Trotter's Top Ten Albums of 2017

A brief little list for now, three words or less...

10) 'American Dream' by LCD Soundsystem - Comebacks are worthwhile

9) 'Something to Tell You' by Haim - Harmonies for days

8) 'Weather Diaries' by Ride - Showing them how

7) 'Everything Now' by Arcade Fire - Everything not perfect

6) 'Visions of a Life' by Wolf Alice - Guitars aren't dead

5) 'V' by The Horrors - Gothic Gary Newmans

4) 'Colors' by Beck - Maxing on Pop!

3) 'Visuals' by Mew - Elfin Danish bliss

2) 'I See You' by The Xx - Exploring the dancefloor

1) 'Melodrama' by Lorde - Bowie was right

And a little bit of Spotifying the best of the year here

Trotter's Top Ten Albums of 2016

10) 'A Moon Shaped Pool' by Radiohead (UK Chart Number 1)

First album in five years from the boys; one which sounds as far away from the big impact of the news of its surprise release as it possibly can.  Rather muted and subtle and another indication that they aren't going to be remaking 'The Bends' anytime soon.  Sometimes it's a bit too stripped back and moody for its own good - such as on the disappointing 'True Love Waits' which we've been waiting for years to hear on an album.  But, when they go into dark, unsettling areas such as on opener 'Burn the Witch', that's when they conversely shine.  Standing out also for its incredible Trumpton-meets-Wicker Man video (below) it wouldn't be out of place sound-tracking a horror movie about giant spiders...and I'm sure that's what they were going for.

Look at: 'Burn the Witch', 'Decks Dark', 'Full Stop', 'The Numbers'

9) 'The Bride' by Bat for Lashes (UK Chart Number 9)

Although Natasha Khan's concepts can sometimes come off a bit too much like a BTEC drama student trying to emulate her teacher Ms Bush, when they do hit the mark she's a force to be reckoned with.  Thankfully, on 'The Bride', a concept album about a bride left at the alter as her betrothed dies in a car crash (i.e. not all cheery pop songs) she mostly pulls it off.  The pulsing electronic of 'Sunday Love' is a highlight, where the groom-to-be meets his end as is the haunting 'Close Encounters'.

Look at: 'I Do', 'Sunday Love', 'Close Encounters'

8) 'Anything But Words' by Banks and Steelz (UK Chart Number DNC)

Well I don't think even die-hard fans were asking what a collaboration between Interpol and Wu Tang would sound like, but in 2016 - the Year of Taking Away - we got given an answer.  Paul Banks and RZA, bonding over their mutual love of chess (and obviously not drugs and super models), started making sweet, sweet music together.  And while it can be a bit 'rap the verse, then have an Interpol chorus by the numbers' reminiscent of Jay Z and Linkin Park *shudder* they do come up with some gems that are far more than the sum of their parts.  Case in point, the opener 'Giant' which is reason enough for them to have gone into the studio; and also when they pull in even more collaborators (Florence for 'Wild Season' and the scene-stealing Kool Keith for 'Sword in the Stone').  A giant surprise in a miserable year.

Look at: 'Giant', 'Wild Season', 'Ana Electronic', 'Love and War'

7) 'Super' by Pet Shop Boys (UK Chart Number 3)

Just like New Order before them last year, Neil and Chris pulled off something of a surprise return to form with the second electronic-only long player of a trilogy produced by Stuart Price.  Although it's tricky to pick apart what makes a long-standing band move from making fair-to-middling, not as good as their hey-day tunes to something much better, it may just be an embracing of the past, the right producer at the right time and, critical to them in particular, a tapping into the lyrical well that stood them apart from their contemporaries in the first place.  'The Pop Kids' both references themselves in their prime and the sheer, timeless joy of going out and listening to music, the huge tune behind floor-filler 'Burn' which two 50-somethings pull off with ease, whilst 'The Dictator Decides' takes the unusual story of a weary dictator's inner monologue and is possibly my favourite lyric of 2016.  Seeing them live only cements what a great band they've become; and that some of these tracks can stand alongside some of their best and not be at all embarrassed.  Super.

