Trotter's Top Ten TV of 2015

There's just too much to watch on tv isn't there.  You've got a pile of dvd's to get through, an unhealthily high percentage on your skybox or tiro and that's not to mention the recommendations that keep coming through from Netflix, Amazon Prime or whatever.  Or maybe that's just me.

So what might you have missed this year and what might you not have given a go because, well, you have a life.  Here's a few scripted series' suggestions in some sort of order which might be of assistance...

10) 'Fortitude' - Sky Atlantic 

Sky's heavily-marketed, star-studded foray into original drama at the start of the year did the best 'genre-twist' of the year (see also Wayward Pines for another example).  What starts off as a bit of a by-the-numbers Nordic Noir - not least because of the Icelandic scenery and the lead actress from The Killing, turns into something far more interesting.  Whether they can continue that success into a second season is up for debate.

9) 'Dark Matter' - SyFy 

Sci-Fi isn't everyone's cuppa, but with a little bit of media attention turned towards Star Wars (there's a film out, by the way) series' like Dark Matter have a better chance of reaching a deservedly larger audience.  Kicked off by a strong concept - six astronauts wake up on a spaceship with no memory of who they are and how they got there, the series stumbles a bit by going straight into 'planet of the week' storylines.  But the cast's chemistry and overarching mystery soon kicks in and makes it a worthwhile watch - with the right balance of reveal and cliffhanger to make season two worth a watch.

8) 'Walking Dead' - Fox 

With a fifth season finale and sixth season kicking off this year, you'd be forgiven for thinking watching hapless survivors run from shambling zombies is becoming a tad dull by now.  It's to the show's credit that the writers find new ways to refresh the concept and keep up the genuine dread you feel whilst watching.  No other series manages quite the same sick-making feeling and thats mainly down to the fine ensemble cast and still, silent scenarios that bookend all the blood and gore.  Although the 'main character in peril' plot employed in the latest episodes didn't quite pay off, it was the first few episodes of the same season that proved what a fine programme it still is.

7) 'Bloodline' - Netflix 

Netflix are pretty well-established now in commissioning original drama directly and have a more than decent hit rate.  Buzz was good around 'Bloodlines', with its rich family, dark secrets and murder premise led by the not-uneasy-on-the eye Kyle Chandler.  Although the first few episodes made it quite difficult for you to actually care what was happening to this bunch of spoilt brats, it's to Netflix' credit that their 'all available to view' format worked in the show's favour and you were soon incredibly invested in the drama and its clever, sparing use of flash forwards and backs.  It was actually Ben Mendelsohn who stole the show as the black sheep returning to the fold and doing a great job in generating sympathy and hatred in turn as the twists played out.

6) 'Catastrophe' - Channel 4

We might be in the midst of 'Peak TV' right now - yes, it's a thing - but it's certainly not a golden age of comedy (Brooklyn Nine-9 and The Goldbergs exempted).  Mind you, with Mrs Brown being so popular maybe we get the comedy we deserve.  And yet, out of nowhere in January, along came yet another new series from / starring the under-rated but Jonah-like Sharon Horgan with a string of failed comedies behind her.  The difference here is essentially the chemistry between her and her co-star / co-writer Rob Delaney.  Although I wouldn't want to say their's is a typical relationship, it is believable above all else.  That we got not one, but two, series of acerbic, hateful putdowns and cringeworthy scenarios this year was a big bonus.

5) 'Game of Thrones' - Sky Atlantic 

I really don't need to provide a synopsis of this show, do I?  Season 5 finally caught up to the books and robbed thousands of people of their smugness in holding the power of spoilers over the rest of us.    It wasn't the greatest of seasons, but that is holding them to a high benchmark, and now that we've reached this point it might prevent some of the wheel-spinning that's somewhat spoilt things on occasion (i.e. Danerys meandering to Westeros).  Key cast members finally were brought together (then obviously torn apart - well it IS Game of Thrones), the Starks weren't catching the slightest of breaks and we had arguably the best episode nine of the series to date - including 'that wedding one'.  'Hardhome', and specifically the climactic 30 minute battle which introduced 'the big bad' who didn't say a word, was one of the most cinematic in scope, edge of the seat action sequences ever to appear on the small screen.  And with that, TV finally killed cinema.

