Right, ok, so...we've had my personal top 10 shoddiest moments from music this year; now that's out of the way, let's celebrate! It wasn't all bad after all! Some truly epic stuff happened, only this got me thinking, 'yes!', stuff that makes you want to love music more than ever before. As before, this is totally opinionated, so, you might not agree with some choices, and think that, maybe, I should have included others. That's very nice dear. Ok, so, it's the very last day of the year and once again - from the top...
10. Depeche Mode optimistically announce 13th studio album and world tour
So, to start us off, this right here, is good, bloody news. Don't get me wrong, I'm not quite 'forgiving and forgetting' the infamous 'betrayal'; in a style almost as annoying as that of Radiohead and with similar rapidity, Depeche Mode, sadly, faded into an apparently inescapable canyon of self indulgence, circa 1993, and, ever since, it seems as though the once great synth-pioneers have been trying to claw their way back to popularity; well, in the UK at least...
Though few actually believe me when I quote the fact, Depeche Mode remain one of Britain's most successful musical exports of all time, and, having made it big in America in 1987/1988 on their "Music For The Masses" world tour, the band have become a worldwide phenomenon, and continue to enjoy stardom and fame, especially, in the latter mentioned US of A (though there, they are seen as more of a rock band).
In a statement to the NME in December, Martin Gore, principal songwriter, said that the new album contained some of the band's best recordings to date, and said the album was trying to make a step in a new, more soul driven direction and that the songs were vry much in the same vein as the much loved '80 material. This is all good news; Depeche do soul very well. 1993's single, "Condemnation", was subsequent album, "Songs Of Faith And Devotion"'s saving grace (excuse the pun), and as for the reference to older material, well, this was said about the latest album to date, "Sounds Of The Universe", contaning some of the band's best post-"Violator" material.
As for the tour? Well, I only mention it because I got tickets - so nnnnnuuuuurrrrrgggghhhhhhhh! :p Also, what they've chopped together for this collage, shown below, is awesome - have a listen...I believe this song is entitled "Angel Of Love" - it's sounding very good to me so far...
10. Depeche Mode optimistically announce 13th studio album and world tour
So, to start us off, this right here, is good, bloody news. Don't get me wrong, I'm not quite 'forgiving and forgetting' the infamous 'betrayal'; in a style almost as annoying as that of Radiohead and with similar rapidity, Depeche Mode, sadly, faded into an apparently inescapable canyon of self indulgence, circa 1993, and, ever since, it seems as though the once great synth-pioneers have been trying to claw their way back to popularity; well, in the UK at least...
Though few actually believe me when I quote the fact, Depeche Mode remain one of Britain's most successful musical exports of all time, and, having made it big in America in 1987/1988 on their "Music For The Masses" world tour, the band have become a worldwide phenomenon, and continue to enjoy stardom and fame, especially, in the latter mentioned US of A (though there, they are seen as more of a rock band).
In a statement to the NME in December, Martin Gore, principal songwriter, said that the new album contained some of the band's best recordings to date, and said the album was trying to make a step in a new, more soul driven direction and that the songs were vry much in the same vein as the much loved '80 material. This is all good news; Depeche do soul very well. 1993's single, "Condemnation", was subsequent album, "Songs Of Faith And Devotion"'s saving grace (excuse the pun), and as for the reference to older material, well, this was said about the latest album to date, "Sounds Of The Universe", contaning some of the band's best post-"Violator" material.
As for the tour? Well, I only mention it because I got tickets - so nnnnnuuuuurrrrrgggghhhhhhhh! :p Also, what they've chopped together for this collage, shown below, is awesome - have a listen...I believe this song is entitled "Angel Of Love" - it's sounding very good to me so far...
9. Blur release single, "Under The Westway"
It's been many years since the last Blur recordings were made, and so, in an otherwise desolate
summer in terms of musical innovation, to hear new songs from the band, with this level of layering and intelligent lyrical substance; well, it was a relief. Many have said that this song sounds like Procul Harum's "Whiter Shade Of Pale", which, to a degree, it does. However, Albarn's musical accomplishment shines through here, and the video of the band recording the song adds a whole new aspect of interest; to watch these weathered musicians all work together, live and with so much intricacy in their separate parts is definitely one of the coolest things I've seen in music this year. The song has a lot of soul, considering it was written by the same band whose brit-pop thrashing of the '90s included the catastrophically loud "Song 2" and the suitably garish "Parklife".
