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.

Ten Reasons The Walking Dead showrunners hate you

1. They kept you waiting for six months...

2. Then kept you waiting 20 minutes more

3. Before you know who dies they reward you with black and white character montages beloved of daytime US soaps

4. Turns out there was no particular reason not to show the death at the end of the last season (thanks) as they eventually showed it anyway...in a flashback

5. And this meant the incredibly tense slow-build momentum of the previous season finale wasn't paid off at all

6. The whole six month gap between Abraham's season-long acceptance of his mortality and his eventual death only succeeded in lessening its impact

7. Similarly, Glenn's death was equally as disappointing given that his final episode consisted of sitting silently and whimpering

8. In the end, the two characters you thought were most likely to die in different circumstances last season ended up dying anyway

9. They missed the opportunity to rationalise not showing a character's death last season by having Maggie die

10. It's now so obviously about shock value rather than character development and story.

Trotter's Top Ten TV of 2015

There's just too much to watch on tv isn't there.  You've got a pile of dvd's to get through, an unhealthily high percentage on your skybox or tiro and that's not to mention the recommendations that keep coming through from Netflix, Amazon Prime or whatever.  Or maybe that's just me.

So what might you have missed this year and what might you not have given a go because, well, you have a life.  Here's a few scripted series' suggestions in some sort of order which might be of assistance...

10) 'Fortitude' - Sky Atlantic 

Sky's heavily-marketed, star-studded foray into original drama at the start of the year did the best 'genre-twist' of the year (see also Wayward Pines for another example).  What starts off as a bit of a by-the-numbers Nordic Noir - not least because of the Icelandic scenery and the lead actress from The Killing, turns into something far more interesting.  Whether they can continue that success into a second season is up for debate.

9) 'Dark Matter' - SyFy 

Sci-Fi isn't everyone's cuppa, but with a little bit of media attention turned towards Star Wars (there's a film out, by the way) series' like Dark Matter have a better chance of reaching a deservedly larger audience.  Kicked off by a strong concept - six astronauts wake up on a spaceship with no memory of who they are and how they got there, the series stumbles a bit by going straight into 'planet of the week' storylines.  But the cast's chemistry and overarching mystery soon kicks in and makes it a worthwhile watch - with the right balance of reveal and cliffhanger to make season two worth a watch.

8) 'Walking Dead' - Fox 

With a fifth season finale and sixth season kicking off this year, you'd be forgiven for thinking watching hapless survivors run from shambling zombies is becoming a tad dull by now.  It's to the show's credit that the writers find new ways to refresh the concept and keep up the genuine dread you feel whilst watching.  No other series manages quite the same sick-making feeling and thats mainly down to the fine ensemble cast and still, silent scenarios that bookend all the blood and gore.  Although the 'main character in peril' plot employed in the latest episodes didn't quite pay off, it was the first few episodes of the same season that proved what a fine programme it still is.

7) 'Bloodline' - Netflix 

Netflix are pretty well-established now in commissioning original drama directly and have a more than decent hit rate.  Buzz was good around 'Bloodlines', with its rich family, dark secrets and murder premise led by the not-uneasy-on-the eye Kyle Chandler.  Although the first few episodes made it quite difficult for you to actually care what was happening to this bunch of spoilt brats, it's to Netflix' credit that their 'all available to view' format worked in the show's favour and you were soon incredibly invested in the drama and its clever, sparing use of flash forwards and backs.  It was actually Ben Mendelsohn who stole the show as the black sheep returning to the fold and doing a great job in generating sympathy and hatred in turn as the twists played out.

6) 'Catastrophe' - Channel 4

We might be in the midst of 'Peak TV' right now - yes, it's a thing - but it's certainly not a golden age of comedy (Brooklyn Nine-9 and The Goldbergs exempted).  Mind you, with Mrs Brown being so popular maybe we get the comedy we deserve.  And yet, out of nowhere in January, along came yet another new series from / starring the under-rated but Jonah-like Sharon Horgan with a string of failed comedies behind her.  The difference here is essentially the chemistry between her and her co-star / co-writer Rob Delaney.  Although I wouldn't want to say their's is a typical relationship, it is believable above all else.  That we got not one, but two, series of acerbic, hateful putdowns and cringeworthy scenarios this year was a big bonus.

5) 'Game of Thrones' - Sky Atlantic 

I really don't need to provide a synopsis of this show, do I?  Season 5 finally caught up to the books and robbed thousands of people of their smugness in holding the power of spoilers over the rest of us.    It wasn't the greatest of seasons, but that is holding them to a high benchmark, and now that we've reached this point it might prevent some of the wheel-spinning that's somewhat spoilt things on occasion (i.e. Danerys meandering to Westeros).  Key cast members finally were brought together (then obviously torn apart - well it IS Game of Thrones), the Starks weren't catching the slightest of breaks and we had arguably the best episode nine of the series to date - including 'that wedding one'.  'Hardhome', and specifically the climactic 30 minute battle which introduced 'the big bad' who didn't say a word, was one of the most cinematic in scope, edge of the seat action sequences ever to appear on the small screen.  And with that, TV finally killed cinema.

