10) 'Record' by Tracey Thorn (UK Chart Number 15)
Breaking back into music after carving a niche as a witty, wry columnist, Tracey provided some great tunes and turns of phrase here, not straying too far from her earlier Everything But the Girl days. She also provides a lesson in economy and brevity that a lot of people (er...me included) could learn from. 10 songs, all one word titles, name your album 'Record' and exit.
Look at: Queen, Sister,
9) 'The Blue Hour' by Suede (UK Chart Number 5)
Another return to the limelight, although being the third in a mid/latter-stage career trilogy, less of a surprise in terms of how good they can be. 'The Blue Hour' served to remind people who may have forgotten just how damn good Suede are musically, lyrically and visually. There still aren't too many people fronting bands better than Brett Anderson, especially nowadays (apologies for sounding like your Dad). Although titles like 'Flytipping' tick the 'very-Suede-like' box, as does their return to the suburbs that created them, this wiped the floor with most albums of supposedly fresher, newer talent.
Look at: Wastelands, Life is Golden.
8) 'Honey' by Robyn (UK Chart Number 21)
Yet another return, avidly anticipated by her obsessive fans, which delivered even for the slightly less obsessed. Nothing as pure pop as career highlights like 'Dancing on my Own', 'With Every Heartbeat' etc. but proof that a pop landscape without Robyn is just rather dull. Wearing 80's and 90's influences on puffer-jacketed sleeves (even getting a bit of Crystal Waters in there) 'Honey' enabled Robyn to show her inventiveness and how best to be sad while dancing all over again.
Look at: Honey, Missing U.
7) 'Broken Politics' by Neneh Cherry (UK Chart Number 76)
There are some younger artists coming up soon, I promise. But this year just seems to have been a really good one for long-established acts to come back and remind you how special they are. Neneh reunites with Nellee Hooper here and, although acting her age on a more laid back and mature record, still sounds current and that she actually has something worthwhile to say. Extra points for name-checking Streatham ice rink too.
Look at: Kong.
6) 'Confident Music for Confident People' by Confidence Man
See everyone, youngsters! Well, relatively speaking at least. A debut album for people who just wanted to hear fun, bouncy upbeat tunes and forget how absolutely horrific the world is right now and who didn't care that this song sounds pretty similar to the last one. Song quality being very high though, means that similarities don't really matter. Just sit back and let 'Boyfriend (Repeat)', 'Don't You Know I'm in a Band', 'C.O.O.L Party' and the rest wash over you - or jump about to them instead. Never have the troubles of beautiful, famous people sounded so good. As rollickingly joyous as Basement Jaxx in their prime.
Look at: Better Sit Down Boy, Boyfriend (Repeat), Don't You Know I'm in a Band.
5) 'A Brief Inquiry into Online Relationships' by The 1975 (UK Chart Number 1)
Certainly not everyone's cup of tea, but you have to admire The 1975 and Matt Healey in particular for at least trying to represent the best of what being a modern, inventive, just plain interesting band in Britain can be like these days and putting most people to shame in the process. Their modern take on 'Fitter, Happier...' here - the Siri-voiced 'The Man Who Married a Robot' has drawn 'OK Computer' comparisons in the music press which I think are over-reaching a bit, but such is the inventiveness here that there's more than a couple of 'Kid A' like moments on display too. Admirable in its ambitions, lyrically brutal openness and high up the list for its catchy tunes.
Look at: Give Yourself a Try, TOOTIMETOOTIMETOOTIME, The Man Who Married a Robot.
4) 'I'm All Ears' by Let's Eat Grandma (UK Chart Number 28)
Perhaps not a coincidence that The Horrors frontman had a producer role here, given that 'I'm All Ears' is perhaps the best leap forward in a second album since their own 'Primary Colours' ten years ago. Taking the best bits of Churches and Lorde and 'maturity beyond their years' inevitable labels and mashing it up into a wonderful album which genuinely does reveal more upon each listen and so takes down the modern immediate need for gratification. 'Falling into Me' in particular covers lots of different musical ground and perfectly leaves each one at the exact moment you want more - and that's just the one track. High hopes for this pair.
Look at: Hot Pink, It's Not Just Me, Falling Into Me.
3) 'Call the Comet' by Johnny Marr (UK Chart Number 7) Another tip for the future, this guy can really play guitar, everybody! Providing a respite for every Smiths fan's hopes for their legacy and enabling you to hear their songs live again without subsidising a racist, being a genuinely sound bloke and starting to make songs that stand up to some of his former bands' back catalogue. The opener 'Rise' is probably my favourite Track One of the year. As Alan Partridge would say though 'Give me an Electronic revival, y'shit!"
Look at: Spiral Cities, The Tracers.
2) 'A Poem Unlimited' by U.S. Girls At first listen this was the album I've always thought Kylie might make if she did genuinely ever 'go indie'. Breathy, sensual vocals that bring her to mind and Lana del Ray too. There's a lot going on musically here though, so it's not all dependent on the ingenue-style vocals, lots of different styles and eras are conjured up but perhaps Motown / Wall of Sound more often that any other. All of which clashes against the sort of lyrics you don't associate with those eras and instead brings it fully up to date in the Me Too era of today. Just a shame it's taken me seven albums to find them!
Look at: Velvet 4 Sale, Pearly Gates, Mad as Hell.
As anticipated, if not moreso, than Robyn's return in 2018 was that of Janelle, thanks to a series of headline-friendly interviews and statements about the US political climate, gender politics and that state of music in general ahead of the album's release. Add to that a double A-side single drop, rumours of a relationship with equally on the rise actress Tessa Thompson and videos for every track, then the album itself was in danger of being well overshadowed. A collaboration with Prince tragically never materialised before his death but did result in the tribute 'Make Me Feel' which triumphed when it all could have gone so wrong. It really didn't. A strong, but not over-stretched concept, the range of music styles is so impressive and the talent undeniable. As strong a singer and rapper hasn't been showcased so well for years (hello Neneh) and song of the year, the duet with Zoe Kravitz 'Screwed' (used in every sense of the word) served as a reminder of how music can directly respond to the world around it. It also gave us a reason to forgive Zoe's dad everything. And who can argue with an artist who can come up with the line 'Hundred men telling me to cover up my areoles, while they blocking' equal pay sipping on they coca-colas', frankly.
Look at: Django Jane, Make Me Feel, Americans (live).
And finally, listen to several of the best tracks from each of the Top Ten here. Or for those of you with gnat-level attention spans try this 'one from each' playlist instead.
See you in 2019.
