his Philadelphia-based band pull out all the stops -- synths, backup singers, glossy production -- for a slightly more elaborate take on a familiar theme. And like the best War on Drugs songs from previous years, this track uses swirling repetition and an underlying tension to carry the listener on a nearly six minute journey of loneliness, despair and ultimate redemption.
"Be Sweet" - Japanese Breakfast
There was a time in the not too distant past that a song like "Be Sweet" would have been a staple of pop radio. No matter, for Michelle Zauner, the Seoul-born, Oregon-bred and Bryn Mawr-educated singer-songwriter at the center of Japanese Breakfast is a triple threat: She's also a published author and director. And she hopes her work will help bring more Asian-American representation to the music world. (And check out how they built an X Files themed video around the line in the chorus "I want to believe".)
"Everybody Love a Baboon" - Cub Scout Bowling Pins
Finally, because we all need a laugh right now, I include this track. As if it wasn't obvious, Cub Scout Bowling Pins is a thinly-veiled alias of the uber prolific Guided by Voices. The project is meant to invoke the bubble gum psych pop of AM radio in years gone by. I'm not sure that's evident here, but Robert Pollard's goofy vocals are more than enough to wrap up a year that needed a good chuckle.
I hope 2021 was good to you and those that you love. And I hope you discovered more than enough music to get you through the year.
How do you attempt a best of list during a year that ranks as the worst of modern times? I spent less time this year listening to new music than I can remember. I spent less time in record shops than I can remember. Like everyone else, much of my year was spent working from home (thankfully) and binge-watching comfort TV ("The Great British Baking Show", "Walking Through History" and "Repair Shop" were three of my favorites.)
But there were bright spots -- musically -- in this otherwise horrid year. So, with a nod to the frivolity of exercises like this, here are 13 of my favorite songs of a very unlucky 2020:
Gorillaz featuring Peter Hook & Georgia - "Aries"
Perhaps my favorite song of the year. I realize that I'm predictable -- and that a Damon Alban-Peter Hook project was always going to be a winner in my book. But it's not like ALL collaborations between Manchester legends are shoe-ins to make my list (Avalanches' recent effort with Johnny Marr was sub-par for both parties.) But "Aries" earns its place on my list this year and would be a great song even without that iconic bass-line from Hooky. Honorable mention goes to another Gorillaz collab with an 80s icon: "Strange Timez" with the Cure's Robert Smith.
Public Enemy - "Fight the Power (2020 Remix)"
The anthem -- and album -- this year needed. The anger and urgency of Chuck D, Flav and collaborators that include Nat and QuestLove on this reboot cut through loud and clear during a summer of racial injustice, a health crisis that disproportionately hurt Black and brown communities, and a presidency that took its cues from the worst elements of society. PE never sounded so right for the times.
Bob Mould - "Forecast of Rain"
Another voice we needed this year was Bob Mould's. In two-and-a-half minutes of bombast. Mould calls out the hypocrites of the American right, and reserves well-deserved scorn for one in particular: "Would this be blasphemy: When you're a star/You can do what you want." Thank you, Mr. Mould, and keep doing what you're doing.
Deep Sea Diver featuring Sharon Van Etten - "Impossible Weight"
Seattle's Deep Sea Diver team up with New Jersey-born Van Etten for a track that oozes cool. Van Etten's vocals manage to be full of swagger yet vulnerable at the same time -- a feat nearly as impossible as the weight she worries she's putting on those around her. But with an acting career to go with her music, Van Etten is used to pulling off the impossible.
Destroyer - "Crimson Tide"
When it comes to the individual members of Canadian collective New Pornographers, I've long been a fan of Carl Newman, and less so of Dan Bejar's work. I love the instrumentation that starts minimal and builds throughout the song, punctuated by that great keyboard line and Bejar's spoken word vocals.
Future Islands - "For Sure"
Baltimore's Future Islands do it again -- a perfect, shimmery, synth pop song reminiscent of the best of the 80s. The playbook is a lot like their 2014 hit "Seasons (Waiting on You)" -- lush instrumentation, moody keyboard pads, and a Samuel T. Herring chorus begging to be sung along to. But if it works...