4) 'Daredevil' - Netflix 

The principal reason I got Netflix was bound to end up in the Ten wasn't it?  Extremely high production values, a more realistic take on the super-hero genre (or as realistic as you can get), some of the most original and best-choreographed fight scenes (the finest example being the single-shot hallway fight) and an actually complex villain in the form of Vincent D'Onofrio's Kingpin who, despite going all Vinnie Jones with a car door and a goon's head early on, is introduced to us admiring art and awkwardly chatting up a date and is genuinely sympathetic, car doors notwithstanding...

3) Sense8 - Netflix 

The Wachowskis are possibly the very definition of hit or miss, but, partnering with the more hit than miss J. Michael Straczynski, hit geek gold with Sense8 - your everyday story of eight strangers in all corners of the world inexplicably experiencing shared senses and abilities.  Although the characters border on  racial stereotypes at times (the cool London DJ, shy demure Indian girl heading into an arranged marriage, the US cop jock hero, the Asian martial arts expert) it makes the times when the unexpected happens all the more...well, unexpected.  There are some genuinely fist-pumping / cheering moments caused when the eight leads start sharing abilities and revealing the bigger mysteries which presumably will be explored in the second season.  For a popcorn action romp, Sense8 takes 2015 hands down.

2) Fargo - Channel 4 

I was criminally late to the Fargo party, missing the first few episodes of season one and then never catching up until Channel 4 repeated it this year.  In those circumstances I do count myself lucky to have the pleasure of viewing two seasons in one year.  Like American Horror Story and True Detective they took the approach of telling a separate story for the second season.  That said, the two were connected in some ways which underpinned a degree of familiarity amongst all the newness, a few characters from season one in their younger days during 1979 and the Sioux Falls Massacre, referred to previously, played out to searing effect in the penultimate episode.  The production values were sky high, revelling in the '70's setting by employing split screens to great effect and the sound track was sublime and offbeat.  The sense of bad things about to happen to good people gave an unsettling atmosphere to each episode, but, as with season one, sometimes bad things didn't happen to good people after all.  I never thought I'd be recommending a series based on a film and starring Ted Danson and Kirsten Dunst as highly as I am but, if Fargo keeps up this standard of storytelling over a couple more seasons it will be talked about in the same league as Breaking Bad, The Wire and The Sopranos.

1) The Leftovers - Sky Atlantic 

A confession - I loved The Leftovers' first season.  Other shows may have been flashier or better scripted but no other series stayed with me longer, the themes being explored stirring thoughts on mortality and life's purpose far more than wondering what was going to happen to character X.  I say this because a lot of end of year polls have included season two in their own top tens but more as a back-handed compliment by saying the first season wasn't all that good.  Shifting the core cast to a new town, kicking the season off by (inexplicably at first) opening on a cavewoman giving birth, changing the atmospheric titles and theme and then only featuring the Garveys in the final scene of the episode all underlined the bravery and risk-taking of a show that has already been pretty brave and made it clear they'll never explain its premise (of 2% of the population disappearing in a rapture-like event).  Not only was the reveal of the season mystery of what happened to three teenagers incredibly satisfying (another example episode nine reveal), but the risk-taking of the 'International Assassin' episode proved as bewildering as its episode title.  Many series have 'I'm not sure what's happening now' moments but very few have them for an entire episode.  I've never felt as confused, concerned, annoyed and then in admiration of a show in one sitting before.  All of which is trying badly to be a spoiler-free description of what happens.  Believe the critical hype of this little show that could - and that effectively led to it being renewed for one final season.  Or at least watch it to marvel at how well Liv Tyler actually pulls off scarily bad-ass.  Or to see Justin Theroux in a bathtub.

Trotter's Top Ten Albums of 2015

Ok then...so that was (nearly almost) 2015; when the biggest musical comeback was saved until right near the end; Kanye proved he could put on a simultaneously great and abysmal headline slot with some excellently arranged lightbulbs; when the most memorable thing to happen at the BRITs was watching an elderly woman being yanked backwards down some stairs and when horrible, horrible brutality came crashing into an Eagles of Death Metal gig in Paris reminding us just how seemingly unimportant and yet also how amazingly important enjoying music actually is.

As usual there were a few near misses to the Ten (including stuff still on Santa's sleigh as we speak) so do feel free to chime in as ever with your faves.  Most notably for once I'm just listing ten and not trying to cram 11 in here.  This means sacrificing Chvrches sophomore long player 'Every Open Eye', perhaps for the sole reason that I was expecting so much more from them and was therefore left rather disappointed despite some cracking tunes such as 'Leave a Trace' and 'Bury It' when their trademark saccharine vocals and deceptively dark lyrics combine to great effect but sadly don't completely succeed throughout.  Expectations for Britain's next great intelligent pop band lowered unfortunately; though they did crack the US Top Ten with it.