4) 'Daredevil' - Netflix 

The principal reason I got Netflix was bound to end up in the Ten wasn't it?  Extremely high production values, a more realistic take on the super-hero genre (or as realistic as you can get), some of the most original and best-choreographed fight scenes (the finest example being the single-shot hallway fight) and an actually complex villain in the form of Vincent D'Onofrio's Kingpin who, despite going all Vinnie Jones with a car door and a goon's head early on, is introduced to us admiring art and awkwardly chatting up a date and is genuinely sympathetic, car doors notwithstanding...

3) Sense8 - Netflix 

The Wachowskis are possibly the very definition of hit or miss, but, partnering with the more hit than miss J. Michael Straczynski, hit geek gold with Sense8 - your everyday story of eight strangers in all corners of the world inexplicably experiencing shared senses and abilities.  Although the characters border on  racial stereotypes at times (the cool London DJ, shy demure Indian girl heading into an arranged marriage, the US cop jock hero, the Asian martial arts expert) it makes the times when the unexpected happens all the more...well, unexpected.  There are some genuinely fist-pumping / cheering moments caused when the eight leads start sharing abilities and revealing the bigger mysteries which presumably will be explored in the second season.  For a popcorn action romp, Sense8 takes 2015 hands down.

2) Fargo - Channel 4 

I was criminally late to the Fargo party, missing the first few episodes of season one and then never catching up until Channel 4 repeated it this year.  In those circumstances I do count myself lucky to have the pleasure of viewing two seasons in one year.  Like American Horror Story and True Detective they took the approach of telling a separate story for the second season.  That said, the two were connected in some ways which underpinned a degree of familiarity amongst all the newness, a few characters from season one in their younger days during 1979 and the Sioux Falls Massacre, referred to previously, played out to searing effect in the penultimate episode.  The production values were sky high, revelling in the '70's setting by employing split screens to great effect and the sound track was sublime and offbeat.  The sense of bad things about to happen to good people gave an unsettling atmosphere to each episode, but, as with season one, sometimes bad things didn't happen to good people after all.  I never thought I'd be recommending a series based on a film and starring Ted Danson and Kirsten Dunst as highly as I am but, if Fargo keeps up this standard of storytelling over a couple more seasons it will be talked about in the same league as Breaking Bad, The Wire and The Sopranos.

1) The Leftovers - Sky Atlantic 

A confession - I loved The Leftovers' first season.  Other shows may have been flashier or better scripted but no other series stayed with me longer, the themes being explored stirring thoughts on mortality and life's purpose far more than wondering what was going to happen to character X.  I say this because a lot of end of year polls have included season two in their own top tens but more as a back-handed compliment by saying the first season wasn't all that good.  Shifting the core cast to a new town, kicking the season off by (inexplicably at first) opening on a cavewoman giving birth, changing the atmospheric titles and theme and then only featuring the Garveys in the final scene of the episode all underlined the bravery and risk-taking of a show that has already been pretty brave and made it clear they'll never explain its premise (of 2% of the population disappearing in a rapture-like event).  Not only was the reveal of the season mystery of what happened to three teenagers incredibly satisfying (another example episode nine reveal), but the risk-taking of the 'International Assassin' episode proved as bewildering as its episode title.  Many series have 'I'm not sure what's happening now' moments but very few have them for an entire episode.  I've never felt as confused, concerned, annoyed and then in admiration of a show in one sitting before.  All of which is trying badly to be a spoiler-free description of what happens.  Believe the critical hype of this little show that could - and that effectively led to it being renewed for one final season.  Or at least watch it to marvel at how well Liv Tyler actually pulls off scarily bad-ass.  Or to see Justin Theroux in a bathtub.

Trotter's Top Ten Albums of 2015

Ok then...so that was (nearly almost) 2015; when the biggest musical comeback was saved until right near the end; Kanye proved he could put on a simultaneously great and abysmal headline slot with some excellently arranged lightbulbs; when the most memorable thing to happen at the BRITs was watching an elderly woman being yanked backwards down some stairs and when horrible, horrible brutality came crashing into an Eagles of Death Metal gig in Paris reminding us just how seemingly unimportant and yet also how amazingly important enjoying music actually is.