Washed Out - "Time to Walk Away"
Ernest Greene Jr. has always known how to extract maximum emotion from the minimum amount of ingredients. From the early chill wave recordings he made in the bedroom of his parents' house in Georgia, to the uptempo and almost salsa feel of this track, he manages to hit all the right notes, and all the right chords, to take his listeners along for an ethereal ride.
Olafur Arnalds - "Zero"
With around 350,000 people, Iceland has a population smaller than Aurora, Colorado. But its musical output? On a per capita basis, it is unrivaled. Think Sigur Ros and Of Monsters and Men, to say nothing of Bjork and Sugarcubes. This year's discovery for me was multi-instrumentalist Olafur Arnalds, whose hauntingly beautiful album Some Kind of Peace was the rather appropriate soundtrack to our very chill Thanksgiving.
bdrmm - "Push / Pull"
After new releases by Ride, Slowdive and My Bloody Valentine in recent years, shoegaze is having a moment. So it's no surprise new bands would form to keep the genre moving. Hull's bdrmm pays tribute to the shoegaze classics with music to get utterly lost in. And in 2020, that sounds like a good thing.
Guided by Voices - "Mr. Child"
Guided by Voices released - count 'em - three albums this year. We knew Robert Pollard was prolific, but that is kind of ridiculous. The band gave us a lot to choose from, but I was won over by the guitar riff that opens this song -- with the right effects it could have been on a Fall record.
Rolling Blackouts Coastal Fever - "Cars in Space"
The Melbourne five-piece is back at it with their second album for Sub-Pop. "Cars in Space" could have been an outtake from 2018's debut LP Hope Downs. The formula -- three guitarists trading riffs over a driving drumbeat -- is the same, and it's still a winner.
Perfume Genius - "Describe"
Rich and moody, with surprising nods to both classic rock and folk. It's a bit of a departure for Michael Hadreas, who records as Perfume Genius. And it's not difficult to hear why Hadreas cites Cocteau Twins, Enya and Townes Van Zandt as influences on his 2020 release Set My Heart on Fire Immediately.
Stephen Malkmus - "Xian Man"
Here's what happens when Pavement meets Tinariwen -- the laconic vocals we love about Malkmus blend so well with that strangely exotic guitar riff that repeats throughout the track.
The year -- and the decade -- are coming to a close. In the coming days I plan to compile a list of my favorite tracks from the 2010s, including some of the ones I flat-out missed in previous best-of-the-year lists -- nothing like ending the decade recapping your failures! But for now, I want to wrap up the year with a look at what I think are the top tracks of 2019. Here we go:
"Exits" - Foals
The band from Oxford by way of Peckham, London hits us with the perfect song for our time, and my runaway choice for song of the year. "Exits" is a dystopian portrait of a world gone horribly wrong. The distorted synths and jagged beats build to the song's climax, as a frustrated Yannis Philippakis sings "I wish I could figure it out/but the world's upside down." It's the sharpest, most urgent call to action against the imminent twin threats of authoritarianism and climate change -- and a perfect antidote to the dystopia we find ourselves living in.
Now here are ten more songs that deserve accolades this year:
"Viktor Borgia" - Stephen Malkmus
Former Pavement frontman Stephen Malkmus was sitting on an electronica album for years. It was appropriately called Groove Denied, and in 2019 it finally saw the light of day. The leadoff single "Viktor Borgia" -- and its accompanying video -- feel like a flashback to the earliest days of electro pop, with Malkmus doing his best to sound like early Human League or Gary Numan.
"Harmony Hall" - Vampire Weekend
Vampire Weekend has made a career out of this sort of twee loveliness. Sure, "Harmony Hall" is a bit too precious, but it's also an incredibly catchy piece of songwriting that dares you not to sing along. Many critics have heard the Grateful Dead in this track, and I can't help but sing the chorus of "Friend of the Devil" over parts of this song.
