Best of 2020

Christmas has been a bit different for many people this year, even before the late changes to tiers and coronavirus restrictions.

Certainly the first one partially spent dressed in a sloth onesie for starters (and it was really warm) while there are even decorations up in my flat – the two things may be linked.

And this is the first for many years spent in this country – discounting those in Africa and South America – when have not been working right up to Christmas Eve and heading back into the office within a day or two.

What that means is there has been time to draw breath over the holiday period, to look ahead and back over a difficult year – and time to write the traditional Travel Marmot post on the year’s best music.

The first of two traditional posts – the second, state of the nation article may even be posted on (or near) New Year’s Day – that time has allowed it to take on a different look with top 30 lists of albums and, for the first time, tracks.

They have changed considerably, the relistening which has soundtracked the last few weeks in the home office bumping a few albums up the list and seeing several more tumble.

That reshuffling is likely to continue, particularly in the lower reaches, as albums fail to last the course of time or others receive more attention.

There is one big change this year – boys with guitars which dominated the last couple of years being replaced by a fair few female singer-songwriters at the upper end – although many familiar faces remain.

So here they are, the albums and tracks which soundtracked a year of working from home, an issue which definitely helped shape the upper reaches of these lists.

Albums of the Year

1 Phoebe Bridgers – Punisher

“Some serious songwriting chops are enough to leave you wanting more… one to watch”

That was what this list said of Phoebe Bridgers when her debut album Stranger In The Alps was Discovery of the Year in 2017 and she has featured highly every year since – there was even the Phoebe Bridgers Album of the Year category last year.

Those serious songwriting chops reached new levels with Punisher, a pretty clear winner of this list.

Despite being completed before the onset of the pandemic, it has a sense of claustrophobia and bleakness which fits the feelings of the last nine months without losing a sense of insight, warmth and even humour which ensures a listen remains an uplifting, fulfilling experience.

There are plenty of layers here which are still being unwrapped after multiple listens and different versions floating around – almost inevitable given her prolific nature – as best witnessed by the tracks on the Copycat Killer EP and slower versions of Kyoto, the upbeat single which she was convinced to speed up to prevent the album being too similarly paced.

One to watch, to listen to repeatedly and to savour.

2 Waxahatchee – Saint Cloud

If Punisher has been holding on to top spot from release, Saint Cloud spent much of the year further down this chart before repeated revisiting has seen it rise and rise.

Katie Crutchfield’s previous solo work has always registered as worth a listen without making a huge impact.

But with her fifth album and her first since giving up drinking, she moves away from the indie toward Americana and really finds her voice.

Would work as the perfect soundtrack to an American road trip through wide open spaces, which just bumps that a further few places up the travel wishlist.

3 Drive-By Truckers – The Unravelling/The New OK

If there have been positives of the last four years under Trump’s Presidency, it has been the transformation of Drive-By Truckers from American band to American necessity, their anger and frustration at what was happening to their country spelled out in classic songwriting.

American Band was the Travel Marmot album of the year in 2016 and they returned this year with another delight – they just did it across two records at either end of the year which, combined, earn them another high placing.

Not everything works – Babies In Cages is just too obvious, lacking the depth of their best efforts – but when they get it right (Thoughts and Prayers, The New OK) it becomes clear why they have emerged as one of the most important American groups around.

Possibly bumped up a few places by The Unravelling being listened to (repeatedly) for the first time during 24 hours in a hammock crossing the Amazon.

4 Grandaddy – The Sophtware Slump… on a wooden piano

It is not new – a 20-year-old album played on what seems to be an even older piano – but my blog, my rules and this new version of a true classic is the perfect reissue we never knew we needed.

On the back of one of the best Twitter listening parties hosted by The Charlatans’ Tim Burgess (surprise candidate for musical hero of the year), it spelled out what a great album it is.

And it is amazing just how well these songs have held up to both time and the stripped-back versions here – epic opener He’s Simple, He’s Dumb, He’s The Pilot is perhaps the one which works the least well.

Lovely stuff.

5 Fontaines DC – A Hero’s Death

Last year’s album of the year winners did not rest on their laurels, returning with the follow-up mid-pandemic.