As usual there were a few near misses to the Ten (including stuff still on Santa's sleigh as we speak) so do feel free to chime in as ever with your faves.  Most notably for once I'm just listing ten and not trying to cram 11 in here.  This means sacrificing Chvrches sophomore long player 'Every Open Eye', perhaps for the sole reason that I was expecting so much more from them and was therefore left rather disappointed despite some cracking tunes such as 'Leave a Trace' and 'Bury It' when their trademark saccharine vocals and deceptively dark lyrics combine to great effect but sadly don't completely succeed throughout.  Expectations for Britain's next great intelligent pop band lowered unfortunately; though they did crack the US Top Ten with it.

10) 'Music Complete' by New Order (UK Chart Number 2)

So pipping Churches are one of their clear influencers who, by my way of thinking, get into the ten by virtue of exceeding low expectations rather than not reaching high ones (fickle eh?).  Despite the good reviews I didn't bite until multiple recommendations from friends who I knew wouldn't oversell it's worth.  I've been a fan long enough to be wary of those 'best album since Technique' claims that come out every time.  I'd say it was nearly up there with 'Regret' if we're comparing - and frankly that seems fair considering how much harking back to the past they do here.  Ironic given the absence of Hooky, whose absence, sadly, isn't actually felt much at all.  Take the high hat intro on 'Singularity' that echoes 'Vanishing Point', the slowed-down spoken vocal on 'Tutti Frutti' that mirrors 'Fine Time' and the quintessential New Order guitar of 'Academic'.  A lot to like then, even if sometimes they also do a good job of reminding you of below average late-Electronic album tracks!

Look at: 'Restless' and 'Tutti Frutti' (feat. La Roux) live from Maida Vale - including a rather stunning version of Temptation' at the end which literally brought a tear to my eye!  So good, even Gillian cracked a smile!

9) 'Get to Heaven' by Everything Everything (UK Chart Number 7)

I always feel a tad sorry for Everything Everything because their music style is never instantly 'get-able' and does require a bit of an effort to get your head round - which doesn't fit the skip to the next track nature of music nowadays.  Thus I seem to under mark them every year and look back later and wonder why i didn't put them higher.  So...let's not buck a trend, eh?  'Get to Heaven' probably contains some of their most accessible tunes yet to be honest, but it's still all relative. 'Distant Past' seems to take its cues from any daytime 80's quiz show theme (in a good way) and when I first heard the intro to 'Regret' I thought someone was shamelessly ripping off Duran Duran's 'Reflex' until I realised it was Everything Everything and instantly forgave them.  I only realised how indebted they are to Talking Heads after hearing the title track a few times (think 'Once in a Lifetime' whilst listening)  - again, no bad thing.  Their quirkiness in music and lyrics is still there ('like a fat child in a pushchair old enough to run, old enough to fire a gun'....anyone?) just slightly smoothed out for our impatient ears I suppose.

Look at: 'Distant Past', 'Regret', 'Spring/Summer/Winter/Dread' and 'No Reptiles'

8) 'Undertow' by Drenge (UK Chart Number 14)

The Loveless Bros' second album, now expanded to a three piece, skillfully avoided the age-old problem of whether to replicate what worked on your debut or do something completely different, by just doing what they did before but better.   There's not currently a better band that melds dirty, loud noises with such catchy melodies - evoking early-90's guitar bands without sounding like nostalgic rip-off merchants. 'We Can Do What We Want' is a fine example of this as well as the snarling, urgent 'Favourite Son'.  'Undertow' is aptly named with that feeling of uneasy menace proliferating throughout the record.  Then they deliver the rather beautiful 'The Woods' with its comparisons to The Cribs at the forefront (maybe it's a brother thing?).  Here, and on 'Side by Side' they summon up whole worlds of memories incredibly effectively for a band who could, on face value, just be dismissed as noisy young upstarts.

Look at: 'We Can Do What We Want', 'The Woods' and 'Side by Side (live)'

7) 'Marks to Prove It' by The Maccabees (UK Chart Number 1)

The first UK Number One album on the list and the band's first.  They'd set themselves up nicely as a breakthrough next big thing through a series of fuller sounding albums and I was expecting this to be their 'Rush of Blood to the Head' to be honest.  The title track and lead single certainly cemented the expectations - an almost ideal opener after a three-year absence, brashly and urgently demanding your attention from its opening clanging guitars and screaming intro, it's certainly one of the tunes of the year.  Bonus points for featuring Elephant and Castle in the vid where they recorded the whole album.  Other tracks are perhaps more 'Maccabees by numbers' and it's this mid-section of the album that really loses energy and, well, frankly meanders for a bit before the finale:  'Dawn Chorus'.  Although a lament like several of the other tracks here, it just feels far more authentic and a perfect closing counterpoint to the powerful first track.  It just about pulls things together and makes you want to listen to the whole thing again.

