Trotter's Top Ten Albums of 2019

Well 2019 was pretty awful wasn't it? I suppose music was one of the thankful distractions from the continual hellfire, with some very good releases and a lot of decent efforts - the strength in depth of the bench was strong, even if we didn't have many legends up front (end of sports analogy). So there's a few contenders who just missed out here, amongst some of the tracks of the year, as well as those that did make the cut...


10) 'Brutalism' by The Drums (did not chart) 

I know, right? Who even knew they were still around? Reemerging following a shake-up that saw The Drums essentially become a solo act, Brutalism is a mellower, more contemplative record but which still manages to sound enough like there debut so as not to be too much of a departure. A more stripped back, honest sounding collection of songs, riding the waves of both the Noughties and the Bontempi comebacks.

Look at: Body Chemistry


9) 'Kind Heaven' by Perry Farrell (did not chart) 

An even longer comeback you didn't know you needed until you heard it, the first solo album proper from the former Jane's Addiction frontman for 18 years (gulp!). Sounding more relevant than any 60-year old has any right to, Perry undoubtedly is tapping into indie-kids of a certain age nostalgia (hello!) for charismatic, rock figureheads, but still sounding fresh with orchestral string arrangements on 'More Than I Could Bear', dance rhythms on 'Spend the Body' and a (frankly well-timed) 'Let's All Pray for this World' which closes the album on a elegiac high, free from his usual atonal delivery.  Personally, 2019's best musical surprise. 

Look at: 'Let's All Pray for this World'

8) 'Psychic Data' by TVAM (did not chart) 

Unfortunately not the long awaited debut album by Anne Diamond and Nick Owen you were hoping for, but something almost as weird and wonderful.  Strictly speaking this is over a year old, but when you stumble across something as good as this in January and it still stays on your most frequently-played list then it needs to find a place in the Ten. Frankly, it is good enough for the dirty, incessant riff of 'These Are Not Your Memories' alone. But Psychic Data manages to be psychedelic, goth, hardcore, rock and 'forgotten theme tunes from 1970's educational daytime tv programmes' all at once - the genre you never knew you needed.

Look at: 'These Are Not Your Memories' and 'Narcissus'

7) 'Inside the Rose' by These New Puritans (did not chart)

If you've ever said 'I'd really like an album that opens with Depeche Mode's 'Enjoy the Silence' at half speed' then do I have the album for you! Another atmospheric, other-worldly offering from the Barnett twins, where previous efforts haven't quite hit the mark with me, Inside the Rose comes probably just at the right time when an unsettling, off-kilter experience isn't too different to the everyday world we're living in at the moment. 'Infinity Vibraphones' is probably the best thing they've done, twisting and turning throughout its six and a half minutes and setting the tone for what's to come, if that can be done given how eclectic it all is. 'Where the Trees Are on Fire' uses a brass section to beautiful effect and then 'A-R-P' sends you off somewhere else completely with its clattering, tribal climax.

Look at: 'Where the Trees Are on Fire' and 'Beyond Black Suns'

6) 'Late Night Feelings' by Mark Ronson (UK Chart Number 4) 

Say what you want about Mark Ronson (I know you will) but he sure can pick female collaborators.  Amy Winehouse was the obvious prime example, but on Late Night Feelings you have him bringing out the very best in Lykke Li, Alicia Keys, and - in possibly the track of the decade - Miley Cyrus in the appropriately heart-breaking 'Nothing Breaks Like a Heart'. And if someone can do that for me with a country track then he deserves all the accolades going. If you don't believe me listen to this live version. He also showcases rising talent like Yebba and King Princess to great effect.  

Look at: 'Nothing Breaks Like a Heart', 'Late Night Feelings' and 'Don't Leave Me Lonely'


5) This is not a Safe Place' by Ride (UK Chart Number 7) 

Yes, yes, not exactly making it hard for anyone to guess my age/musical leanings etc. but bear with me.  Ride's second comeback album starts with 'R.I.D.E.' a tune so utterly bonkers for them that I laughed when I first played it.  The dance-leanings of this opener hints at what Mark Gardiner might have done with his solo career but it also clearly signals they're not going to be regurgitating past glories here. True, they do venture into more familiar territory later on, but it's a refreshing take on their sound overall with, as with their comeback album proper of a few years ago, you can see at least a handful of these tracks standing up for themselves on tour with all their classics.

