10) 'Wow' by BeckGalloping 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.
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.
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.
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.
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!
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 1975I'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.
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.
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