"Under The Westway" is evidence of the London lads of the '90s music scene having matured, but it's also evidence of great, arty, alternative pop music still existing and developing in what we see as an all synthetic landscape of sound, and it's for that reason that it makes this list at #9. Quell your despairs people - seemingly, there's hope on the horizon...
It's been many years since the last Blur recordings were made, and so, in an otherwise desolate
summer in terms of musical innovation, to hear new songs from the band, with this level of layering and intelligent lyrical substance; well, it was a relief. Many have said that this song sounds like Procul Harum's "Whiter Shade Of Pale", which, to a degree, it does. However, Albarn's musical accomplishment shines through here, and the video of the band recording the song adds a whole new aspect of interest; to watch these weathered musicians all work together, live and with so much intricacy in their separate parts is definitely one of the coolest things I've seen in music this year. The song has a lot of soul, considering it was written by the same band whose brit-pop thrashing of the '90s included the catastrophically loud "Song 2" and the suitably garish "Parklife".
"Under The Westway" is evidence of the London lads of the '90s music scene having matured, but it's also evidence of great, arty, alternative pop music still existing and developing in what we see as an all synthetic landscape of sound, and it's for that reason that it makes this list at #9. Quell your despairs people - seemingly, there's hope on the horizon...
8. Two Door Cinema Club perform "Someday" on BBC2's "Later...with Jools Holland" programme
Wow. That was one performance. The band were on absolute, top form, and, in fact, the outstanding, rhythmic and physically ecstatic show of pure guitar skill by every member of the band (other than the drummer, obviously, who was also incredibly active), convinced me to pick up a 6 string electric guitar, put down my bass, and get on with trying to become everyone's favourite band member; the awesome lead guitarist. This particular song has a lead that is hard work to learn. However, something about the raw, independant feel of the performance, and the realisation that the unearthly sounds were analog and played out right before your very eyes, and not electronic as they might sound off a CD, made this TV appearance very special indeed.
For me, apart from the fact that it convinced me to try playing normal guitar, this song also redefined 'indie' in a year when, despite the origin of the term itself, the music normally found under this particular umbrella of the industry was seen more as mainstream stuff. "Someday", a lowly album track, will never receive #1 standard radio airplay, but, after it's performance on a BBC2 music programme on at 11pm on a Saturday night, it's status as a proper indie record, is unquestionable. Check out both a performance (the Letterman version is shown as the Jools Holland clip is unavailable) and also my in-depth review of the track from earlier on this blog (found in the song review section).
Wow. That was one performance. The band were on absolute, top form, and, in fact, the outstanding, rhythmic and physically ecstatic show of pure guitar skill by every member of the band (other than the drummer, obviously, who was also incredibly active), convinced me to pick up a 6 string electric guitar, put down my bass, and get on with trying to become everyone's favourite band member; the awesome lead guitarist. This particular song has a lead that is hard work to learn. However, something about the raw, independant feel of the performance, and the realisation that the unearthly sounds were analog and played out right before your very eyes, and not electronic as they might sound off a CD, made this TV appearance very special indeed.
For me, apart from the fact that it convinced me to try playing normal guitar, this song also redefined 'indie' in a year when, despite the origin of the term itself, the music normally found under this particular umbrella of the industry was seen more as mainstream stuff. "Someday", a lowly album track, will never receive #1 standard radio airplay, but, after it's performance on a BBC2 music programme on at 11pm on a Saturday night, it's status as a proper indie record, is unquestionable. Check out both a performance (the Letterman version is shown as the Jools Holland clip is unavailable) and also my in-depth review of the track from earlier on this blog (found in the song review section).