10) 'Music Complete' by New Order (UK Chart Number 2)

So pipping Churches are one of their clear influencers who, by my way of thinking, get into the ten by virtue of exceeding low expectations rather than not reaching high ones (fickle eh?).  Despite the good reviews I didn't bite until multiple recommendations from friends who I knew wouldn't oversell it's worth.  I've been a fan long enough to be wary of those 'best album since Technique' claims that come out every time.  I'd say it was nearly up there with 'Regret' if we're comparing - and frankly that seems fair considering how much harking back to the past they do here.  Ironic given the absence of Hooky, whose absence, sadly, isn't actually felt much at all.  Take the high hat intro on 'Singularity' that echoes 'Vanishing Point', the slowed-down spoken vocal on 'Tutti Frutti' that mirrors 'Fine Time' and the quintessential New Order guitar of 'Academic'.  A lot to like then, even if sometimes they also do a good job of reminding you of below average late-Electronic album tracks!

Look at: 'Restless' and 'Tutti Frutti' (feat. La Roux) live from Maida Vale - including a rather stunning version of Temptation' at the end which literally brought a tear to my eye!  So good, even Gillian cracked a smile!

9) 'Get to Heaven' by Everything Everything (UK Chart Number 7)

I always feel a tad sorry for Everything Everything because their music style is never instantly 'get-able' and does require a bit of an effort to get your head round - which doesn't fit the skip to the next track nature of music nowadays.  Thus I seem to under mark them every year and look back later and wonder why i didn't put them higher.  So...let's not buck a trend, eh?  'Get to Heaven' probably contains some of their most accessible tunes yet to be honest, but it's still all relative. 'Distant Past' seems to take its cues from any daytime 80's quiz show theme (in a good way) and when I first heard the intro to 'Regret' I thought someone was shamelessly ripping off Duran Duran's 'Reflex' until I realised it was Everything Everything and instantly forgave them.  I only realised how indebted they are to Talking Heads after hearing the title track a few times (think 'Once in a Lifetime' whilst listening)  - again, no bad thing.  Their quirkiness in music and lyrics is still there ('like a fat child in a pushchair old enough to run, old enough to fire a gun'....anyone?) just slightly smoothed out for our impatient ears I suppose.

Look at: 'Distant Past', 'Regret', 'Spring/Summer/Winter/Dread' and 'No Reptiles'

8) 'Undertow' by Drenge (UK Chart Number 14)

The Loveless Bros' second album, now expanded to a three piece, skillfully avoided the age-old problem of whether to replicate what worked on your debut or do something completely different, by just doing what they did before but better.   There's not currently a better band that melds dirty, loud noises with such catchy melodies - evoking early-90's guitar bands without sounding like nostalgic rip-off merchants. 'We Can Do What We Want' is a fine example of this as well as the snarling, urgent 'Favourite Son'.  'Undertow' is aptly named with that feeling of uneasy menace proliferating throughout the record.  Then they deliver the rather beautiful 'The Woods' with its comparisons to The Cribs at the forefront (maybe it's a brother thing?).  Here, and on 'Side by Side' they summon up whole worlds of memories incredibly effectively for a band who could, on face value, just be dismissed as noisy young upstarts.

Look at: 'We Can Do What We Want', 'The Woods' and 'Side by Side (live)'

7) 'Marks to Prove It' by The Maccabees (UK Chart Number 1)

The first UK Number One album on the list and the band's first.  They'd set themselves up nicely as a breakthrough next big thing through a series of fuller sounding albums and I was expecting this to be their 'Rush of Blood to the Head' to be honest.  The title track and lead single certainly cemented the expectations - an almost ideal opener after a three-year absence, brashly and urgently demanding your attention from its opening clanging guitars and screaming intro, it's certainly one of the tunes of the year.  Bonus points for featuring Elephant and Castle in the vid where they recorded the whole album.  Other tracks are perhaps more 'Maccabees by numbers' and it's this mid-section of the album that really loses energy and, well, frankly meanders for a bit before the finale:  'Dawn Chorus'.  Although a lament like several of the other tracks here, it just feels far more authentic and a perfect closing counterpoint to the powerful first track.  It just about pulls things together and makes you want to listen to the whole thing again.

Look at: 'Marks to Prove It', 'Something Like Happiness', 'Spit it Out'

6) 'The Magic Whip' by Blur (UK Chart Number 1)

Continuing a 90's theme, as unlikely as a New Order album being good enough to make the Top Ten may have sounded a few years ago, a new Blur album actually being made was probably even more unlikely.  But then you saw how well received their reunion gigs were and how much they just seemed to _enjoy_ it all and you had to pray that they'd see sense and start crafting some new stuff.  Egos seemed to be put aside, Damon made a great solo album last year (finally) and the time seemed right for them.  You can even play the 'which Blur album would this track sit well in' game as they seemed to revel in picking elements throughout their (now) long and varied musical career.  'Go Out' from '13', the spiky, everyday narrative of 'I Broadcast' from 'Modern Life...' and 'Lonesome Street' from 'Parklife'.  It's both comforting and disappointing that this sounds sooo Blur but better that than nothing at all!  It's on 'There Are Too Many of Us' that you get the full reminder of how much their particular sound has been missed when they pull out their unique brand of melancholy to great effect.