Look at: 'Marks to Prove It', 'Something Like Happiness', 'Spit it Out'

6) 'The Magic Whip' by Blur (UK Chart Number 1)

Continuing a 90's theme, as unlikely as a New Order album being good enough to make the Top Ten may have sounded a few years ago, a new Blur album actually being made was probably even more unlikely.  But then you saw how well received their reunion gigs were and how much they just seemed to _enjoy_ it all and you had to pray that they'd see sense and start crafting some new stuff.  Egos seemed to be put aside, Damon made a great solo album last year (finally) and the time seemed right for them.  You can even play the 'which Blur album would this track sit well in' game as they seemed to revel in picking elements throughout their (now) long and varied musical career.  'Go Out' from '13', the spiky, everyday narrative of 'I Broadcast' from 'Modern Life...' and 'Lonesome Street' from 'Parklife'.  It's both comforting and disappointing that this sounds sooo Blur but better that than nothing at all!  It's on 'There Are Too Many of Us' that you get the full reminder of how much their particular sound has been missed when they pull out their unique brand of melancholy to great effect.

Look at: 'Lonesome Street', 'Go Out', 'I Broadcast (live)' and 'There are Too Many of Us'

5) 'How Big, How Blue, How Beautiful' by Florence and the Machine (UK Chart Number 1)

Someone who definitely did transition to the big leagues this year was Florence Welch with the release of this album and her headline slot at Glastonbury.  While I'm still not 100% convinced she pinned down the headline slot as well as she could, she certainly gave it her all.  I've liked most of her albums and singles and yet not truly loved very much of it, perhaps because of a sense she's trying too hard that hopefully will diminish now she feels she just doesn't have as much to prove anymore.  This album didn't immediately stand out but there's much to be said for a piece of work that grows on you over time the more you experience it and this certainly did. 'Ship to Wreck' and 'What Kind of Man' were radio-friendly tracks demanding to be taken notice of, but it's the more subtle 'Queen of Peace' and 'St Jude' that are the jewels here - where some genuine emotion pierces through the professionally well-played, sung and produced veneer.  The brass section on the title track is also definitely worth highlighting, so effectively used and too rarely heard in music these days (don't y'know).

Look at: 'St. Jude', 'Queen of Peace', 'What Kind of Man' and 'Ship to Wreck'

4) '+ -' by Mew (UK Chart Number 59)

I'm fully resigned to the fact that if I haven't convinced you to check out Mew by now then I probably never will, so no hard sell here (well, okay, a bit).  At least they outdid Ed Sheehan in naming their album what it took him two albums to do.  That has to be worth something, right?  So if you're hankering for Scandi-angelic vocals, enchanted guitars and soaring electronics then you're in luck again.  That it's paired with some of the heaviest drumming of the year and their usual nordic-noir lyrics helps take any saccharine taste out of the equation. Heck, in parts 'Witness' isn't even sung in falsetto - groundbreaking!  It's one of the highlights here - pounding, restless and full of the staccato drums and guitars they've become (relatively) well-known for.  'Water Slides' is just one of the most beautiful songs of the year (just don't spend too long on the lyrics, okay?)

Look at: 'Satellite', 'Witness', 'Water Slides' and 'The Night Believer'

3) 'My Love is Cool' by Wolf Alice (UK Chart Number 2)

So to the Top Three, and pretty much standing out by a country mile.  First up is the debut from a very well-hyped band (even by me in the Top Ten Tracks of last year) that actually lived up to expectations - and were kept from Number One by Florence by just 500 copies.  That said, it wasn't immediately what I was expecting but it's now all the better for it.  Instead of track after track of scuzzy, brash, female-fronted indie there was strength in depth on display here and a genuine range of emotions to be mined.  Be it the evocative childhood-friend sweetness of 'Bros' - channelling The Cranberries of all folk, or the epic-rock of 'Giant Peach', to the bright and breezy manifesto of 'Freazy'.  That said, there's still more than enough quiet-loud-quiet-loud fuzziness to keep you more than satisfied.  On top of all that, their videos are actually by turns funny and interesting too - which is quite something these days to be honest.  There's absolutely enough here to live up to the hype and plenty of promise for the future too.