For a while, A Hero’s Death was heading to the slightly disappointing pile but prolonged exposure revealed a step forward which was not only worth repeated listenings but also laying the foundations for a longer future beyond being the current darlings of guitar music.

These songs maybe lacked the initial clout of Dogrel, but more reflected the impact the success had on the band – songs which moved on relentlessly without ever taking the next step you expected (and which maybe would have come on their debut) and it is that sense of anticipation which adds life and promise. For now and the future.

It stands alone but also as a sideways, possibly slightly backwards step, to clear a path for what comes next.

6 Taylor Swift – folklore

The undoubted surprise entry in the upper reaches of this list and it is there for a simple reason – it is really, really good.

Dubbed her indie album, it undoubtedly benefits from its collaborations with The National’s Aaron Dessner, Jack Antonoff and Bon Iver’s Justin Vernon, but this is Swift’s work, her songs supplying a pop edge to her co-creators’ backgrounds.

Any unwarranted doubts about her songwriting ability are dispelled by penning exile, the great Bon Iver song we have been waiting for over the last few years.

It is maybe three of four songs too long and the insistence on everything being lower case is frustrating (or is that just me?) but it stands up to repeated listening. Trust me.

7 Soccer Mommy – color theory

More lower case and another female singer-songwriter in the upper reaches, Sophie Allison’s second album takes a significant step forward from the promise of her debut.

The first new album which was played repeatedly on my return from travelling, soundtracking several long walks as lockdown took over our lives and somehow seemed to make total sense.

There’s a long, detailed explanation of the album being based in sections on colour but really, just listen to it and enjoy.

8 Jason Isbell & The 400 Unit – Reunions

If the upper reaches of this countdown belongs to female singer-songwriters, there remains a place for Jason Isbell.

Reunions leans like its predecessor The Nashville Sound slightly towards Radio 2 territory and polished mainstream more than the great double whammy of Southeastern and Something More Than Free which chronicled his new-found sobriety and move from a rock and roll lifestyle to domestic contentment.

But Isbell remains as good a songwriter as there is around and Reunions is never less than sharply observed and richly created.

9 Rolling Blackouts Coastal Fever – Sideways to New Italy

My move from jingly jangly indie to Americana is reflected in this list, but there remains a place for shimmering guitars.

The Australian band jointly topped this list two years ago (with IDLES) and their sophomore effort takes a step forward from Hope Downs without lessening the number of interwined guitar lines, harmonies and damn good songs.

The sound of the summer we never really enjoyed.

10 IDLES – Ultra Mono

One of the most anticipated albums of the year and, to be honest, among the most underwhelming.

If IDLES can ever underwhelm.

There is enough in Ultra Mono to deserve this high placing – it has bounced around the fringes of the top 10 when putting the list together – but it is in danger of becoming too draining an experience for repeated listening.

When it hits its target (see below), it is as good as anything they have done, but relies too heavily on going for huge knockout blows when the odd body punch would get the message across just as well over the length of an album.

You do not need to shout to make yourself heard all the time.

11 Sufjan Stevens – The Ascension
12 Porridge Radio – Every Bad
13 Working Men’s Club – Working Men’s Club
14 Bill Callahan – Gold Record
15 Margo Price – That’s How Rumors Get Started
16 Laura Marling – Song For Our Daughter
17 This Is The Kit – Off Off On
18 Bob Mould – Blue Hearts
19 Matt Berninger – Serpentine Prison
20 Disq – Collector
21 Fiona Apple – Fetch The Bolt Cutters
22 Stephen Malkmus – Traditional Techniques 
23 The Orielles – Disco Volador 
24 Taylor Swift – evermore
25 Bright Eyes – Down In The Weeds, Where The World Once Was
26 Sports Team – Deep Down Happy
27 Boston Manor – GLUE
28 Dream Wife – So When You Gonna…
29 Fleet Foxes – Shore
30 The Flaming Lips – America Head

Bubbling Under (or in need of more exploration)
…And You Will Know Us By The Trail Of Dead – X: The Godless Void and Other Stories
beabadoobee – Fake It Flowers
The Big Moon – Walking Like We Do
Gorillaz – Song Machine, Season One: Strange Times
Jordana – Classical Notions of Happiness
Becca Mancari – The Greatest Part
Sufjan Stevens & Lowell Brams – Aporia 
US Girls – Heavy Light

Tracks of the Year

Have stuck to albums on these annual lists before with maybe a passing mention of what was the track of the year, but if we can’t do these things differently this year, when can we?