Look at: 'Lonesome Street', 'Go Out', 'I Broadcast (live)' and 'There are Too Many of Us'

5) 'How Big, How Blue, How Beautiful' by Florence and the Machine (UK Chart Number 1)

Someone who definitely did transition to the big leagues this year was Florence Welch with the release of this album and her headline slot at Glastonbury.  While I'm still not 100% convinced she pinned down the headline slot as well as she could, she certainly gave it her all.  I've liked most of her albums and singles and yet not truly loved very much of it, perhaps because of a sense she's trying too hard that hopefully will diminish now she feels she just doesn't have as much to prove anymore.  This album didn't immediately stand out but there's much to be said for a piece of work that grows on you over time the more you experience it and this certainly did. 'Ship to Wreck' and 'What Kind of Man' were radio-friendly tracks demanding to be taken notice of, but it's the more subtle 'Queen of Peace' and 'St Jude' that are the jewels here - where some genuine emotion pierces through the professionally well-played, sung and produced veneer.  The brass section on the title track is also definitely worth highlighting, so effectively used and too rarely heard in music these days (don't y'know).

Look at: 'St. Jude', 'Queen of Peace', 'What Kind of Man' and 'Ship to Wreck'

4) '+ -' by Mew (UK Chart Number 59)

I'm fully resigned to the fact that if I haven't convinced you to check out Mew by now then I probably never will, so no hard sell here (well, okay, a bit).  At least they outdid Ed Sheehan in naming their album what it took him two albums to do.  That has to be worth something, right?  So if you're hankering for Scandi-angelic vocals, enchanted guitars and soaring electronics then you're in luck again.  That it's paired with some of the heaviest drumming of the year and their usual nordic-noir lyrics helps take any saccharine taste out of the equation. Heck, in parts 'Witness' isn't even sung in falsetto - groundbreaking!  It's one of the highlights here - pounding, restless and full of the staccato drums and guitars they've become (relatively) well-known for.  'Water Slides' is just one of the most beautiful songs of the year (just don't spend too long on the lyrics, okay?)

Look at: 'Satellite', 'Witness', 'Water Slides' and 'The Night Believer'

3) 'My Love is Cool' by Wolf Alice (UK Chart Number 2)

So to the Top Three, and pretty much standing out by a country mile.  First up is the debut from a very well-hyped band (even by me in the Top Ten Tracks of last year) that actually lived up to expectations - and were kept from Number One by Florence by just 500 copies.  That said, it wasn't immediately what I was expecting but it's now all the better for it.  Instead of track after track of scuzzy, brash, female-fronted indie there was strength in depth on display here and a genuine range of emotions to be mined.  Be it the evocative childhood-friend sweetness of 'Bros' - channelling The Cranberries of all folk, or the epic-rock of 'Giant Peach', to the bright and breezy manifesto of 'Freazy'.  That said, there's still more than enough quiet-loud-quiet-loud fuzziness to keep you more than satisfied.  On top of all that, their videos are actually by turns funny and interesting too - which is quite something these days to be honest.  There's absolutely enough here to live up to the hype and plenty of promise for the future too.

Look at: 'Bros', 'Moaning Lisa Smile', 'Giant Peach' 'Freazy' and 'You're a Germ'

2) 'What Went Down' by Foals (UK Chart Number 3)

Oh I SO wanted to give Foals the number one slot.  Their album was probably my most anticipated of the year and the lead single and title track just stoked the anticipation even further.  It gives you everything you want in a comeback - anticipation building, pent up aggression (matched perfectly in the wonderful video) and an explosive, muscular pay-off that, for a live band as good as Foals, makes you salivate to see live.  I haven't yet, but their performance of it on 'Later...' gives you a good idea of what it'll be like.  The contrast between this and 'Give It All' is immense and it's a well-needed breather but doesn't quite match the intensity or funk of the other tracks at their disposal so was an odd choice of a second single - if those things matter anymore, that is.  They seem to have smoothed out rough edges, which is understandable for a band on their fourth album, but it was one of the things that made them most appealing.  Still, in place of that they've delivered their best album and most well-rounded one at that.  There may not be as many high points as on some of their previous efforts but there certainly aren't as many dips.  Not many bands could start a track ('Night Swimmers') on an afro-beat groove and end it on a right old mosh or keep a groove going as well as on 'Albatross'.  Just brilliant.

Look at: 'What Went Down', 'What Went Down (live on 'Later...'), 'Give It All', and 'Mountain at my Gates'

1) 'Matador' by Gaz Coombes (UK Chart Number 18)

So this is why I couldn't bring myself to give one of my favourite bands' best album to date the number one slot.  it would feel far too much like cheating considering Gaz Coombes' second solo album has been my go-to play since January.  How could I cruelly dump Gaz after all his fine service?  I always liked Supergrass even though they stopped being cool as soon as we all heard the piano riff of 'Alright', so I was sad when they sort of fizzled out in the end and never seemed to be given much due by new bands at all.  So the critical success of Gaz's solo effort is that much sweeter considering he's just ploughed his own furrow and let the world come back round to him.  The songwriting here is confident and assured, mixing Supergrass-style melodies with pared-down electronics and sparingly-used church-choral-styled backings.  '20/20' has to be one of my favourite songs for years, deceptively simplistic, almost child-like keyboards and a soaring chorus about what you'd do for love that you'll have nestled in your brain for days afterwards.  That's exactly what led me to the album in the first place. 'Detroit' is just beautiful - I've tried to describe it in more detail but just can't do it justice so that will have to do.  You're given slow and faster tempos over the course of the album but the quality on display never falters.  He turns 40 next year, there's hope for us all!