"Jesus' Son" - Priests
Washington DC's Priests dwell at the epicenter of this country's moral corruption. So it's no surprise that they would take aim at the absurd views of a megalomaniac in this song. I wonder who singer Katie Alice Greer is referring to when she belts out lyrics like "God came to me in a dream and told me that I'm Jesus' son/ I know this world is mean, it's lucky I'm the chosen one." The political implications of the album's red state name-checking title - The Seduction of Kansas - should give you a hint.
"Turn to Hate" - Orville Peck
Orville Peck came out of nowhere this spring -- I mean, nowhere -- and his identity remains shrouded in mystery. We know this much about the alt-country singer/songwriter: He's Canadian and he identifies as queer. Beyond that, he hides his true persona behind a fringed Lone Ranger mask. But Peck speaks volumes with his deep, rich baritone. His singing and songwriting on this track evokes Matt Johnson's best work with The The. Except the twang of Peck's Telecaster gives this tune an unmistakably country vibe.
"Johannesburg" - Africa Express
Damon Albarn may well be the King Midas of modern music: His forays from pop to electronica to world music always seem to pan out, and this latest venture is no different. Much like 2002's under heralded Mali Music, Africa Express is an Albarn-led collective featuring European, American and African artists collaborating and breaking new musical ground, in an attempt to level the playing field between the developed world and everyone else. This track features gauzy lead vocals from Super Furry Animals frontman Gruff Rhys married to the otherworldly sing-song of Lesotho singer (and shepherd) Morena Leraba.
"Stars are the Light" - Moon Duo
The Portland psychedelics put their guitars away just long enough to turn up the synths and sequencers on this shimmering beauty, and the result is an intoxicating.
"All Mirrors" - Angel Olsen
Olsen's haunting vocals stand out on this dramatic track, which evokes Kate Bush or PJ Harvey in their finest hours. Over a sea of theatrical synthesizers, the Asheville, NC art-rocker employs a repetitive melody as the song builds, dies down, and eventually reaches its climax. Stunning. Listen to it on full volume and in the dark.
"Until the Fire" - Ladytron
Liverpool's Ladytron blend the best of shoegaze and electronica on this urgent, dystopian stomp. Like "Exits" (at the top of this list), "Until the Fire" is seething with anger and fury. And despite acknowledging that something horrific is going on in the world, Ladytron isn't trying to sugarcoat it.
"Feel the Sun" - Josefin Öhrn & the Liberation
Swedish-born and London-based Öhrn shines on this dreamy swirl of synths and fuzz. And despite the title, it's the haze and shadows in this track that make it so beautiful.
"Green Eyes" - THICK
The all-female pop-punk trio from New York borrows sonically from tongue-in-cheek mid-90s acts like Blink 182. Sure, THICK likes to have fun, but they have an authenticity -- and an inclusivity -- that comes through in their music and live performances. And the music world is starting to take notice: THICK signed with iconic punk label Epitaph this year. This track tones down the energy long enough to showcase great overlapping singing -- and the frustration of what the band says is the "strange frustration of a partner projecting their emotional baggage onto you."
It's a few days after the new year, and time now to compile my annual list of the best songs of the previous year. There's a lot to get to from 2018, but I'm starting big -- with my nominee for song of the year:
"Charity" - Courtney Barnett
An easy one for me. Straight ahead rock and roll with the guitar riff of the year. I saw her over summer in Prospect Park and her live set rocked even harder than the record. She plays left handed, and the parallels to Kurt Cobain didn't escape me. That said, this song leans more towards power pop than grunge -- at least on the studio version. But don't be fooled: This Aussie can flat out rock.
"Talking Straight" - Rolling Blackouts Coastal Fever
We'll stay down under for this one. Rolling Blackouts Coastal Fever have a name far more cumbersome than their sound, which again is guitar-forward rock and roll. Granted, they have three different lead vocalists depending on the song or the arrangement. Play this for a classic rock fan and I'll bet they'll like it, too. And they're hardly a one-off: There's a few other tracks off their album Hope Downs that could have easily made this list.
"Marble Skies" - Django Django
Kinetic synth-pop set to a Krautrock beat from this London via Edinburgh quartet. The frenzy of the verses and bridge give way to a triumphant chorus punctuated by an infectious keyboard riff. Fun fact: Django Django's drummer David Maclean is the younger brother of Beta Band keyboardist John Maclean. But that's where the comparisons end: Django Django sound like the more mellow Beta Band on hyperdrive.