7. Taylor Swift releases album, "Red"
"Red" was easily one of the year's most exciting, most diverse, most commercial and yet, most professional and consummate albums. Swift, now several country albums into her career, makes a brave move with "Red", from which I have reviewed two of the singles, this year ("We Are Never, Ever Getting Back Together", and title track, "Red", both found at the blog sidebar). As well as two fantastic charting songs from "The Hunger Games" film soundtrack ("Eyes Open", and "Safe & Sound" featuring The Civil Wars), Swift had a spot (which was, incidentally, ruined) on the year's poorest charting song (for sure), "Both Of Us" by B.o.B., and also had chart success in the UK with the remainder of the singles from "Red", "Begin Again", "I Knew You Were Trouble", "State Of Grace" and also the Ed Sheeran collaboration, "Everything Has Changed", which, thanks to downloads, charted at #50 despite being an album track. It has, for this singer/songwriter, been an incredible year.
But isn't this just an American musical export getting some UK exposure and some mainstream success on the side? Why on earth should Taylor Swift be bagging the #7 spot on this 'prestigious countdown'? Well, in answer to the first question, no. Evident, briefly, with the modest chart success of 2009's "Love Story", and again since her pop resurfacing over the summer with "We Are Never, Ever Getting Back Together", this Texan country singer turned teenage musical sweetheart is more than just a 'pretty face' in pop music; she really can play guitar and write catchy songs with great hooks. Like it or not, you were humming that song all summer, and you know it. Also, it's not exactly Morrissey standard, but there's some very intelligent and well written genderless application to the music, something, which, if the artist achieves it, shows some ingenuity and thinking behind their music. And as for the second question? Well, it's been hard to ignore; as well as being a very good album, with similarly fantastic singles, Swift has dominated the UK charts this year, and I reckon that deserves some recognition.
These are great exemplifications of the quality of some contemporary, mainstream songs with real, accomplished production and writing involved at the same time. At, what appears to be the mid-way point of her musical evolution, Swift had us spellbound this year with "Red" - to the rest of the industry's artists, we shout 'more like this please!' Whether or not you agree, it's at least partly true to say that this album is proof that pop music could be saved!
"Red" was easily one of the year's most exciting, most diverse, most commercial and yet, most professional and consummate albums. Swift, now several country albums into her career, makes a brave move with "Red", from which I have reviewed two of the singles, this year ("We Are Never, Ever Getting Back Together", and title track, "Red", both found at the blog sidebar). As well as two fantastic charting songs from "The Hunger Games" film soundtrack ("Eyes Open", and "Safe & Sound" featuring The Civil Wars), Swift had a spot (which was, incidentally, ruined) on the year's poorest charting song (for sure), "Both Of Us" by B.o.B., and also had chart success in the UK with the remainder of the singles from "Red", "Begin Again", "I Knew You Were Trouble", "State Of Grace" and also the Ed Sheeran collaboration, "Everything Has Changed", which, thanks to downloads, charted at #50 despite being an album track. It has, for this singer/songwriter, been an incredible year.
But isn't this just an American musical export getting some UK exposure and some mainstream success on the side? Why on earth should Taylor Swift be bagging the #7 spot on this 'prestigious countdown'? Well, in answer to the first question, no. Evident, briefly, with the modest chart success of 2009's "Love Story", and again since her pop resurfacing over the summer with "We Are Never, Ever Getting Back Together", this Texan country singer turned teenage musical sweetheart is more than just a 'pretty face' in pop music; she really can play guitar and write catchy songs with great hooks. Like it or not, you were humming that song all summer, and you know it. Also, it's not exactly Morrissey standard, but there's some very intelligent and well written genderless application to the music, something, which, if the artist achieves it, shows some ingenuity and thinking behind their music. And as for the second question? Well, it's been hard to ignore; as well as being a very good album, with similarly fantastic singles, Swift has dominated the UK charts this year, and I reckon that deserves some recognition.
These are great exemplifications of the quality of some contemporary, mainstream songs with real, accomplished production and writing involved at the same time. At, what appears to be the mid-way point of her musical evolution, Swift had us spellbound this year with "Red" - to the rest of the industry's artists, we shout 'more like this please!' Whether or not you agree, it's at least partly true to say that this album is proof that pop music could be saved!
6. Alt-J's music videos
Yeah, so these were weird. To say the least...