Look at: '20/20', 'Detroit'

And for a good old round up of tracks from these fine long-players go here and then you can peruse the Top Ten Tracks of the year over here and listen to them and a few others here at no extra cost except your valuable time x

Trotter's Top Ten Tracks of 2015

Where do people hear new music nowadays anyhoo?  Please don't make me listen to the radio; you can't find any decent music shows on tv apart from the odd 'Later...' viewing; I don't want to listen to or read niche music sources, I'd like everything thats good just emailed to me in one easily digestible millennial chunk thank you very much.  Until then, I'm finding searching out decent tracks harder and harder...

All of which is a roundabout way of saying here's a no doubt very limited selection of some of the better tunes I heard this year...you no doubt have yer own!

So, with Best Coast narrowly missing out on the Top Ten with their track 'Heaven Sent' which sounds suspiciously like the Friends TV theme...

10) 'Nobody Really Cares if You Don't go to the Party' by Courtney Barnett 

Previously filed under 'Please everyone stop telling me I should really like her because that's just putting me off giving her a fair crack'.  So...why now?  For starters - what a belter of a title.  Catchy, full of attitude and possibly enough to get me interested.  Though she probably doesn't care...




9) 'Fossils' by Circa Waves  

Remember when we had so much good music we were concerned about indie-landfill?  Well, perhaps these chaps may have fallen into that pit a few years ago but right now a blast of perky, indie guitar from some drainpipe jean-clad, messy-haired scamps will do just fine, thanks.






8) 'Darkest Ocean' by All Tvvins  

Sounding a fair bit like Empire of the Sun or M83 if they'd decided not to release a meandering double-album and gone a bit pop instead.  All Tvvins (no, me neither) have released a spritely, lively little number that only gets slightly potty-mouthed when they get to the chorus.  Yes, there's unfortunate modern-production Bastille-like tendencies to overlook, but 'tis the season of goodwill after all.  Have you also noticed that the new loud-quiet-loud sound for bands is keyboards rather than guitars?  Not like in my day etc...


7) 'Weathered' by Jack Garratt  

Releases a fine single, catches my ear, lodges a place in my top ten and then he goes and spoils it all by doing something stupid like winning The BRITs Best Newcomer Critics' Choice Award.  Tut!

I'd like to think his brand of sensitive-male-solo artist balladry leans more towards the skittery beats of The Xx and Alt-J than Ed Sheeran mind.  But time will tell.


(I'm not selling these very well am I?)

6) 'The Wolf' by Mumford and Sons  

Speaking of which, will this be this year's equivalent of the Mariah-moment that lives on in infamy among seasoned TTT-readers?  Possibly, though Mumfords did get in the TTT's before with their first single so I suppose I've got form.

'The Wolf' though, doesn't sound like them - as was proved when I fatally heard the track on the radio without knowing who it was and then, when I found out, it was already far too late.  How was I to know...it has electric guitars and not a banjo in sight!  And when a tune makes you think of Sugar and not twangy, beardy hipsters with their annoying trust-fund girlfriends then that's a step in the right direction isn't it?

5) 'Take Me to Church' by Hozier  

'Oh, Elton's released a pretty good tune, hasn't he?....What, it's not Elton.  Sounds like him!...In that case, it's just a poor copy, isn't it?  Not so keen...It's being played everywhere, sick of it but it is growing on me again...What do you mean it's about sexual equality?  May listen to the lyrics then...Oh, it's rather good isn't it...and the video's fairly powerful...and it's being used as a protest song against the likes of those good Christian public servants like Kim Davis who refuse to do their jobs, yet they think it's written for them...isn't it great.'

...was pretty much my thought process on this.

4) 'Like an Arrow' by Lucy Rose 

Sometimes twee can be bloody kick-ass too, y'know.  Inoffensive as it seems this is one of those tracks that'll bury its way into your brain and not let go.  Some fearless jumping off cliff edges by Lucy in the video too - and when was the last time you saw Marcus Mumford do that, eh?






3) 'Dreams' by Beck  

One day our favourite Scientologist woke up and thought he'd capitalise on all that Grammy-based goodwill he'd earned from his Morning Phase album and write the next iTunes advert soundtrack and coin it in.  Except the ad doesn't exist and there's an undercurrent of an anti-corporate tirade about crushing dreams, with sweary-bits, wrapped in the most chart-friendly emperor's clothes yet.  But he still made it. and. it. is. marvellous.



2) 'I Followed You Home' by Eliot Sumner 

80's-style power keyboards kick it off, building the foreboding tempo, then guitars crash in, adding to the uneasy, dangerous atmosphere that fits perfectly with the song's stalker lyrics.  Then Eliot starts singing and, if you're slow on the uptake like me, you'll think the voice sounds familiar, especially the 'ooo-ooo-ooo's - maybe the accent? but not realise who it is.  Then you'll check the surname, watch the video and realise there's a lot of the father in the daughter and then it'll dawn on you you've fallen in love with the new single from Sting's daughter.  Huzzah!



