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.

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”