Starting with "Breezblocks", comprising reversed footage of a woman's physically strenuous battle with her boyfriend after she finds him cheating with a girl who she has gagged and bound in a wardrobe, Alt-J begin their visual attack on indie music. The reversed nature of the video makes it very difficult to interpret the events, but the backwardness fits very nicely with the, frankly, bizarre music. The direction is superb and the overall aesthetic of the band is improved massively by the accompanying imagery, which is quirky, different, and very dark. This latter aspect is, oppositely, rather juxtaposed with the light hearted sound. As you can see just from reading this, the video is successful because of its strange combination of visuals that work together with the music, and others which oppose it, something which has been pulled off with incredible style.
The morbidity, and also, the odd matched/mismatched nature of the visuals and music, are continued with the band's second single, a weaker song, but, perhaps, a stronger video. "Something Good" is, again, shot in slow motion, but this time, the chronology of events is more or less forward facing. Here the eye's are treated to the intensely violent and horrifying sight of a matador, impaled on a bull's horn just as a dancing, flittering acoustic chorus rolls over the ears; it's just very odd indeed, but it's bringing something altogether more artistic about the music video, back, and, indeed, to music itself. This is a concept album that has spawned very strange, alternative singles and videos; as a package, it functions, very, very well, and, whilst recent videos for the singles "Tesselate" and "Fitzpleasure" haven't caught my attention as much, it's been very exciting to see something like this take off so quickly and with a feeling of such instant success...
Yeah, so these were weird. To say the least...
Starting with "Breezblocks", comprising reversed footage of a woman's physically strenuous battle with her boyfriend after she finds him cheating with a girl who she has gagged and bound in a wardrobe, Alt-J begin their visual attack on indie music. The reversed nature of the video makes it very difficult to interpret the events, but the backwardness fits very nicely with the, frankly, bizarre music. The direction is superb and the overall aesthetic of the band is improved massively by the accompanying imagery, which is quirky, different, and very dark. This latter aspect is, oppositely, rather juxtaposed with the light hearted sound. As you can see just from reading this, the video is successful because of its strange combination of visuals that work together with the music, and others which oppose it, something which has been pulled off with incredible style.
The morbidity, and also, the odd matched/mismatched nature of the visuals and music, are continued with the band's second single, a weaker song, but, perhaps, a stronger video. "Something Good" is, again, shot in slow motion, but this time, the chronology of events is more or less forward facing. Here the eye's are treated to the intensely violent and horrifying sight of a matador, impaled on a bull's horn just as a dancing, flittering acoustic chorus rolls over the ears; it's just very odd indeed, but it's bringing something altogether more artistic about the music video, back, and, indeed, to music itself. This is a concept album that has spawned very strange, alternative singles and videos; as a package, it functions, very, very well, and, whilst recent videos for the singles "Tesselate" and "Fitzpleasure" haven't caught my attention as much, it's been very exciting to see something like this take off so quickly and with a feeling of such instant success...
5. Pussy Riot are arrested, prosecuted and incarcerated on charges of 'hooliganism'
'What's good about this?' I hear you say. Well, for the first time since the Sex Pistols rode a barge down the Thames singing their unofficial UK #1 single "God Save The Queen" in 1977, politics and punk rock have had a somewhat controversial history. Things went head-to-head again this year, when, in Russia, an all-female punk collective, their faces hidden by vividly coloured balaclavas, took to protesting for women's rights, musically, in various public locations, the last, and most infamous of these being a church. The fact is, that, whilst I don't know that much about it, Pussy Riot spoke for the women of Russia on, apparently, very reasonable grounds. The speed at which musicians, all around the world, rushed to their aid and support upon their arrest proved this somewhat. For a lowly NME reader such as myself, stuck in the desolate and boring political landscape of 'can't-bothered-mainstream-artists-and-youth' and led by a hapless British coalition government, it was exciting that punk had gotten political once again, though of course, in my life at least, it was for the first time.
Things really kicked off when some of the women were imprisoned, especially since the charges, completely unfounded and almost impossibly imposed given the widely recognised and ugly situation regarding Russian people's rights under Putin, sounded as lame and unnecessary as they did; 'hooliganism' - it made fools of the band members, and in fact, any of those who opposed the government or it's ideas. Worldwide, the women received support, and, recently, one band member was released. It was a rough, unfair, and horribly public affair.