1) 'King' by Years and Years  

So if the theme of this year's TTTracks is stumbling accidentally upon tunes you'd usually not even consider, this is probably the opposite.  I spent most of the year hearing or reading about Years and Years but never getting round to listening to them, not even when this had been number one.  Wasn't until watching Glastonbury that I finally got to see what a good live band they were and that they were making unashamedly joyous pop music.  In fact, their penchant for a good tune is so great that you could have easily also had 'Shine' as your number one for this year too.  But never mind all that, they sealed it with a frankly camp as Christmas bizarre-bonkers performance  on Strictly.  I mean, who doesn't want to see their tune of the year used to soundtrack a scenario where Brendon Cole sexually harasses several female dancers in a typing pool???

And on that note...

If you fancy a listen to this little lot and a few more besides...head on over here why don't you?

Ten Random Things about The BRITs

1) Twas v dull.  The highlight was a middle-aged woman falling over.  And she didn't hurt herself.

2) Twasn't very cutting edge.  Ed Sheerboredom (who has done very well in making a career out of something KT Tunstall of all people did on Later... about 12 years ago) has a 'TV Girl' that he thanked.  I'm presuming he meant 'television'.


3) Even the fairly rowdy Royal Blood seemed toned down when performing and media-trained within an inch of their lives giving their acceptance speech.  I'm not sure whether I or Noel Gallagher would've tutted the loudest.


4) Sam Fox and Mick Fleetwood breathed a collective sigh of relief when Kim Kardashian become the historical low-point of the programme.


5) The flashy walkway looked good, though it took ITV about 20 minutes to figure out which camera to use to look at the faces of presenters rather than backs of heads.


6) Taylor Swift has fabulous legs.


7) Everyone, including Ant and Dec, took a bet to see who could be the least funny and die on stage.  Jimmy Carr won.


8) The stage was full of posh, white folk.  ITV censored the black guy.  But it was Kanye, so that was actually fine.


9) Rita 'the epitome of having little discernible talent and yet being everywhere' Ora berated Orlanda Bloom for looking at her breasts.  Even though he wasn't.  Even though she was desperate to have him look.


10) If the BRITs are going to have a BRITs Critics Choice Award, can we skip automatically giving them Best Breakthrough the year after.  We get it, you select an up and comer and with massive PR behind them they become really popular.

Trotter's Top Ten Albums of 2014

So then, 2014, a musical year dominated by long awaited comebacks and reunions, particularly that Kate woman (who didn't even invite me to her party.  Rude!) and with further talk of 'the death of the album' would there still be enough quality, new music in long form of the last 12 months to wax lyrical about?  Emphatically, more than any recent year, that answer was a 'yes'. 
There wasn't a shortage to choose from - in fact there's 11 listed here (if I hadn't have said, you may not have noticed!).  So albums I might have snuck in from 2013 such as Cults, Drenge and Toy had to stay in that netherworld of not been spotted in 2013 and not making it onto this list either.  What's also encouraging is that all of these made the UK top ten official charts (save one) which either means I'm getting well mainstream, old or folk are catching on to decent music - probably all three!  Nepotism also prevents me putting the eldest nephew's band on the list - but I can always encourage you to listen here. Do so and come back soon...


10) 'Morning Phase' by Beck (UK Chart Number 4)


There's a bit of a theme running through this list about not being able to judge albums on their own merits and instead being influenced (perhaps too much) by an artist's previous work or those of their contemporaries they are referenced against.  Case in point - Morning Phase, Beck's 'follow-up' a dozen years later to his masterpiece, the beautifully emotive 'Sea Change' which made Number 6 in my Top Ten Albums of the Noughties (do we still call it that?).  Although utilising a lot of the methods (and musicians) of its predecessor 'Morning Phase' falls a bit short on emotional weight and consequently some songs end up sounding a little too similar to one another rather than stirring you as a listener.  That said, viewing it on its own its still a fine album, with 'Wave' the stand out, incredibly stirring track, showing Beck's mature side with nary a beefcake pantyhose or devil's haircut in sight.


Look at: 'Heart is a Drum', 'Say Goodbye' and 'Wave'


9) 'El Pintor' by Interpol (UK Chart Number 9)


We all love a good anagram don't we?  Even if it's as cack-handed as Interpol's not-exactly- Countdown-conundrum level latest?  Well...maybe not.  The unthinkable almost happened this year, with Interpol almost falling the wrong side of the TTT tracks.  Fortunately sanity prevailed at the end of year 'one last listen of everything' and by realising Neneh Cherry must be punished for dueting with Robyn and not producing a barnstorming pop classic.  Seriously, 'El Pintor' won't necessarily win many new converts to Interpol's side but it may actually attract back anyone (me included) who was underwhelmed by their previous self-titled long player.  I mean, they almost 'go pop' themselves on opener 'All the Rage Back Home' - which plays with a lovely double-meaning when you think about it - and 'Anywhere'.  We also get 'Paul Banks in falsetto-voice shock' with 'My Blue Supreme' which is enough to win over (re)converts in and of itself.