1 IDLES – Grounds

“Do you hear that thunder?”

In a year when there has been plenty to get angry about, these lists are perhaps surprisingly lacking in fury, Bob Mould turns up the anger with Drive-By Truckers and Sufjan Stevens voicing frustrations in different ways.

IDLES had no hesitation in expressing their anger and on Grounds they packaged indignation as we entered lockdown and somehow foresaw some of the wider issues which would fill the following months.

And by slightly dialling down the scale of the backing – if not the intensity – they turned up the impact.

“Not a single thing has ever been mended, By you standing there and saying you’re offended”

2 Phoebe Bridgers – Kyoto
3 Drive-By Truckers – Thoughts and Prayers
4 Taylor Swift (feat Bon Iver) – exile
5 Phoebe Bridgers – ICU

6 Sufjan Stevens – America
7 Fontaines DC – A Hero’s Death
8 Phoebe Bridgers – I Know The End
9 Taylor Swift – the last great american dynasty
10 Waxahatchee – Lilacs

11 Porridge Radio – Sweet
12 Rolling Blackouts Coastal Fever – Cars In Space
13 Phoebe Bridgers – Halloween
14 Soccer Mommy – circle the drain
15 This Is The Kit – This Is What You Did

16 Bob Mould – American Crisis
17 Phoebe Bridgers – Chinese Satellite
18 Taylor Swift – betty
19 Waxahatchee – Fire
20 Drive-By Truckers – 21st Century USA

21 Rolling Blackouts Coastal Fever – Falling Thunder
22 Phoebe Bridgers – Garden Song
23 Soccer Mommy – bloodstream
24 Waxahatchee – The Eye
25 IDLES – Model Village
26 Sufjan Stevens – Video Game
27 Jason Isbell – Only Children
28 Waxahatchee – Can’t Do Much
29 Waxahatchee – Hell 
30 Fontaines DC – Televised Mind

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Best of 2019

THIS blog revels in its traditions, even it they are only a few years old.

And possibly top of that list is the New Year’s Day reflective post and its accompanying look back on the best of the previous year’s musical offerings – both of which will almost certainly not be posted until well after January 1.

Bucked that trend a little this year by publishing the new year address on the intended date, but the music one has had to wait a bit – partly down to a hectic few weeks on the road in South America, partly due to no power in the laptop and, to be honest, it is hot and it all seemed like a lot of work.

Better late than never, here is an abridged version of the Travel Marmot Best of 2019 – split the difference between the two posts and they are round about the right time.

It has all been a bit different this year, partly due to circumstances – been on the road for the last few months, so not had complete access to new releases or the traditional end-of-year trawl through the lists elsewhere.

Working on that, so the list at the end may earn a spot in the higher echelons or vanish without trace. Or get ignored once the new Drive-By Truckers album comes out.

And my music buying (well, downloading) was a bit different with a change of iPod leading to an increased used of Apple Music and the chance to fill in some older gaps in the collection.

It has also been a bit different music wise.

Last year’s list had a fair amount jingly-jangly guitars and female singer-songwriters (one of whom features again), but this year the top spots are taken by what John Peel described as “white boys with guitars”.

Or, to be more accurate, Irish boys with guitars.

Album of the Year: Dogrel – Fontaines DC

Not been this enthused by a new act for a while. Not everybody’s cup of tea – one person exposed to Hurricane Laughter moaned about them shouting at her – but this is literate, passionate, powerful and catchy as any guitar music of the last few years.

And it’s just bloody good, Boys In The Better Land probably edging the song of the year title as well.

Don’t believe me? Six Music named it album of the year and have come to trust them over the last few years.

And still jealous at someone seeing them twice in a week without me.

The Other Irish Album of the Year: When I Have Fears – The Murder Capital

Not as polished, not as convincing as their Irish counterparts, but there’s plenty of promise.