"Semicircle Song" - The Go! Team
What do you get when you cross a drumline with Bollywood horns, handclaps and a double dutch chant? Pure joy. Sure, that combination sounds awful, but here, it works. This song from Brighton, England's The Go! Team makes me happy -- and I dare you not to share in my happiness! I first heard it aboard British Airways flying home from Paris and it added a huge injection of fun into what was otherwise the sad end to a wonderful trip. Thanks, Go! Team.
"Les Mirabelles" - MC Solaar
Speaking of Paris, here's the one-song soundtrack to my trip there aboard Air France. This moody and atmospheric affair by the master of French rap put me in the right mood for a week in Paris. MC Solaar's been at this game for three decades. He's a big star in France, and I've always thought the French language lent itself well to rap for some reason. This song works right up until the metal sounding guitar solo at the end.
"Tranz" - Gorillaz
I get that Gorillaz released a few other songs before this one, but this is the standout track on their latest LP The Now Now. It has the proper dose of moody menace that made Damon Albarn's post-Blur project so potent over the years.
"Middle America" - Stephen Malkmus and the Jicks
Have you ever heard such a catchy tune about middle age? Malkmus croons that he "won't be one of the watchers, I won't disappear." And on this track -- so far removed from his Pavement days -- he doesn't. He stamps his slacker mark all over us aging Generation Xers. A perfect song for the times.
"Sprorgnsm" - Superorganism
The London based collective Superorganism features Orono Noguchi -- a teenager from Maine -- on vocals. Strange. For me this song combines the best of Beck's slacker groove with the sound sampling The Avalanches.
"Loading Zones" - Kurt Vile
Philly's own Kurt Vile released his eighth studio album late this year and this self-assured track was the first single. It features the virtuosic guitar work Vile is known for, but it's a beautiful piece of song craft with quirky lyrics and a great video of Vile driving a Chrysler LeBaron convertible and a 70s Pontiac Grand Prix through the streets of Philadelphia.
"IDGAF" - Sam Evian
New York singer songwriter Sam Evian released his second LP on Omaha's Saddle Creek Records, and it's obvious why Saddle Creek founder Conor Oberst would endorse Evian's dreamy music.
"Comeback Kid" - Sharon Van Etten
Sharon Van Etten has a lot on her plate these days. She's got an acting career in LA, a toddler at home in Brooklyn, and she's returned to college to pursue a degree in psychology. Despite that -- or perhaps because of it -- she's managed to complete her forthcoming album, the aptly named Remind Me Tomorrow. On this track - the LP's first single - she trades in her singer songwriter vibe for synths and an uptempo beat to find the energy she no doubt needs to keep the pace in her busy life.
"On the Level" - Mac Demarco
Vancouver's Mac Demarco created the perfect lazy summer song. So easy, so atmospheric. And a keyboard riff that's nearly impossible to get out of your head.
"Darkness" - Pinegrove
Pinegrove is one of two indie bands from Montclair, NJ, who broke big this year (the other was Forth Wanderers). This introspective song was a staple of Sirius XMU, despite the band's self-imposed hiatus at the end of 2017 after lead singer Evan Stephens Hall was accused of sexual coercion by an unnamed woman.
"Mr Tillman" - Father John Misty
We'll keep the folk vibe going here with the latest from Father John Misty, who's real name really is Mr Tillman. Joshua Michael Tillman to be exact. The verses and chorus are repetitive, but the chord changes in each are beautiful and complex. Lovely.
"Lemon Glow" - Beach House
Baltimore's Beach House released their seventh studio LP -- appropriately named 7. The duo has mastered dreamy psychedelic pop -- trip-wave if you will -- and "Lemon Glow" was the #1 song on Sirius XMU for 2018. I can't disagree with the pick.
"Mourning Sound" - Grizzly Bear
A motorik beat grounds the latest from Brooklyn's Grizzly Bear. The verses build slowly, eventually lifting the veil on a gorgeous chorus that makes you feel like you're flying through clouds. Too bad it's from 2017. So why did it get so much airplay this year?