Look at: 'The Pop Kids', 'Burn', 'The Dictator Decides', 'Happiness'


6) 'Red Flag' by All Saints (UK Chart Number 3)

This is all getting rather retro, isn't it?  So while more column inches were devoted to a possible Spice Girls reunion (which by my last count is down to Baby, Scary and a Ginger wig) their rivals' return got rather overlooked.  This was a shame because they came up with a credible modern pop/soul album that benefitted from their ages rather than battled against it.  Although what press they did get seemed to focus too much on splits from famous parker-wearing exes, if it helped shift a few more units, why not?  'One Strike' was about as good a return as you could hope for and would easily be in the Top Ten Tracks list if not for The Rules (tm).  As a songwriter Shaznay Lewis was always under-rated so it's good that finally they can be judged on that rather than much else.  'Pieces' is as reminiscent of 'Pure Shores' as can be allowed and they even manage to just about skirt syrupy-ballad territory with 'This is a War's edginess.

Look at: 'One Strike', 'This is a War'

5) 'Chaleur Humaine' by Christine and The Queens (UK Chart Number 2)

Let's face it, to pull off interpretive dance you probably have to be French don't you?  There's something rather refreshing about having an artist 'break through' with a two year old album but that's exactly what Héloïse Letissier did.  Whether it was the scene-stealing performance at Glastonbury this year, the 'very current' tapping into gender-fluidity or just because good tunes don't have to be sung entirely in English to do well, there's not anywhere near such a tender and beautiful collection of songs than here.  She even had the dubious honour of being the artist Madonna wanted to cosy up to in order to appear relevant this year.  Bonne chance!

Look at: 'Tilted', 'No Harm is Done', 'Jonathan', 'Saint Claude'

4) 'The Hope Six Demolition Project' by PJ Harvey (UK Chart Number 1)

Polly continues her examination of war and its effects on this album, this time focussing more on the people left behind (both at home and in war zones) rather than on the battlefield itself as on her award-winning previous effort. Although at times there's a risk of repetition, on the likes of 'The Wheel' in particular she displays some of the strongest guitar work she's employed in years.  Once again the lyrics are equally well written, particularly on 'The Community of Hope's 'they're gonna build a Walmart here' answer to US social policy of spending your way out of poverty with zero-hour contracts.  Live, she is as powerful as ever, turning the band into part wandering minstrels documenting stories, part funereal marchers.  Again, the was another Glastonbury highlight, the only question being will she continue being the most high profile war correspondent or take another left turn?

Look at: 'The Community of Hope', 'The Wheel', 'The Ministry of Defence', 'Medicinals'

3) 'Curve of the Earth' by Mystery Jets (UK Chart Number 30)

Okay, I know I still can't make everyone love Mystery Jets as much as I do, but I'm going to keep trying, 'kay?  At least their latest long player reached the giddy heights of the Top 30 (just) so maybe I am wearing folk down.  They continue to make some of the best guitar-led pop under the sun and seem ignired by public and critics alike.  I mean, they call the catchiest track on their album 'Bubblegum', include the catchiest chorus of the year on it and include a keyboard riff straight out of Dire Straits 'Walk of Life' and you still don't buy it? WHAT IS WRONG WITH YOU PEOPLE!*

*vid for Bombay Blue also includes a monkey!

Look at: 'Telomere', 'Bubblegum', 'Bombay Blue', 'Blood Red Balloon', 'The End Up'

2) 'Blackstar' by David Bowie (UK Chart Number 1)

I'm not sure I can say anything more than other reviewers will / have probably said already.  That such a massively influential artist with a career spanning five decades could compose as great an album at this stage in his career, release it by stealth and all the while know it would be his final word is astonishing.  For people to have only a few days to evaluate it as such a strong work before realising the importance of it is pure class.  It's wrong to pretend that every move Bowie made was incredible, ground breaking art but it's fair to say that this is.  Unfortunately I didn't have the pleasure to listen to it before his death, so I'll always be evaluating it thinking I may be elevating it above its station.  But in more basic terms, Bowie made me like songs heavily influenced by jazz, for crying out loud!  To listen to 'Lazarus' and the opening 'Look up here I'm in heaven, I've got scars that can't be seen, I've got drama can't be stolen' and be moved every time is his final legacy.  'Blackstar' itself is just stunning, taking influences from every facet of his career.  His death set the tone for 2016.  We should treasure those artists we love just that little bit more because of it.