Look at: 'Future Love'

4) 'Hypersonic Missiles' by Sam Fender (UK Chart Number 1) 

The BRITs may be criticised for their MOR Critics Choice winners but you can't argue they don't pick winners (or that winners are picked, I suppose). What puts Sam Fender nearer the Adele/Florence side than, say, the Sam Smith/Ellie Goulding end is there's an authenticity to him that you can't manufacture.  If he hadn't got so big, so quickly you could easily see That Sound being played alongside more 'credible alternative' acts with its timeless guitar lines and pained intonation. That he's articulate, writes all his songs, is from the north east (bias alert!) and actually writes about a variety of thorny topics sets him apart even more - none more so on Dead Boys about the until recently not discussed prevalence of young male suicide in the north east. What's going to be more interesting is what he does next...

Look at: 'Dead Boys', 'Hyper Sonic Missiles', 'That Sound' and 'Play God'

3) 'Grey Area' by Little Simz (UK Chart Number 87) 

Further exemplifying artistic authenticity, Little Simz produced the breakthrough of the year for me. Her Mercury Prize nomination no doubt brought her to the attention of far more people than just me, who had no idea she'd been around for the whole of the decade (...she was robbed, btw).  But the impact of Grey Area and the assuredness of her sound and production was a breath of fresh air.  Taken as a whole, no-one has come as close to  Tricky's seminal debut as she has in terms of darkness, distortion, message and clarity. Even the silences and spaces here seem to add to the atmosphere produced, the album working as a complete whole and also a series of distinct set pieces. There's all sorts going on here, rap, soul, blues/jazz, dub/trip hop - all blended expertly.  101FM is her calling card and one of the best summaries of what an artist is all about in ages.

Look at: '101FM', 'Offence', 'Boss' and 'Selfish'

2) 'Everything Not Saved Will Be Lost (Part 2)' by Foals (UK Chart Number 1) 

The first act to fall foul of the rule normally applied to tracks (only one entry per artist), Foals released two albums (supposedly two halves) in 2019 and their second was thankfully their best.  I say thankfully, as ENSWBL Pt1 was good and probably would've featured somewhere lower down the Ten, but what could be worse than the anticipated second half being not as good as the first? Part 2 has two of the fiercest songs of their career, which is pretty fierce given their track record, in (appropriately) Black Bull and 'The Runner' which happens to be the loudest and yet catchiest they've managed - and the guitar noodling at four minutes in is sublime.  It ends with the melancholic, dream-like 'Into the Surf' and the majestic, epic of 'Neptune' - the album closer that sees the world overcome by its climate and washed away. This was the band's long overdue first number one album, but ironically I just couldn't place it there myself...

Look at: 'The Runner', 'Into the Surf' and 'Black Bull'

1) 'Remind Me Tomorrow' by Sharon Van Etten (UK Chart Number 30) 

Instead, that honour goes to Sharon Van Etten, an artist who I was more familiar with acting in The OA (rest in peace, fine tv show) than as a musician.  Because of that fact, her shift in 2019 to a more electronic/keyboard sound didn't impact me as it may have done her die-hard fans (not sure if it was of Dylan-esque proportions or just a gradual shift in tone).  Nevertheless, we can once again chalk up Glasto armchair watching to have really got me into yet another superb artist - see some of that right here.  The absolute highlight of the album, 'Seventeen', is such a joyous yet reflectively heart-rending track that it would perfectly soundtrack any number of '80's Kevin Bacon-starring teen movies when the protagonist finally achieves their goal and runs into the sunset - it is such a good tune and the video is everything you could wish for, especially at the climactic, screamed 'Afraid you'll be just like meeeee'. 'Comeback Kid' is a driving, anthemic electronic slice of cold perfection (and takes its place with several fine songs with that title). Although the album itself is far from one-note, there's a steely defiance throughout all of the tracks, sometimes sad, sometimes angry, reflective, even joyous in parts but never defeated.  Maybe that's the reason 'Remind Me Tomorrow' has resonated so much with me recently - we all will need a bit of that attitude as we head into 2020 - *punches the air with fingerless gloves*

Look at: 'Seventeen', 'No-one's Easy to Love', 'Comeback Kid'

You can listen to a fine selection of these albums over on Spotify here.