"Northern Lights" - Death Cab for Cutie
Seattle's Death Cab for Cutie have been responsible for a ton of great music over the years, but this newest single ranks among the best of it. The music is so good that I can forgive Ben Gibbard's oft-tortured lyrics: "I remember your silhouette/on Dyes Inlet". (He's the same guy who gave us the awkward analogy of a "goalie minding the net in the third quarter of a tight-game rivalry". Ugh!) That said, there was a lot of beautiful music made in 2018 -- almost as an antidote to the otherwise ugly times we're living in.
"Letting Go" - Wild Nothing
And to that last point, here's more gorgeousness from Blacksburg, Virginia's Jack Tatum, who records under the name Wild Nothing. Tatum released Indigo, his fourth Wild Nothing album, in 2018, and this synthy beauty was the album's first single.
"Messenger" - Pylon Reenactment Society
What can I say? After nearly three decades, there's new music from Pylon, or at least this Vanessa Briscoe Hay-fronted iteration of the iconic Athens, Georgia band. And it has the unmistakeable post-punk bite mixed with the groove that made the band famous the first time around It's not hard to hear Pylon's classics like "Stop It" when 63-year-old Briscoe Hay starts yelping and growling at the end of the song.
"Your Dog" - Soccer Mommy
Nashville's Sophie Allison, who records under the name Soccer Mommy, opens this song with the unforgettable line "I don't want to be your fucking dog/that you drag around", but it's the twisty sounding guitars that pull me into this song.
I hope you found music you loved this past year -- and I hope it continues in 2019!
Part 1 "Oh Manchester, So much to answer for" -Steven Patrick Morrissey
The journey begins on an Aer Lingus jet bound for Dublin. From there, it's a short hop to Manchester, home to so many of my favorite bands. I'm gearing up by watching -- for the I-don't-know-how-many'th- time "24 Hour Party People", the love letter to Anthony Wilson, Factory Records, Joy Division, the Happy Mondays and the city of Manchester itself.
Actually, the journey began in a suburban Pennsylvania bedroom some thirty years prior, with a stack of cassette tapes by the likes of The Smiths, New Order and later the Stone Roses and The Fall. Without knowing it, I've had a love affair with Manchester since I discovered the city's music. My expectations for my first visit were high, as were my fears it could never live up to the hype.
I didn't sleep on that flight to Dublin -- I don't sleep well on planes. And as I shuffled across the tarmac and up the stairs for the second leg of the trip, my anticipation only grew. I helped it along with a tailor-made soundtrack: Sitting on the plane before takeoff I played "Suffer Little Children" by the Smiths; when the engines fired up for takeoff it was "Crystal" by New Order.
The flight across the Irish Sea was a bumpy one, but as England came into view, I went for the obvious song: The Fall's "Hit the North". The green fields of Northwest England were accompanied by PJ Harvey's "Last Living Rose" and "England" (No, she's not from Manchester.) And as the skyline of Manchester against the backdrop of the Pennines unfolded below me, it was time to get serious: "The Reverend Black Grape" by Black Grape, the band I would be seeing the following night. But let's not get ahead of ourselves... I had only just arrived.
Part 2 "And on the Sixth Day, God created Manchester"
The sign greets you as you take your first steps out of Manchester Piccadilly station. It's clear this town thinks rather highly of itself. That Mancunian swagger likely contributed to the city being such a fertile breeding ground for rock and roll bands. After two plane rides, a train ride (for which I initially bought the wrong ticket) and no sleep, I had to dig deep for the energy to see for myself. My brother -- who arrived from the states two days prior -- met me and we were off. And for Neville and me -- in the musical equivalent of Disneyland -- our first thought was records.
We were staying near the Northern Quarter, a hip, artsy part of town that retains some grit and edge. One of our first stops was Vinyl Exchange, and things got weird really fast. As we pawed through used Fall records, we found a couple of things that caught our eyes. When we went to the counter, the guy told us - sotto voce - that most of the used Fall stuff actually came from Mark E Smith's personal collection. Smith died earlier this year, and his sister has been clearing out his house. The bloke behind the counter said that when she needs extra money, she sells them some of his old vinyl. Neville bought as much as he could, and I came away with a 45 of "C.R.E.E.P." and a great story to tell.