Look at: 'All the Rage Back Home', 'Anywhere' and 'My Desire'


8) 'Sun Structures' by Temples (UK Chart Number 7)


Every year some psychedelic 60's throwback act seems to come along and I think 'should I like this, if it's not authentic?'  Thing is, it's too hard to second guess what is authentic and what is Bastille...sorry, what isn't.  So all 'It's the 21st century.  Can't you do something original' thoughts aside (and frankly, who is?), Temples' album sits pretty in the Top Ten.  'Mesmerise' (which, dear reader, I informed you of last year) does exactly what it says on the tin.  The title track is a proper journey through flower power nostalgia; 'Shelter Song' has one of the year's most-catchy choruses and 'The Golden Throne' is taken straight from a pre-Bond Roger Moore spy-romp TV theme.  It's bright, it's happy and we have handclaps (huzzah!) on 'A Question Isn't Answered'.  Who knows whether this will date well over time, though it's rather brave for them to call one of their best songs 'Test of Time' so perhaps we should be as confident as they are.


Look at: 'Mesmerise', 'The Golden Throne', 'A Question Isn't Answered' and 'Shelter Song'


7) 'This is All Yours' by Alt-J (UK Chart Number 1)


So I wasn't alone in having high expectations and highly anticipating Alt-J's follow up album to their exceptional debut.  Also I don't think I was alone in being a tad disappointed unfortunately.  Perhaps, a bit like The Xx before them, having produced such a unique-sounding, quality, fully-formed debut they were onto a no-win situation, never being able to live up to the promise or match the surprise of their first outing.  After all, even by taking their sound further on this release, we still had the first album to compare it to and it seems unfair that had this been their debut it probably would have been higher on the list.  That said, despite one of the duffest cover designs in some time, what they delivered was a compelling long player full of their (now trademark) off-kilter beats and monastic bombastic (!)  I don't quite get the concept / journey of travelling to Nara that the album supposedly tells but recognise the low-key start gets off the ground when we do reach 'Nara' the track.  Highlight is undoubtedly the splendid, Miley-sampling 'Hunger of the Pine' (with an equally amazing video to match) though there are certain bands I can do without going 'all sexy-talky' such as on the 'crisp packet' comparison in 'Every Other Freckle' which I'll not elaborate on here.  Overall though, you're left with the impression of a confident band who know what they are and where they want to go - and I'll still be excited for album number three.


Look at: 'Hunger of the Pine', 'Every Other Freckle' and 'Left Hand Free'


6) 'Everyday Robots' by Damon Albarn (UK Chart Number 2)


You ever play an album for the first time and feel like you've heard the songs before?  And not in a bad way, just that they tap into something or a memory that makes them feel comfortably familiar?  No?  Okay, just me then.  Anyway, that's exactly what I felt when listening to Damon's very first (!) solo album.  Perhaps the main reason is that this does such a good job of distilling the multitude of styles he's worked with over the years without it becoming 'this is the Afro one, the Gorillaz one and this is the Modern Life is Rubbish one'.  I don't quite think it's the soul-bearing record that some critics have lauded it to be - at least no more so than he's done in the past on '13' or whatever.  What it is though is just the best put-together album of the year, meaning that the songs are placed in that order for a reason (complete with for-once-not-annoying one minute interludes) rather than singles at the front, seven minute one at the end sort of thing that seems common nowadays because label execs thinks no-one listens to more than one track in order any more.  I suppose he has had plenty of practice, mind.  The music speaks for itself, especially 'Mr Tembo' which, in a parallel universe was number one for at least a month, the heart-breaking 'Heavy Seas of Love' or 'Hostiles' which he does so well and 'Photographs' which nicely sums up the modern fascination of experiencing life looking through a camera lens rather than enjoying it 'for real'.  For an album which starts with a voiceover proclaiming 'They didn't know where they was going, but they knew where they was, wasn't it' couldn't actually be further from the truth!


Look at: 'Everyday Robots', 'Hostiles', 'Mr Tembo' and 'Heavy Seas of Love'


5) 'Warpaint' by Warpaint (UK Chart Number 9)


Another act absolutely doing things their own way is Warpaint.  Although this can be a bit frustrating if you want them to supply another hit like 'Undertow', the moody, atmospheric furrow they're ploughing certainly rewards after multiple listens - no more so 'Love is to Die' - which was used to great effect in advertising E4's 'Glue' and burrowing into your head like the hungriest earworm.  Layered vocal harmonies and textured rhythms (which I hate to describe as groovy but there you have it) paint a cool, laid back palette which perfectly suits their image.  'Disco/Very' has one of the best such grooves of the year and 'Drive' has them channelling the very best Bjork impression.  Only the slightly flabby overly-long nature of the whole album stops it from being even higher.  If I was in a 'girl band' it would have to be Warpaint.