Look at: 'Bros', 'Moaning Lisa Smile', 'Giant Peach' 'Freazy' and 'You're a Germ'

2) 'What Went Down' by Foals (UK Chart Number 3)

Oh I SO wanted to give Foals the number one slot.  Their album was probably my most anticipated of the year and the lead single and title track just stoked the anticipation even further.  It gives you everything you want in a comeback - anticipation building, pent up aggression (matched perfectly in the wonderful video) and an explosive, muscular pay-off that, for a live band as good as Foals, makes you salivate to see live.  I haven't yet, but their performance of it on 'Later...' gives you a good idea of what it'll be like.  The contrast between this and 'Give It All' is immense and it's a well-needed breather but doesn't quite match the intensity or funk of the other tracks at their disposal so was an odd choice of a second single - if those things matter anymore, that is.  They seem to have smoothed out rough edges, which is understandable for a band on their fourth album, but it was one of the things that made them most appealing.  Still, in place of that they've delivered their best album and most well-rounded one at that.  There may not be as many high points as on some of their previous efforts but there certainly aren't as many dips.  Not many bands could start a track ('Night Swimmers') on an afro-beat groove and end it on a right old mosh or keep a groove going as well as on 'Albatross'.  Just brilliant.

Look at: 'What Went Down', 'What Went Down (live on 'Later...'), 'Give It All', and 'Mountain at my Gates'

1) 'Matador' by Gaz Coombes (UK Chart Number 18)

So this is why I couldn't bring myself to give one of my favourite bands' best album to date the number one slot.  it would feel far too much like cheating considering Gaz Coombes' second solo album has been my go-to play since January.  How could I cruelly dump Gaz after all his fine service?  I always liked Supergrass even though they stopped being cool as soon as we all heard the piano riff of 'Alright', so I was sad when they sort of fizzled out in the end and never seemed to be given much due by new bands at all.  So the critical success of Gaz's solo effort is that much sweeter considering he's just ploughed his own furrow and let the world come back round to him.  The songwriting here is confident and assured, mixing Supergrass-style melodies with pared-down electronics and sparingly-used church-choral-styled backings.  '20/20' has to be one of my favourite songs for years, deceptively simplistic, almost child-like keyboards and a soaring chorus about what you'd do for love that you'll have nestled in your brain for days afterwards.  That's exactly what led me to the album in the first place. 'Detroit' is just beautiful - I've tried to describe it in more detail but just can't do it justice so that will have to do.  You're given slow and faster tempos over the course of the album but the quality on display never falters.  He turns 40 next year, there's hope for us all!

Look at: '20/20', 'Detroit'

And for a good old round up of tracks from these fine long-players go here and then you can peruse the Top Ten Tracks of the year over here and listen to them and a few others here at no extra cost except your valuable time x

Trotter's Top Ten Tracks of 2015

Where do people hear new music nowadays anyhoo?  Please don't make me listen to the radio; you can't find any decent music shows on tv apart from the odd 'Later...' viewing; I don't want to listen to or read niche music sources, I'd like everything thats good just emailed to me in one easily digestible millennial chunk thank you very much.  Until then, I'm finding searching out decent tracks harder and harder...

All of which is a roundabout way of saying here's a no doubt very limited selection of some of the better tunes I heard this year...you no doubt have yer own!

So, with Best Coast narrowly missing out on the Top Ten with their track 'Heaven Sent' which sounds suspiciously like the Friends TV theme...

10) 'Nobody Really Cares if You Don't go to the Party' by Courtney Barnett 

Previously filed under 'Please everyone stop telling me I should really like her because that's just putting me off giving her a fair crack'.  So...why now?  For starters - what a belter of a title.  Catchy, full of attitude and possibly enough to get me interested.  Though she probably doesn't care...




9) 'Fossils' by Circa Waves  

Remember when we had so much good music we were concerned about indie-landfill?  Well, perhaps these chaps may have fallen into that pit a few years ago but right now a blast of perky, indie guitar from some drainpipe jean-clad, messy-haired scamps will do just fine, thanks.