One friend who saw them at Swn Festival in Cardiff described it as being in at the start of something which feels important. He may be right.

Phoebe Bridgers Album of the Year: Better Oblivion Community Center

Two years ago it was her haunting solo debut Stranger in the Alps, last year it was her all-female supergroup Boygenius, this time Phoebe Bridgers makes the top end of the list with her side project with Bright Eyes’ Conor Oberst.

Dylan Thomas was close to being song of the year and is the highlight of an album which has grown on me through some long days on the back of a truck.

Worth A Listen/Still Exploring

Shepherd In A Sheepskin Vest – Bill Callahan
Thrashing Through The Passion – The Hold Steady
Inferno – Robert Forster
i,i – Bon Iver
I Am Easy To Find – The National
Girl – Girl Ray
Ode To Joy – Wilco
The Talkies – Girl Band

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Have It All to Heavenfaced

THIS post was supposed to be about something else. But every time writing got delayed or interrupted, events conspired to render the proposed subject out of date.

Lost somewhere in the mists of time is a post about trolls and Twitter intolerance, be it related to Brexit, journalists, Six Nations rugby… anything which somebody was not a big fan of or knew nothing about so opted to criticise and attack rather than simply ignoring and moving on with their own life.

But then something came along which, given the subject and history of this blog, could not really be ignored.

We need to talk about Ryan.

If everything had gone to plan, the highlight of this weekend was not supposed to be Gloucester winning at Northampton (no matter how thrilling that was, especially with the enforced tactic of playing much of the game with no specialists in the back three).

No, the main event inked in for this weekend was a trip to Birmingham to watch Ryan Adams.

Anyone paying the slightest bit of attention to this A-Z blog will have noticed Adams crops up as much as anyone, partly due to my love of his music and partly because of his ability to churn out stuff – certainly in his younger years when he needed a touch of quality control.

He rates among the top three gigs on my list (all by acts beginning with R and all, bizarrely, in South Wales), so news of a first new album for a while – well, three throughout the course of the year – and a few live dates had me at a keyboard the moment they went on sale and paying rather more than my normal gig budget.

And then the New York Times published an in-depth report containing allegations of sexual misconduct against Adams, their sources including his ex-wife, actress and singer Mandy Moore, and singer-songwriter Phoebe Bridgers, who had hinted at her relationship with Adams in the wonderful Motion Sickness.

Moore claimed Adams had stifled her own musical career, saying she was not a proper musician because she did not play an instrument, while there were a string of allegations that he “dangled career opportunities while simultaneously pursuing female artists for sex”.

The report also contained allegations Adams had exchanged sexually inappropriate messages with a teenage girl with the FBI confirming they were launching an investigation.

Strangely, neither the rapidly-delayed album nor the gig looked as inviting – the clamour for refunds adding to the pressure before the tour was also cancelled.

Even if it was not, doubt there would have been too many in the audience – certainly not me.

Plenty has been said and written about the articles, not going to dwell on them. If true (they remain allegations), they are despicable and Adams deserves everything that comes his way. It’s not just a male-female thing, it’s simply right and wrong.

If you want a female fan’s perspective, check out this blog post outlining anger and disappointment which was tweeted into my timeline and rang a fair few bells.

The writer shares a few mutual friends with me, one in particular who regular readers will have heard a lot about in recent posts given that we lost him last year.

Adams soundtracked plenty of memories for me as the soundtrack to one break-up in particular, plus several other personal moments and, most recently, a key memory of a friend lost far too young.

Not sure Nick knew too much about Ryan Adams – the overlap in our musical tastes were certainly elsewhere – but his wife was a fan and Oh My Sweet Carolina has always been a great, bittersweet reminder of a sweltering week in Charleston for their wedding. And it’s a great song.

Which raises the question – is it still acceptable to listen to his music?

Think it is going to be a long time before scrolling through the iPod or reaching for a CD sees me hover in the Adams section, but what happens if one pops up – as it is very likely to do in the near future heading through my iPod from A-Z?

A few have – none in this particular section from Foo Fighters to The National – and it is hard to listen to songs, many of which are so familiar, when the first thing that springs to mind is what you have just found out about the artist.