Look at: 'Lazarus', 'Blackstar', 'I Can't Give Everything Away', 'Dollar Days'

1) 'Adore Life' by Savages (UK Chart Number 26)

Oddly enough the album keeping me from crowning 'Blackstar' number one probably wouldn't be in the top spot without Bowie dying and the year that we've had.  In any other year it may well have been the reverse, but no other record can possibly sum up 2016 and my reaction to it as well as 'Adore Life'.  Yes, Savages second album is very much like their first, but then I also made that number one in its year too.  If anything Savages have just got better at being themselves and picked the perfect time to do it.  The songs on 'Adore Life' just bristle with both negative and, crucially, positive energy.  That their message often comes wrapped in darkness; angry, brutal lyrics and blistering tunes is just the surface aspect to their work.  It's obvious they care so deeply about every aspect of their craft - from the lyrics, to music, to their incendiary live performances and style - they are passionate about what matters - exemplified by the hugely uplifting 'Adore'.  And, timely for 2016, a kick in the teeth to complacency and apathy.  They're the wake-up call we need going into 2017...

Look at: 'Evil', 'Adore', 'T.I.W.Y.G.', 'I Need Something New', 'Surrender'

And for a good old round up of tracks from these fine long-players go here.  You can also savour the Top Ten Tracks of the year over here and listen to them here.  Here's to a good-sounding 2017!

Trotter's Top Ten Tracks 2016

What a lovely year 2016 has been - said no-one ever.  And though you could easily do a Top Ten of all the artists that have departed us this year (too, too many talented, likeable individuals that I'm not going to name as I'll only leave someone incredible out) and a Top Ten of horrible people that have profited, clawed and lied their way to power in spite of predictions and anyone decent's will; both those lists would be a tad depressing I think.  So instead, let's stick to the comfort of what we know and crack on with the Top Ten Tracks of the Year.  Not a bad bunch, all told - and at least an hour of diversionary music to take our mind off all the crap.

10) 'Wow' by Beck

Galloping back to his Odelay days with bonkers lyrics aplenty ('Girl in a bikini with the Lamborghini shih-tzu' anyone?), 'Wow' is Beck's version of Ginuwine's 'My Pony, basically.  All sexy pop songs should have at least one 'giddy up' in them.  Continuing on from last year's 'Dreams', it seems his new album will be more Prince-inspired 'Midnite Vultures' than his more thoughtful, string-laden (and award-winning) output of recent years.  Shame the album was delayed until next year, mind.


9) 'New Song' by Warpaint

About two albums ago I stopped wishing that Warpaint would focus on making a perfect three minute pop song (refining their rough diamond that was 'Undertow') and just started appreciating them for what they are - crafters of moody, trippy atmospheric sounds that occasionally burst into the most catchy (can I say groovy?) tunes imaginable.  So while their latest album continues that trajectory, its stand-out track is the (not a cover of Howard Jones) 'New Song' complete with catchy rhythm, catchy chorus and catch verse.  It proves once again that they can write catchy if they want to, just usually they don't.

8) 'As Long as We're Together' by The Lemon Twigs 

The Lemon Twigs are that quintessential type of band; the act you start h earing about as the next over-hyped big thang, see pictures of on the cover of the NME (before it became a free fashion magazine obviously) and just want to really, really punch in the face.  All before hearing any of their tunes.   Unfortunately, they are actually rather good despite (or completely because of) their maxed out '70's glam styling and posturing rubbing against their uncool '70's influences.  They still should probably be punched in the face though.  Time will tell if they are more Menswear than Horrors, but until then enjoy their polarising arrival.