In the aftermath of that experience, I wondered whether the guy at the record shop was putting us on. Could those records really have once belonged to Mark E Smith? The record shop guy seemed earnest, and he wasn't crowing about the MES connection, so we took him at his word. And he wasn't the only person that day that would leave us slack jawed.
A few minutes later -- in the vintage shopping emporium Afflecks -- we met a shop owner who used to work the door in the early days of the Hacienda. She confirmed that the nightclub -- which later put Manchester on the map -- was largely empty back then. It was beginning to feel like everyone we met had a connection to the music we were there to celebrate.
Part 3 "This is Manchester. We do things differently here" -Tony Wilson
Mural of Tony Wilson in the Northern Quarter
Most cities honor their political leaders, maybe their titans of industry. Manchester does all of that, but it holds a special reverence for its creative thinkers. There is a mural of Tony Wilson, founder of Factory Records, on an electric substation in the Northern Quarter. A series of murals on the corner of Tib Street and Short Street commemorate Wilson and his Factory Records partners, as well as Mark E Smith. The words "I wanna be adored" hang from a building in the city centre. I have a lot of respect for a city that holds its musical heroes - my musical heroes - in such high esteem.
Affleck's -- the vintage emporium -- even had a Tony Wilson Wall. And it was painted to look like the Hacienda. Hashtag #WilsonWall.
We left the Northern Quarter and walked to the Central Library, in the heart of the city. In the library's music wing (yes, the library has a music wing, with instruments you can play. IN THE LIBRARY!) they were holding an exhibition called "There Is A Light That Never Goes Out: A Photographic Celebration of Manchester's Rock-music History." It features intimate photos of Joy Division, The Smiths, The Fall, The Stone Roses and Happy Mondays, among others. The library also hosts an excellent collection of books about music, with a special emphasis -- of course -- on the music of Manchester.
Three bookcases at the Central Library filled with books about Manchester music.
The Manchester Free Trade Hall
Not far from the library is the Free Trade Hall. In 1976, in front of a few dozen people, the Sex Pistols played their first show in Manchester. It was a small gig -- in an upstairs room -- but it would redefine music as we know it today. That's because among those forty or so people in the crowd were future members of the Fall, The Smiths, Durutti Column and Joy Division. The Pistols pointed the way; the youth of Manchester did the rest. As for the Free Trade Hall, it's now a fancy hotel.
Part 4 Twenty-Four Hour Party People
Manchester is a compact, walkable city. So the fact that we hadn't yet visited the site of the Hacienda was easily remedied by a ten-minute walk to the south. The Hacienda was formerly a yacht showroom, a cavernous place that failed to draw crowds in its early years. But by the late 1980s, the Hacienda was the world's most famous nightclub, home to rave and acid music, the Madchester scene and the birthplace of DJ culture. By the 1990s, drugs and gangs took over and the club was shut down. It's since been demolished and an apartment block stands in its place. If you haven't already done so, please watch the movie.
Above and below left: The Hacienda Apartments, where the Hacienda nightclub once stood.
Just across Whitworth Street from the Hacienda is Tony Wilson Place, yet another example of this city paying homage to its creative class. And on Tony Wilson Place is HOME, an arts and events space featuring a cinema, two restaurants and a shop. After browsing the shop and admiring greeting cards featuring caricatures of Shaun Ryder and Mark E Smith, we sat down for pizza. When the bill came, we started talking to the waiter about Tony Wilson. Once again, things got weird. The waiter, a lovely guy named Paul, told us he was in a band in the 1980s that had three EPs on Factory Records. His band, the Jazz Defektors, wasn't one we'd heard of, but he said he was friends with more famous Manchester musicians including A Certain Ratio and New Order. He even said had he known ahead of time we were coming, he could have gotten us autographed merchandised or -- gasp -- arranged a night out with New Order's Peter Hook or Stephen Morris. Once again, our jaws dropped. This was becoming a pattern. We exchanged contact information and hope to make it happen one day.