The fact he could be a bit of a dick came as no surprise – numerous reports of pre-Madonna behaviour (as one reporter once wrote) long circulated around Adams. But if you are going to stop listening or watching people because they are dicks, your choice of entertainment is going to diminish a fair amount.

While not listening to Ryan Adams will affect many people not one iota, the case of Michael Jackson is a bit different – and he was cleared of any allegations that got as far as court.

And do you avoid all Kevin Spacey films? The Usual Suspects (which has other connotations) and the excellent Baby Driver were both on TV not that long ago. Is it OK to watch them? After all, Spacey was just one part (albeit significant) of both.

Suggest there is no right answer to this one. There will be those who feel it is impossible to listen to Adams at all. Personally, will not be picking him out by choice but when he pops up along the way from A-Z, not going to turn away.

Would place doing something to tackle the sort of behaviour of which he stands accused as a far more important response.

As I said, there was no sign of Ryan Adams in the latest, pretty short, chunk which took us to the 4,700 track mark on the journey through my iPod (which looked to have surrendered as it refused to turn on for a few days – right up to the point when given one last chance to behave on the way to the Apple shop to be checked out).

We had a couple of classics from Echo and the Bunnymen – two versions of Heads Will Roll and Heaven Up Here – and a pair from The Smiths (The Headmaster Ritual and Heaven Knows I’m Miserable Now).

And sticking with the selection of ’80s classic, we stopped off in Heartland from the oft-overlooked classic Infected album by The The.

  • The observant may have noticed there is no playlist on this post, courtesy of a rather nifty update from WordPress which somehow makes it impossible. Will have a play with that, until then, enjoy the videos.
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Adios Amigo to Golden Dream

BY its very nature, this blog spends a fair amount of time paddling around in nostalgia.

There’s plenty of new stuff making waves along the way – and maybe, just maybe, introduce you to through the links – but the default position is ankle deep in the past.

Be that music or the memories, stories and feelings it stirs when held up to my ears (think we might have gone far enough with that metaphor).

And that’s fine. Been great rediscovering forgotten gems, unearthing a few  missed through the years and seeing how classic tracks have plotted the soundtrack of my life.

But maybe diving too deep into the musical past is not always a great thing.

The soundtrack since the last entry (far longer ago than intended) has been littered with a lot of new stuff, helped by a catch-up through A-G in the journey through my iPod – some it very new, some of it stuff from the last 12 months or so which needed the compulsory listen to ensure nothing was missed.

By contrast, a couple of live outings have rolled back the years. Even decades.

Echo and the Bunnymen were my first proper gig at Gloucester Leisure Centre  in my teenage years, to which they provided a large chunk of the soundtrack.

They were, along with REM, my band for many, many years, but for some reason had somehow missed seeing them live again. Partly due to lack of opportunity, but largely turning down a couple of chances as we all got considerably older.

Never been a big fan of just seeing bands for old times’ sake. And somehow didn’t want to mix those wonderful memories of seeing the Bunnymen way back when with a risk of disappointment at what they have become.

Right up to the point when a ticket to see them live dropped in my lap as a Christmas present.

For a while, looked like might miss it – the band cancelling the gig due to a clash with the Champions League final, rescheduling to the one night when work rather gets in the way before an outcry from fans forced a return to the original date.

And it was enjoyable. If you don’t relish Ian McCulloch singing the likes of The Killing Moon, Seven Seas or Villiers Terrace – the song which always ended any C90 compiled for anyone else – backed by an excellent band and string quartet, you are missing some sort of musical gene (it’s what stops me getting most heavy metal).

But… there was always a but hovering in the air. McCulloch always was a difficult soul and whether it was his natural personality or resentment at missing his Liverpool side in action, there was an element of going through the motions about it all.

As good as the band were, they were shunted right to the back of the sizeable stage as McCulloch took centre stage – largely motionless – with Will Sergeant almost skulking off stage right.

And the set list was bizarre. A strong start with old favourites – let’s face it, that’s what most the audience of a certain age wanted to hear – drifted into mid-gig malaise and every time they got us up again with a classic, it was straight back down with some newer track.

There were no quibbles with the set list at the second gig in close succession, Paul Heaton and Jacqui Abbott rattling through The Housemartins’ and Beautiful South’s back catalogues. The music was highly enjoyable – far more so than expected.