But it's also #5 on this list. And for what? Well, Pussy Riot, to quote the NME, made 'politics punk again'. Music and world leaders clashed and the furore and violent outburst of criticism that ensued will be remembered for some time - and all because of punk music as a vehicle for expressionism. yes, the events were ugly, but it's thanks to music that this event will be remembered for such a long time. Shown below is a video made by the band, thanking fans and demonstrating their anger by burning a photograph of Vladmir Putin, Russia's president. An exceptional story from this year's moments in music, truly...
'What's good about this?' I hear you say. Well, for the first time since the Sex Pistols rode a barge down the Thames singing their unofficial UK #1 single "God Save The Queen" in 1977, politics and punk rock have had a somewhat controversial history. Things went head-to-head again this year, when, in Russia, an all-female punk collective, their faces hidden by vividly coloured balaclavas, took to protesting for women's rights, musically, in various public locations, the last, and most infamous of these being a church. The fact is, that, whilst I don't know that much about it, Pussy Riot spoke for the women of Russia on, apparently, very reasonable grounds. The speed at which musicians, all around the world, rushed to their aid and support upon their arrest proved this somewhat. For a lowly NME reader such as myself, stuck in the desolate and boring political landscape of 'can't-bothered-mainstream-artists-and-youth' and led by a hapless British coalition government, it was exciting that punk had gotten political once again, though of course, in my life at least, it was for the first time.
Things really kicked off when some of the women were imprisoned, especially since the charges, completely unfounded and almost impossibly imposed given the widely recognised and ugly situation regarding Russian people's rights under Putin, sounded as lame and unnecessary as they did; 'hooliganism' - it made fools of the band members, and in fact, any of those who opposed the government or it's ideas. Worldwide, the women received support, and, recently, one band member was released. It was a rough, unfair, and horribly public affair.
But it's also #5 on this list. And for what? Well, Pussy Riot, to quote the NME, made 'politics punk again'. Music and world leaders clashed and the furore and violent outburst of criticism that ensued will be remembered for some time - and all because of punk music as a vehicle for expressionism. yes, the events were ugly, but it's thanks to music that this event will be remembered for such a long time. Shown below is a video made by the band, thanking fans and demonstrating their anger by burning a photograph of Vladmir Putin, Russia's president. An exceptional story from this year's moments in music, truly...
4. PSY releases single, "Gangnam Style (강남스타일)", the music video for which, is the first ever upload to YouTube to reach 1,000,000,000 views
'Opan Gangnam Style!' - this year's phrase of the year, allegedly. Yes, this is "Gangnam Style (강남스타일)", everyone's favourite 3 minutes of gibberish from this year's musical releases - or, as we affectionately refer to such items of interest in Britain, 'a load of bollocks'.
I won't spend too long on this as I've already written a review of the song and video (which, is my most read review, with 3004 views at the time of writing, and which can be found at the blog sidebar), but quite why PSY's latest output has become so popular remains unknown to me. People always have liked the inexplicable and random, but the hype surrounding "Gangnam Style (강남스타일)" was, to be quite honest, unjustified. There was a little to laugh at, I guess, with the video - but 1 billion YouTube views in less than 6 months? Just why?
So it's partly in confusion, and partly by recongition of the huge impact that this record has had, that I put the release of "Gangnam Style (강남스타일)" at #3 on this least...I will, however, admit, right now, that PSY has in fact caused me to question my faith in humanity...
'Opan Gangnam Style!' - this year's phrase of the year, allegedly. Yes, this is "Gangnam Style (강남스타일)", everyone's favourite 3 minutes of gibberish from this year's musical releases - or, as we affectionately refer to such items of interest in Britain, 'a load of bollocks'.
I won't spend too long on this as I've already written a review of the song and video (which, is my most read review, with 3004 views at the time of writing, and which can be found at the blog sidebar), but quite why PSY's latest output has become so popular remains unknown to me. People always have liked the inexplicable and random, but the hype surrounding "Gangnam Style (강남스타일)" was, to be quite honest, unjustified. There was a little to laugh at, I guess, with the video - but 1 billion YouTube views in less than 6 months? Just why?