Random TTT Tracks of 2019

Ahead of the main course, a few tasters of the best tracks of 2019 and tunes from artists who didn't quite make it into the top ten albums...here

Includes Billie Eilish, Lizzo, Sigrid, SOAK, Drenge, Fat White Family, Lana Del Rey, Bat for Lashes, Jade Bird and Jenny Lewis.

If I had to encourage you to listen to one, rather than the more famous Bad Guy and Juice, I'd probably suggest the rather sublime SOAK's 'Maybe' with it's absolute instant ear worm of a chorus but which inexplicably wasn't even a single! You can take a horse to water...

Game of Thrones - a few finale thoughts...

Well, overall a satisfying ending with some great moments, characters served well (and some salvaged from crap treatment throughout the last two years) but also some idiotic bits - so, in summary, very Game of Thrones.

Obviously, I’ve made lists:

S

P

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L

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What I liked

Well no-one got to sit on the Iron Throne (thanks Drogon for inexplicably realising it was the thirst for the entitlement-driven, monarchistic patriarchy that actually killed Dany and melting it’s primary symbol). Clever things those dragons. And a lovely shot flying off with Dead Dany in the end.

“Sit down, uncle”.  Sansa’s glance back at his chair and smile - Ned would be so proud.

Robin Arryn, with all the other lords and ladies at the Dragon Pit, all growed up and demonstrating, like Tormund, that breast feeding really works!

“Why do you think I came all this way” **shudders at the thought of this being Bran’s plan all along** (it wasn’t, but still, keep creeping Bran!)

The 1.2M nerds who signed the petition for HBO to reshoot the entire final season get  their wishes when a different member of the cast goes crazy and starts burning people...coming soon to cinemas in X-Men Dark Phoenix

Bran was on an Iron Throne all along - boom,boom

The fascistic Targerean flags hanging at a ruined Kings Landing and that superbly crafted image of Dany walking towards the camera while dragon wings darkly unfold behind her

The chair dragging scene in the Chamber, harking back to one of the show’s funniest moments involving Tyrion

Sansa generally coming out on top and Sophie Turner doing such a great job. Including not being interested in ruling the seven kingdoms when she had the opportunity to pitch for it, but securing her homeland’s independence. She literally rules!

The final ‘Starks walk off into their futures’ scene (no offence Bran!).  On second watch, realising we’d seen them all do this before (Jon in the north with the Wildlings, Sansa crowned as a Queen and Arya sailing nervously and expectantly into the unknown) but that now they were doing so as completely transformed characters.  A really nice, poetic call back to previous seasons.

Ghost is a VERY GOOD BOY!!!

What I didn’t like

Bran becoming king. People trusting the guy who can see everything but chooses to say nothing (I mean at least tip your future subjects off - including your sister and future Hand - when they’re in a crypt of full of dead freakin’ bodies!)...oh and we’re all okay with him being Bran the Broken 😧

Tyrion saying Bran had the best story when the super-assassin, Night King killing, face-changing Arya is sitting RIGHT THERE!!!

Bran not doing much of anything - was sure he’d warg into Drogon eventually

The male writers choosing Jon and Tyrion mansplaining Dany’s actions for 10 minutes rather than having her do it and having previously hardly seen her at all in the previous episode - second biggest fail

The biggest fail: Crying almost as much as Tyrion when he found his dead siblings - but more for their completely butchered storylines and especially Lena Headey’s lack of anything to do this season.  The real criminal act of writing this year on GoT.

That Dany’s death is in the lukewarm embrace of Jon, as both actors try to fight their way out of a paper bag - their complete lack of believable chemistry really stopped the show being great in the last couple of seasons

Grey Worm being...horrible. But then going to Naath anyway...without Missandei 😩serves us right for presuming he’d die and not wanting that to happen.

No word on a Jon and Tormund Brokeback Snow Mountain spin off sadly!