But in the middle of Westbonbirt Arboretum, it was all a bit odd.

The long, slow-moving queue to get in was frustrating (especially seeing late arrivals, including at least one regular reader, benefit from them eventually opening extra entrances while the original queue watched on) , meaning most of support act Billy Bragg’s set was witnessed from afar and through a fence while trying to get in.

Judging by some of the tutting at his politics, a few were in no rush to get in.

And when we did get in, with limited space around the back and sides, it was into Dante’s middle class circle of hell.

Tickets were not cheap, so did wonder why some people were there. Not for the music, that’s for sure. Far more for the chance to sit and have a picnic – suggest M&S and Wzitrose enjoyed a huge soar in profits as they must have sold out of dips, nibbles and finger food. And wine boxes.

One group in front of us, apparently four couples, were sat in a circle from which they barely moved throughout.

The women did get up a couple of times to start dancing when a song they knew came on, only to stop halfway through to take some selfies and then wander off to the loo.

The men sat and talked, only stopping occasionally to pass out some more drinks and to cut up some limes to go with them.

Actually, that’s not fair. Two of them did stand up, almost on top of a seated couple who had staked out a prime spot, so they could compare tips on their golf swings.

The eight of them would have had exactly the same evening (without the queue and traffic) if they had sat in the garden with a CD on in the background.

Sure a lot of people there didn’t realise music came without interruptions from Chris Evans and the traffic news.

Musically better than expected (not necessarily my normal taste post-Housemartins, but Heaton has written a surprising number of great songs) and a fair few additions to the bad gig etiquette list.

Certainly not a Billy Bragg audience – as one woman showed who talked relentlessly just behind us, moaning about him covering that nice Kirsty Maccoll’s New England.

He has been a fairly constant presence live – seen him in four difference decades – and throughout this A-Z journey through my iPod. And he popped up again in this recap, courtesy of the collection of tracks he put out last year. Politically inspired, surprisingly enough.

The bulk of the catch-up – from Michael Head to Snail Mail – can be split between the traditional end-of-year download binge and new stuff.

Phoebe Bridgers cropped up a few times on the former having made it in to the top three of my albums of last year. Certainly no need to reconsider that one and remain slightly obsessed.

The new stuff has not been quite as much as planned – the January idea to get something new each week never got out of the month – but there’s been some decent stuff.

Let’s Eat Grandma, Snail Mail, Goat Girl, perhaps surprisingly Buffalo Tom and old faithfuls Half Man Half Biscuit are all threatening this year’s best-of lists.

But early, clear favourite for top spot is Rolling Blackouts Coastal Fever.

Thankfully, the music is a fair bit easier to cope with than the name and delivers a large enough helping of jingly-jangly guitar to wash away any lingering anger sparked by fellow gig-goers.

 

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The Best of 2017

REGULAR readers may well have noticed one thing missing from the last post – assuming that is, they have read these two sister pieces in the right order.

For a blog that rattles on about music, it was sorely lacking from the last entry. But hey, this started out as a travel-writing site and there’s been precious little of that recently.

Time to address both issues – if losing weight and getting is the main aim for the 2018, more regular articles and travel posts is the second.

As for music, there’s a good reason there was no mention of the A-Z iPod challenge, mainly because it hadn’t got anywhere (before this weekend’s travel-laced trip to London) since we left it at Girl From Mars.

That’s mainly because my listening has been concentrating on another annual tradition, wading through albums which made the 2017’s finest lists but which never caught my eye.

Still investigating some of them, but time for the end result of my much belated list of 2017’s best albums

  • Album of the Year – Every Valley, Public Service Broadcasting

No surprise to anyone who has heard me banging on about it. There’s even a post all about it. Not an opinion shared by all – many plump for their previous album The Race for Space – but the often emotional journey through the history and suffering of mining communities is by far their most complete work, imbued with a heart lacking in previous efforts.

  • Surprisingly Close to Top Spot – Sleep Well Beast, The National

Giving Public Service Broadcasting top spot would have come out of the blue not that long ago, The National hot on their heels would have been an even bigger surprise. They have totally passed me by for years, despite the devotion of some very good musical judges.