7) 'Shivers' by SG Lewis (feat JP Cooper)

Honestly, Shivers is very much of its time - '90's (now '10's I suppose) house piano intro, soulful vocals and a bass played through the person next to you on the bus' headphones.  Despite all those unoriginal parts, its sum is a good tune, and quite appropriate for a song celebrating quality, classic music and the effect it can have on people of all ages.  Worth remembering and celebrating now more than ever.  Oh, and finger clicks.

6) 'On Hold' by The xx 

A perfect response to people who doubt the importance of band members' side-ventures.  'On Hold' seems to take the best of Jamie xx's solo debut from last year with The xx's 'usual' sound, which, if I'm honest, may have been in danger of getting a bit repetitive.  Instead we get a fresh take on the familiar which bodes incredibly well for January's third long-player.  Not convinced with the Saturday Night Live overly laboured and self-conscious 'guitar-dancing' mind you which just screams 'US label's A&R insist you move about a bit more' if you ask me.

5) 'Easy' by Hinds 

I rather like '90's indie, you know.  And with that amazing revelation come Hinds, all L7 attitude, Throwing Muses / Belly soundings and, on 'Easy' at least, some brilliant tempo-changing, squalling Pavement-style guitar histrionics (if histrionics were sometimes actually quite laid back).  You probably shouldn't watch their video if you think talking with your mouthful is the height of uncouth, however.

4) 'Dark Child' by Marlon Williams 

We all need a good cheering up this year, don't we?  What better way than to put at number 4 a father's song about his dead son - hurrah! 'One day all this could be yours if you only had the will to outlive your mother and I' isn't quite the chipper boost we need though is it?  And yet, when the song's plaintive tempo bursts midway through into an almost euphoric call to action and Marlon's spookily similar Orbison croon kicks in you can't help feel just that little bit hopeful.  Great video too, perhaps commentary on the five stages of grief or perhaps just stylish nonsense.  Hurrah!

3) 'Your Best American Girl' by Mitski 

Mitski may very well be a genius, or, if that's hyperbole, at least more deserving of our attention than say, Lorde.  There's a lot to compare on this (I guess at least when it starts) ballad to PJ Harvey at her most tender and then, via an inspired, crunching, squawling feedback-drenched mid to end section, PJ at her most visceral.  The video cements the comparison too, particularly the guitar-wielding,  dark/white light shifting section reminiscent of the Sophie Muller directed 'This is Love' right on down to the fourth wall breaking studio setting.  Still, if you're going to be compared to anybody...

2) 'The Sound' by The 1975

I'd be able to retire today if I'd put a bet on that, 27 years after Professional Geordie Couple Denise Welch and Tim Healy (tm) had a child, he would be the best thing about British pop.  And yes, that's partly down to a lack of any serious competition in the slightest (the equivalent of a col bath of custard that is Bastille?? We're even having to dig up Craig David FFS) but also down to their new tunes, knowing arch video neatly splicing actual, savage critic quotes (most of which I agree with) of their last album with a 'band viewed in a box' scenario and Matt Healy's part-Hutchence, part-Molko frontman performance.  Still won't convince me to try their first album, though.

1) 'Pillowtalk' by Zayn

I can't say I ever really followed One Direction after their reality tv creation and I'm really not sure why given my liking for all things poppy.  But I knew enough to have thought that Zayn quitting and going solo was either going to be him doing a Robbie ('bad boy' leaves band, becomes surprisingly successful') or just falling flat on his face (any member of Blue).  But single of the year, really?  Yep.  Sparse, stuttering and sultry production, heartfelt and not 'boyband by numbers' vocal delivery, completely different to anything around at the time (and that includes from supposedly more creative souls), the compulsive earworm of 'it's a paradise and it's a warzone' that you can't shake off and a naughty word thrown in to boot.  An unashamed classic.

You'll obviously want to look back fondly on the lovely, heart warming year that was 2016.  So to take you back to all those brilliant moments, why not listen to its soundtrack here.