Look at: 'Love is to Die', 'Disco/Very and Keep it Healthy', 'Feeling Alright' and 'Drive'


4) 'The Physical World' by Death from Above 1979 (UK Chart Number 37) and 'Royal Blood' by 'Royal Blood' (UK Chart Number 1)


Okay so I've cheated by having 11 albums in my Top Ten (again).  There is a twisted logic to this though.  Royal Blood made the kind of debut (and secured media coverage) bands only dream of this year and it's partly due to drum/guitar rock duos that have gone before them.  I remember thinking when I heard them how Death from Above should have had this sort of success rather than be best known as a CSS track and then a few months later - after breaking up years ago - they go and release a reformation album.  Both albums bristle with energy, are actually exciting to listen to (a trait regrettably rare these days), go heavy where they want to but still have the sort of pop hooks Dave Grohl would sell his drum kit for.  Death From Above claim the more 'out there' territory 'Right on! Frankenstein' perhaps deliberately sounding like several songs spliced together and played at once and 'White is Red' managing to come as close to a heavy metal ballad as I've ever heard.  Royal Blood meanwhile make up for that with youthful energy.  Neither mess about either - clocking in at 33 and 36 minutes.  So again, another excuse to have both of them in this list (ahem).


Look at: DFA - 'Trainwreck 1979', Royal Blood - 'Little Monster', 'Ten Tonne Skeleton' and 'Come on Over'


3) 'Luminous' by The Horrors (UK Chart Number 6)


Oh, I've already waxed on plenty about how tremendous I think The Horrors' musical progression has been over the course of their four albums so I'll keep this short and whilst they haven't quite made as great a leap here as between their debut and sophomore releases, 'Luminous' is still a corker.  The widescreen, electronic expanse of  'So Now You Know' (with video to match) and lounge bar cool of 'Change Your Mind' are so far removed from 'Strange House', yet they can still return to their more gothic-rock roots in 'Jealous Sun' and the brilliant, squalling guitars of 'Mine and Yours'  - a true highlight of a fine record from one of the best British bands around.


Look at: 'So Now You Know', 'Change Your Mind' and 'I See You'


2) 'Trouble in Paradise' by La Roux (UK Chart Number 6)


Trouble in Paradise seems to have been the case for Elly Jackson, splitting from her producer and collaborator who helped (along with 'that haircut') steer La Roux to chart domination back in 2009.  Now because we live in a world where XFM can call debut-album tracks from Arctic Monkeys vintage (I kid ye not) it was always going to be difficult to return after five years from the spotlight.  When she did, solo and with no alternatively whacky haircut to put her on front pages again, it was with a bit of a whimper rather than a bang.  By that I mean the spotlight had obviously moved on and there wasn't a great deal of focus put on the album.  That's a huge shame (one slightly being corrected by music media end of year charts thankfully) because 'Trouble in Paradise' is such a better record than the debut.  Undoubtedly 'Bulletproof' and 'In for the Kill' were incredible singles but the album didn't match that level of quality and I for one had to lie down after listening to more than five tracks sung in a verging-on-shrill key.  All that's changed here, there's quality throughout and Elly's vocals are far softer than previously.  She still sticks to electronic 80's for an era and even recalls 'Think of a Number's theme tune on track 'Silent Partner' (together with the 60's Batman tune too which is quite the marriage).  But there's great writing at play on 'Sexotheque' (the title being both corny and brilliant simultaneously), top balladeering on 'Paradise is You' and the best false stop in a song of 2014 (this should be an annual award I reckon) on the superb 'Let Me Down'.


Look at: 'Kiss and not Tell', 'Let Me Down Gently' and 'Sexotheque'


1) 'Too Much Information' by Maximo Park (UK Chart Number 7)


You're probably not allowed to put a bet on as to what would be at the pinnacle of your own annual top ten countdown are you?  But at the beginning of the year, if I had been able to, I doubt I'd have gone for Maximo Park - and despite fairly favourable reviews I don't think anyone else would either!  But back in January I happened upon the rather odd vid for 'Leave This Island' and was taken aback by its depth and maturity.  Maximo Park had become known for twitchy-legged, frenetic, bowler-hatted lead singles but this was the exact opposite - forlorn, evocative and moving it was all that they'd hinted at in the past but mainly on the odd album track.  Buoyed by what I thought might be a bit of a return to form I got the album and found the single was pretty typical - in feeling if not in tempo.  Drawing a parallel with some fellow (part) northeastern pop intellectuals, 'Too Much Information' is the band's 'Behaviour' and 'Drinking Martinis' is also their 'Being Boring' - maybe its the accents.  '...Martinis' has the exact same feel to 'Being Boring' - melancholic, wistful and reminiscing for a time gone by - coloured by regret and thankfulness at the same time and encapsulated entirely in 'My Bloody Mind's one line 'Why do I long for a life I already have?'.  It's a real gem of a track and one of several here, each painting a vivid picture of a time and place both in musical terms and with Paul Smith's usual elaborate (but not over-elaborate) lyrics - again another easy Pet Shop Boys comparison.  It stops short of wallowing though, so never gets too down on itself and not overstaying its welcome, clocking in at 36 minutes.  Sadly, Maximo Park are past being 'in' or not even so past it to be 'back in' and with an album of such delicacy and subtlety I very much doubt 'TMI' will be looked back on by the music press as a classic - but you never know.  At least its top of mine.


Look at 'Leave This Island', 'Midnight on the Hill' and 'Drinking Martinis'


And if you want to listen to any of these whilst you baste your turkey, you can do just that here and you can peruse the Top Ten Tracks of the year here and listen to them here too at no extra charge!