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.
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!
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.
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...
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