10 Thoughts on Thrones

Not that I'll be doing this every week, but as it's a bank holiday, 'the things you do for love' indeed:

1) A Tale of Two Episodes

While the season opener 'Winterfell' was intent on providing multiple callbacks to the very first episode as fan service (and was therefore hit and miss depending on how many you noticed) the second ep's fan service was intent on paying off practically every reunion you wanted to see before everyone dies horribly* next week.  What could have been just an hour ticking off scenes from that list was prevented from being anything but thoroughly enjoyable by the quality of acting, shared chemistry (mostly) and simply showcasing how far the characters have come (and how much history they have between them).  Even if it does seem very un-GoT to be giving us, the audience, what we want after years of seeing various Stark reunions thwarted by deaths, weddings, hideouts etc.

*probably

2) Reunions

That said, the most effective reunions were found in the shared trauma between Sansa and Theon (no romance though, please), easily forgotten in the bigger picture and secondly, in the act of salvation Brienne achieved with Jamie, which in turn led to the knighting of one of the most under-rated actors in the show.  It also showed just how much of an impact she has had in gaining the trust of so many disparate players.

3) Arya gets hers

On the list of 'what you'd never wanted to see' was Arya's fist sex scene, though it was done well and was just the right balance of tender and smart-ass for her.  I've never wanted or thought she'd end up on the Throne, but perhaps with the last of the Baratheon line??  I'd still prefer them to set up a blacksmiths / assassin for hire / pie shop combo with Hot Pie though.

4) The Night King's mission

So if the primary reason the Night King is coming after Bran is to wipe out his knowledge, we have a set up that means the end of Bran next week, but means salvation for Sam, being the 'next best' in terms of historical knowledge.  Sort of 'real books' versus 'the cloud' if you will.

5) Plot Armour

Speaking of who will die or not, based on how much of their character arcs were wrapped, I'd say Tyrion and Jamie are pretty safe (they've got Bronn and Cersei to encounter yet), as is Jon, and The Hound, as he has a brother still to fight, but anyone else is fair game.  I would like to think of Dolorous Edd as a background character who somehow just survives everything though, given that he's come so far (and someone will have to start the Nights Watch again).

6) Plot Armour (tarnished)

The writers are really wanting us to dislike Dany now aren't they?  Not just in previous seasons where she was teetering between vengeful, cruel tyrant and freer of slaves but now with her single-mindedness with the Throne.  Yet another scene where Jon's identity was revealed and we are expected to believe no-one immediately says 'you're sleeping with your aunty!' never mind that the army of the dead are on its way, so it's kind of irrelevant right now.  It also makes the distinct lack of chemistry between her and Jon bleed into the story itself as she really only seems to care about the Throne.  A brave move from the writers would be to see her off in the battle next week, given that even her 'rightful heir' tag has been torn off.

7) Plot Armour (polished)

Jon then, you could argue can die heroically fighting the Night King next week now that his heritage is revealed and, other than a happy ending with Dany, there isn't really anywhere left for him to go.  However, I've not read anyone mention how problematic it might be, when facing an enemy that raises the dead, for Jon to be...raised from the dead.  Can he be controlled, is that why the Night King has spared him?  Or the flip side of this is, only an undead Targearyan can ride an undead dragon...?

8) 'Let's hide out from these arsonists in a fireworks factory'

Speaking of the undead, what better place to fight a huge bloomin' army of them...than in a castle above a massive crypt!  Or, after this week's episode, let's go one better and suggest the crypt WHERE LOADS ON BODIES ARE BURIED is the safest place for our women, children and Hand of the Queen.  What could possibly go wrong?!?!

9) What's left?

With only four (admittedly approximately 80 minute) episodes to go, how might the rest of the story be structured?  I'd guess a completely horrible, death-strewn battle next week followed by the victory from the jaws of defeat episode the week after, leaving a quick trip to see Cersei and the epilogue when we decide who sits on the Throne (or even if there IS a throne left after all of this).

10) Summing Up

Although it was a bit frustrating to have two set-up episodes before the big battles ahead, it gave the show the chance to demonstrate how much it has done in its time, how far its characters have actually changed (moreso, and on such a scale, I'd say than any tv drama before it) and make sure we care again for everyone before the Night King comes strolling into Winterfell for that weirdo in the wooden wheelchair, killing humanity as he goes.