We finished the night with a trip to the pedestrian bridge over the Princess Road, made famous by Kevin Cummins' iconic photographs of Joy Division.
We took our own photos on the bridge. It was night and there was no snow and we didn't have the right lens and my leg is bent for no good reason.
Part 5 "I couldn't figure out whether he was from Salford or uhh Manchester." -Mark E Smith
My second full day in Manchester began with a long walk to Salford, the traditionally working-class sister city across the River Irwell. I had the Fall's "Cheetham Hill" in my head as we crossed the river, but we weren't there for the Fall. We were there to find the Salford Lads Club, on Coronation Street, made famous by the Smiths on the inside photo of their 1986 album The Queen is Dead.
The Lads Club is an unassuming brick building at the end of a stretch of row houses, and -- as it was Friday -- it was closed. So we hung around for a bit until two other musical tourists showed up and helped us recreate the Smiths image. Here I am playing the role of Johnny Marr to Neville's Morrissey (and I'm conveniently wearing a Johnny Marr T-shirt.)
On the walk to Salford, we stopped by Fopp, a two-story shop selling books, CDs, DVDs and other fun stuff. They were having a sale on music books -- two for £10 -- so I got a book on Factory records and another on the Stone Roses. Score.
Part 6 "Oh Come All Ye Faithful Joyful and Triumphant Come Gather Round As I blow my own trumpet" -Shaun William Ryder
By 4pm it was dark and we were on a train to Liverpool. We were heading to the birthplace of the Beatles to see Shaun Ryder's Black Grape, the band he formed with Kermit of Ruthless Rap Assassins after the dissolution of Happy Mondays. We were taking the 40-minute train ride to Liverpool to see a proper Manchester band. Go figure.
Before we went to the O2 Academy, we tooled around Mathew Street, home of the Cavern Club (or a reasonable facsimile thereof) and countless Beatles cover bands. It felt like visiting a wax museum, and we didn't stay long.
Liverpool's Mathew Street, a Beatles theme park.
We did, however, find this plaque marking the site of Eric's, the nightclub where another Liverpool band -- Echo and the Bunnymen -- got their start:
And we found a shop called Resurrection that was selling pretty much every Stone Roses T-Shirt imaginable. As Nev put it, some people get matching tattoos on vacation... we got matching Stone Roses shirts.
We headed to the O2 Academy, but between a driving rain and an opening act that sounded like Limp Bizkit, I was feeling pretty dour. But out came Kermit and Shaun, and a wave of energy swept through the intimate venue. We had parked ourselves in the front, mere feet from Manchester royalty, with an unimpeded view of Ryder's every gesture, every utterance, and every wrinkle. The man has not aged well. Never mind, he sounded great.
And at the end of the show, I had a true rock and roll moment as the lead guitarist soloed right in front of me. I took a selfie that another fan later called "cheeky". Thanks to Sharon for the video!
After the show, I even got the guitar pick -- thrown into the crowd and scooped up by a bloke next to me who, upon hearing I had come from New York, gave it to me. What a nice gesture -- one of many random acts of kindness we witnessed in Northwest England. Well done, mates.
Part 7 "Don't walk away in silence, don't walk away" -Ian Curtis
Saturday was our last day together in Manchester, so naturally we rented a car and headed off for the Southern Cemetery. Who doesn't? We were there to see the graves of two important Mancunians: the aforementioned Anthony Wilson and record producer Martin Hannett, who contributed mightily to the sound of Joy Division and a host of other Factory bands. Hannett's grave was easy enough to find, despite its lower profile.
Wilson's grave took awhile because it wasn't where we thought it would be. It was in a very prominent position in the center of the cemetery. I wanted to see myself in the tombstone.
Wilson's tombstone was designed by Peter Saville, the graphic artist behind most of the iconic Factory Record covers (including the New Order catalog). On it, Wilson is described as a broadcaster and cultural catalyst. As we paid our respects, we played Durutti Column's haunting and disjointed "In Memory of Anthony".