8) 'Darkest Ocean' by All Tvvins  

Sounding a fair bit like Empire of the Sun or M83 if they'd decided not to release a meandering double-album and gone a bit pop instead.  All Tvvins (no, me neither) have released a spritely, lively little number that only gets slightly potty-mouthed when they get to the chorus.  Yes, there's unfortunate modern-production Bastille-like tendencies to overlook, but 'tis the season of goodwill after all.  Have you also noticed that the new loud-quiet-loud sound for bands is keyboards rather than guitars?  Not like in my day etc...


7) 'Weathered' by Jack Garratt  

Releases a fine single, catches my ear, lodges a place in my top ten and then he goes and spoils it all by doing something stupid like winning The BRITs Best Newcomer Critics' Choice Award.  Tut!

I'd like to think his brand of sensitive-male-solo artist balladry leans more towards the skittery beats of The Xx and Alt-J than Ed Sheeran mind.  But time will tell.


(I'm not selling these very well am I?)

6) 'The Wolf' by Mumford and Sons  

Speaking of which, will this be this year's equivalent of the Mariah-moment that lives on in infamy among seasoned TTT-readers?  Possibly, though Mumfords did get in the TTT's before with their first single so I suppose I've got form.

'The Wolf' though, doesn't sound like them - as was proved when I fatally heard the track on the radio without knowing who it was and then, when I found out, it was already far too late.  How was I to know...it has electric guitars and not a banjo in sight!  And when a tune makes you think of Sugar and not twangy, beardy hipsters with their annoying trust-fund girlfriends then that's a step in the right direction isn't it?

5) 'Take Me to Church' by Hozier  

'Oh, Elton's released a pretty good tune, hasn't he?....What, it's not Elton.  Sounds like him!...In that case, it's just a poor copy, isn't it?  Not so keen...It's being played everywhere, sick of it but it is growing on me again...What do you mean it's about sexual equality?  May listen to the lyrics then...Oh, it's rather good isn't it...and the video's fairly powerful...and it's being used as a protest song against the likes of those good Christian public servants like Kim Davis who refuse to do their jobs, yet they think it's written for them...isn't it great.'

...was pretty much my thought process on this.

4) 'Like an Arrow' by Lucy Rose 

Sometimes twee can be bloody kick-ass too, y'know.  Inoffensive as it seems this is one of those tracks that'll bury its way into your brain and not let go.  Some fearless jumping off cliff edges by Lucy in the video too - and when was the last time you saw Marcus Mumford do that, eh?






3) 'Dreams' by Beck  

One day our favourite Scientologist woke up and thought he'd capitalise on all that Grammy-based goodwill he'd earned from his Morning Phase album and write the next iTunes advert soundtrack and coin it in.  Except the ad doesn't exist and there's an undercurrent of an anti-corporate tirade about crushing dreams, with sweary-bits, wrapped in the most chart-friendly emperor's clothes yet.  But he still made it. and. it. is. marvellous.



2) 'I Followed You Home' by Eliot Sumner 

80's-style power keyboards kick it off, building the foreboding tempo, then guitars crash in, adding to the uneasy, dangerous atmosphere that fits perfectly with the song's stalker lyrics.  Then Eliot starts singing and, if you're slow on the uptake like me, you'll think the voice sounds familiar, especially the 'ooo-ooo-ooo's - maybe the accent? but not realise who it is.  Then you'll check the surname, watch the video and realise there's a lot of the father in the daughter and then it'll dawn on you you've fallen in love with the new single from Sting's daughter.  Huzzah!



1) 'King' by Years and Years  

So if the theme of this year's TTTracks is stumbling accidentally upon tunes you'd usually not even consider, this is probably the opposite.  I spent most of the year hearing or reading about Years and Years but never getting round to listening to them, not even when this had been number one.  Wasn't until watching Glastonbury that I finally got to see what a good live band they were and that they were making unashamedly joyous pop music.  In fact, their penchant for a good tune is so great that you could have easily also had 'Shine' as your number one for this year too.  But never mind all that, they sealed it with a frankly camp as Christmas bizarre-bonkers performance  on Strictly.  I mean, who doesn't want to see their tune of the year used to soundtrack a scenario where Brendon Cole sexually harasses several female dancers in a typing pool???

And on that note...

If you fancy a listen to this little lot and a few more besides...head on over here why don't you?