This album changed that. Every listen has closed the gap to top spot. Who knows where we’ll be as time goes by – Drive-By Truckers emerged from the pack to be undoubted number one a year ago.

  • Discovery of the Year – Stranger In The Alps, Phoebe Bridgers

Not one that popped up on too many best of… lists, but did crop up enough to pique my interest. And boy, was it worth investing some time in, gatecrashing the top three of the year.

It’s far from perfect. Like many debut albums, it does slightly peter out but her voice, sheer honesty and some serious songwriting chops are enough to leave you wanting more – especially given the 1-2-3 punch of the opening salvo of  Smoke Signals (possibly song of the year which manages to reference The Smiths, Lemmy and Bowie in the course of five extraordinary minutes), the catchy Motion Sickness and the emotionally fraught Funeral.

Ever so slightly in love with her. One to watch.

  • Really Can’t Decide Album of the Year – The Nashville Sound, Jason Isbell and the 400 Unit

Could easily have dismissed as disappointment of the year, but probably doesn’t deserve that – having heard much of it live, reassessed it. It’s just not a patch on Isbell’s previous two offerings.

Think the problem is summed up in the title. His Americana storytelling has taken on too much of a Nashville sheen, sounding too country, too corporate Nashville, too Radio 2.

  • Rethink of the Year – Prisoner,  Ryan Adams

Nobody crops up more often on the A-Z journey through my iPod than Adams – with the possible exception of Dave Gedge – but on first couple of hearings, wasn’t expecting this to appear on an end-of-year lists.

But when it kept cropping up in the upper reaches, went back to a second look and, you know what, it’s better than first thought. Not perfect, certainly not a Heartbreaker (what is?), but his most complete offering for some time.

  • It’s Good But… of the Year – American Dream, LCD Soundsystem

Another which kept cropping up near the top of magazine lists – right at the top of more than one. Another band  that have only really skimmed past my consciousness. At their best, very good, but the fall off is quite quick.

Don’t think this hits the heights of North American Scum, New York I Love You or a few others, but consistently pretty good. Just not that good.

  • Tenuous Claim to Fame Award – Earl Grey, Girl Ray

It almost hurts me to criticise this (however much that is mixed with praise), having first met the singer, guitarist and main songwriter when she was just a few days old. And been the best man at her parents’ wedding (her mum’s in the video just up there and her dad is, in many ways, the godfather of the Travel Marmot).

And do really like a lot of it. Just can’t help thinking they’d have been better off waiting before putting out their debut album and flesh out their sound bit more.

Definitely ones to watch.

  • Collaboration of the Year Award – Lotta Sea Lice, Kurt Vile & Courtney Barnett

Had a brief obsession with Barnett when she first appeared on the scene. This one came out of leftfield but after a couple of listens makes perfect sense.

  • Worth A Listen, But It’s Not…. Award – Shared between a string of old favourites who returned with perfectly decent albums. Just not ones which ever emerged from the shadows of earlier classics.

Between them, At The Drive-In (who returned 17 years after the truly wonderful noise that is Relationship of Command with in ter a li a), The Shins (Heartworms), Grandaddy (Last Place) and Billy Bragg (Bridges Not Walls) have released some of my all-time favourite albums. Bit further down the list this year guys.

Nearest to recapturing former glories were Ride whose Weather Diaries was one of the year’s present surprises. That Arcade Fire’s Everything Now failed to spark was not that big a surprise.

  • Well Worth Seeking Out – Not the top echelon, but worth anyone’s time. A few new discoveries, eponymous efforts by Cigarettes After Sex and The Weather Station , ever-reliable efforts from Mogwai (Every Country’s Sun) and  John Murray (A Short History of Decay) and the return of Michael Head, now monikered with The Red Elastic Band on Adios Señor Pussycat.

  • And The Rest… – Worth a listen and, in my case, further investigation:
    Antisocialites – Alvvays
    Love In The Fourth Dimension – The Big Moon
    Joan Shelley – Joan Shelley
    English Tapas – Sleaford Mods
    Relatives In Descent – Protomartyr
    A Deeper Understanding – The War On Drugs
    Out In The Storm – Waxahatchee
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