Here's the Durutti Column song "In Memory of Anthony" in its entirety:
Then it was onward to Macclesfield, where Joy Division's Ian Curtis was born, lived much of his life, and ultimately committed suicide. The rowhouse where he died is on a bleak stretch of Barton Street, but notice the green foothills of the Pennines off in the distance.
Ian Curtis's home in Macclesfield, left foreground
At the town cemetery, we struggled to find Curtis's gravestone. That's because it had been stolen. All that remains is a low-slung stone marked with his name and the words Love Will Tear Us Apart.
Behind it, fans have created a makeshift shrine of flowers, notes and photos.
It only seemed fitting to end our visit to Curtis's grave listening to Joy Division's "Atmosphere".
Part 8
"I think I did the right thing by slipping away, yeah
And the ache that's making me ache has gone for the day."
-Shaun William Ryder
The gloom of the cemetery tour didn't weigh us down for long. We wanted a taste of the countryside, so we left Macclesfield on a road that climbed into the Peak District, with sweeping views of fields of sheep. We were headed for Buxton, the highest market town in England with no musical connection, or so we thought.
Buxton, about an hour outside of Manchester near the Peak District
Buxton is nestled among the hills, with a lively shopping district. We had a look around, bought some trinkets and took a chance on a road leading out of town. It took us right past Vinyl Coda, a small record store and cafe with terrific stock. The shopowner -- a slight man named Neil McDonald -- was playing Grant Lee Buffalo, which seemed odd to hear in England. We struck up a conversation and he told us HIS band once opened for Grant Lee Buffalo in Sheffield. He had been the guitarist in Puressence, a 1990s outfit that was produced by Mani of Stone Roses had three LPs on Island Records. He had left the band and now Buxton was home. I felt good purchasing a copy of "Blue Monday" in its floppy disk packaging, as well as a Happy Mondays "Lazyitis" single with Scottish singer Karl Denver. If you're not familiar, this live video for "Lazyitis" pretty much sums it up -- a young Shaun Ryder, an aging Karl Denver and the inimitable Bez, dancing and shaking his maracas.
Yes, Lennon and McCartney got songwriting credit for the snippet that's based on "Ticket to Ride".
By the way, I snapped this picture of Bez's maracas mounted on the wall at another Manchester record shop, the Northern Quarter's Vinyl Revival.
Back in Manchester that night, I walked aimlessly through crowds of holiday revelers in the city's extensive Christmas Markets. Among the items for sale: Happy Mondays and Stone Roses onesies.
And in a town that takes its music seriously, even the Christmas market buskers had talent.
Part 10
"Some of the crowd are on the pitch
They think it's all over and it is now"
-Kenneth Wolstenholme, BBC
Later used by New Order in "World in Motion"
I made a detour off the music path to visit the National Football Museum. It was Derby Day in Manchester -- City v. United -- so it felt like the right thing to do. And thanks to a great project called Bands FC, music followed me there, too.
Bands FC combines band logos with the logos of football (soccer) teams. My favorites were Stone Roses FC and The Fall FC.
Upstairs in the museum, I found an automated puppet, inviting me to "have a laugh with the jolly goalie." So I did.
Part 11
"There is a light that never goes out"
-The Smiths
My last full day in Manchester was Sunday, Remembrance Day, on the 100th anniversary of the end of World War I. To say Britons took the occasion seriously is an understatement: Virtually everyone, young and old, were wearing poppy pins to commemorate the anniversary. The bells of Manchester Cathedral rang out to mark the armistice for what felt like an interminably long time. Here's just a bit of it:
Even the pub where I watched the Manchester Derby between City and United fell silent as "For the Fallen" was read over the TV screens. That really touched me, as it would never happen in the States.
And that was the biggest takeaway from this trip. Set aside the bands, the music, the swagger -- people were genuinely kind to us and to each other. The people we met were easy to talk to, they went out of their way to help us, and yes -- it seemed everyone of a certain age had a connection to Factory or the Hacienda or to the music that we had come so far to celebrate. Manchester is a proud city, and rightly so: Proud of its history, its heritage, and most importantly its music. I know one day I'll get back, but for now, I'm better off knowing that such a place exists in this world.
