Trotter's Top Ten Albums of 2018

And now for the proper list...2018 being a very competitive year for good albums (not all of them that I'd necessarily describe as great, but certainly more this year than in the last few years) and tons of good music being made all over the place.


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.

1) 'Dirty Computer' by Janelle Monae (UK Chart Number 8)

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.

Trotter's Top Ten Taster 2018

So, not a Top Ten of Tracks this year, as I know as much about singles nowadays as House of Cards' writers know about ending a quality series.  So instead, best tracks from albums that I'd recommend but which didn't quite get into the list of the Top Ten Albums.  Yes, 2018's album game was very strong.  Spotify playlist here.


'Dream Wife' by Dream Wife (UK Chart Number 60) 

Normally an album I really like at the start of the year is still a shoe-in for the Top Ten, but with the quality of records so high this time round,  Dream Wife's debut of grungy, indie-rock goodness just misses out sadly.

Look at: F.U.U.





'Marauder' by Interpol (UK Chart Number 6) 

The pain of not including an Interpol album in my Top Ten!  Still a good effort, but I didn't find myself going back to it anywhere near enough to warrant a place in the Ten, in all honesty.  Still blisteringly good live, even in the blazing heat of Summer 2018 supporting The Cure at Hyde Park which was definitely gig of the year. Even if it was a bit odd watching two 'none more goth' bands in the bright sunshine.

Look at: Number 10


'No Shame' by Lily Allen (UK Chart Number 8)

She may say some stupid things at times (or, more likely, things that can be taken out of context and shoved on the front page to sell papers) but at least Lily Allen is saying something when so many of her peers roll out the fatuous 'say nothing' truisms so as not to diminish their record sales.  As catchy as ever, and as self-deprecating with it, highlights include 'Three', a mother's guilt for leaving her child to go to work told from the perspective of the child, and 'Come on Then' a clap back to her social media critics.

Look at: Come on Then


'World's Strongest Man' by Gaz Coombes (UK Chart Number 12)

One theme of 2018 is definitely that of the former bandmate gone solo, and maybe not onto greater success, but in Gaz Coombes case, very much fertile ground, on another (his third) solo release.

Look at: Walk the Walk






'Suspiria' by Thom Yorke (UK Chart Number 13)

Not to be confused with Susudio by Phil Collins.  if you didn't know this was a sound track to a horror movie you could probably guess it by the unsettling orchestration and discordant choirs on many of the tracks.  But let's face it, Radiohead have been sounding like that for some time now, anyhow.



Look at: Open Again (live)




'All Nerve' by The Breeders (UK Chart Number 9)

Reunions are also very much the thing these days, and ten years since their last release, and with Kim Deal looking very unlikely to ever grace the stage with the rest of The Pixies, The Breeders returned with an album generally as good as they've ever released and a slew of songs opening the album as good as any this year.  You can't beat them belting out 'Gigantic' live either.

Look at: 'Wait in there Car'

'My Name is Safe in Your Mouth' by Leila Moss 

The Duke Spirit front woman's solo debut, more quiet and considered than her day job, but doing exactly what a solo effort should - something quite different from the band she records with.

Look at: Memories and Faces





'Francis Trouble' by Albert Hammond Jr. 

Arguably, Albert Hammond, Jr. has now made more good albums than his more famous band The Strokes.  He continues his brighter, breezier but still as economically catchy solo career here (less breezy when you learn lyrically this is about his stillborn twin brother).  Can't help comparing him to Graham Coxon who does a similar, if more lo-fi, thing in his own forays away from Blur.

Look at: Stop and Go

'Joy as an Act of Resistance' by Idles (UK Chart Number 5)

Have to say I'm not as blown away by Idles as most of the music press, but there's definitely something special in the soul-baring lyrics of Joe Talbot that echo Ian Dury and The Streets' Mike Skinner's British Everyman with a Brain, touching on everything from overbearing masculinity in the brilliantly titled 'Never Fight a Man with a Perm' to depression and loss in 'Samaritans'.

Look at: Samaritans


'Dead Boys EP' by Sam Fender

There's rather a lot of soul-bearing male singers touching on very raw subjects in this list, definitely a theme in 2018.  Sam Fender has just been named Brits Critics Choice for 2019 so lets hope this doesn't stick a curse on him.Evocative subject matter, guitar-led music that sounds fresh and a voice that reminds me of the very-under-rated Scott Matthews or even, at times, Jeff Buckley - big shoes (and expectations) to fill in 2019.

Look at: Dead Boys and That Sound

And you can hear a couple of tracks from each album here

Ten Things that will definitely, definitely happen in Bodyguard’s season finale

Ten Things that will definitely, definitely happen in Bodyguard’s season finale:

1. David shoots himself in the eye, then goes to work and none of his crack detective colleagues notice the visible tendons and gushing blood from out of his miserable face

2. Chanel, the sacked, stroppy assistant, turns out to just have a kink for gangsters in 4x4s

3. The bailiffs will come round to the new build, Thames bank police headquarters to take back their really expensive furniture, plasma TVs and moody lighting

4. The high security iPad won’t have password access requirements (or it does and the password is “deathstar”)

5. David finds out his safe house was actually originally the Big Brother season one house

6. All the politicians and civil servants turn out to be thoroughly decent and incorruptible 

7. There’ll be another high octane shoot out by professional marksmen where no-one gets hit

8. Vicky’s boyfriend is revealed to be no-one of importance at all

9. Gina McKee will wear a Cruella de Vil coat made out of security personnel’s skins

10. In an amazing twist, the mastermind behind it all turns out to be the female train guard from episode one, upset at rail privatisation and Southern Rail’s ‘driver only’ staffing policy

Post credit scene: Keeley Hawes skeletal hand claws through the earth at her grave holding up a sign saying “Bodyguard will return in 2019”

Trotter's Top Ten Albums of 2017

A brief little list for now, three words or less...

10) 'American Dream' by LCD Soundsystem - Comebacks are worthwhile

9) 'Something to Tell You' by Haim - Harmonies for days

8) 'Weather Diaries' by Ride - Showing them how

7) 'Everything Now' by Arcade Fire - Everything not perfect

6) 'Visions of a Life' by Wolf Alice - Guitars aren't dead

5) 'V' by The Horrors - Gothic Gary Newmans

4) 'Colors' by Beck - Maxing on Pop!

3) 'Visuals' by Mew - Elfin Danish bliss

2) 'I See You' by The Xx - Exploring the dancefloor

1) 'Melodrama' by Lorde - Bowie was right

And a little bit of Spotifying the best of the year here

Trotter's Top Ten Albums of 2016

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.

Look at: 'Giant', 'Wild Season', 'Ana Electronic', 'Love and War'

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!

Look at: 'Telomere', 'Bubblegum', 'Bombay Blue', 'Blood Red Balloon', 'The End Up'

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.

Look at: 'Lazarus', 'Blackstar', 'I Can't Give Everything Away', 'Dollar Days'

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...

Look at: 'Evil', 'Adore', 'T.I.W.Y.G.', 'I Need Something New', 'Surrender'

And for a good old round up of tracks from these fine long-players go here.  You can also savour the Top Ten Tracks of the year over here and listen to them here.  Here's to a good-sounding 2017!

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.