So it's partly in confusion, and partly by recongition of the huge impact that this record has had, that I put the release of "Gangnam Style (강남스타일)" at #3 on this least...I will, however, admit, right now, that PSY has in fact caused me to question my faith in humanity...
3. Carter The Unstoppable Sex Machine play the O2 Brixton Academy, supported by Cud and Ned's Atomic Dustbin
Well, I did warn you, this top 10 is personal. So personal in fact that I put the awesome gig I went to on 10/11 at #3. And not unfairly either, because, it was practically a one-night miniature festival with those 3 acts playing in succession, and also because, it was bloody phenomenal.
None of the bands were 'past it' and all the speed, style and screaming attitude of punk rock was present, with only a mildly slowed "Kill Your Television" from Ned's Atomic Dustbin to show the age of the bands playing.
Cud opened to a half full audience, which confused me somewhat. Those hanging around at the bar missed out because, despite my personal disposition of having never heard half of the songs comprising their setlist at the time, the band were brilliant. The guitarist especially was on top form, and, despite both my Dad and I thinking for half the time they were on that they were Ned's Atomic Dustbin minus one bassist, as the middle aged indie rockers burst into the seminal "Rich And Strange" it very nearly brought a tear to my eye to see such raw live power in music, only a few hundred feet before me.
Ned's Atomic Dustbin played for almost twice as long as Cud, and they were twice as good as the main event, Carter USM. Loud, brash and attitudinal, but matured and comic in their reflection of their heyday in the early '90s between songs, Ned played a decent set, and were easily the most active band of the night.
Then, after the opening theme to "Monty Python's Flying Circus" had played in it's entirety, Jim-Bob and Fruit-Bat strolled casually onto the Brixton Academy stage to a rousing chorus of 'YOU FAT BASTARD!' and launched straight into "Surfin' USM" - the lights were bright, the speakers were turned up to full, and it was completely and utterly the most awesome thing ever. Both members of the band were the best they've ever been with not a hint of their age to show for it, as they ploughed through a set composed almost entirely of pre-1995 material, which, as I later found out, was a godsend considering their musical downfall post the "Worry Bomb" album. Using all of the original sample tapes that the band are famous for, until the electric finale of "Sheriff Fatman" and the fond farewell of "G.I. Blues", the two London lads rocked harder than ever to the perfect greatest hits setlist, with some banter in between and a hell of a lot of laughs and drunken sing-a-longs from those in the stalls.
Sarky punk rock had had it's day, I thought. On 10th November this year, however, Carter The Unstoppable Sex Machine proved otherwise in an awe-inspiring display of electric, punk excellence. Wow...just thinking about it makes me want to cry at the total perfection...
Well, I did warn you, this top 10 is personal. So personal in fact that I put the awesome gig I went to on 10/11 at #3. And not unfairly either, because, it was practically a one-night miniature festival with those 3 acts playing in succession, and also because, it was bloody phenomenal.
None of the bands were 'past it' and all the speed, style and screaming attitude of punk rock was present, with only a mildly slowed "Kill Your Television" from Ned's Atomic Dustbin to show the age of the bands playing.
Cud opened to a half full audience, which confused me somewhat. Those hanging around at the bar missed out because, despite my personal disposition of having never heard half of the songs comprising their setlist at the time, the band were brilliant. The guitarist especially was on top form, and, despite both my Dad and I thinking for half the time they were on that they were Ned's Atomic Dustbin minus one bassist, as the middle aged indie rockers burst into the seminal "Rich And Strange" it very nearly brought a tear to my eye to see such raw live power in music, only a few hundred feet before me.
Ned's Atomic Dustbin played for almost twice as long as Cud, and they were twice as good as the main event, Carter USM. Loud, brash and attitudinal, but matured and comic in their reflection of their heyday in the early '90s between songs, Ned played a decent set, and were easily the most active band of the night.
Then, after the opening theme to "Monty Python's Flying Circus" had played in it's entirety, Jim-Bob and Fruit-Bat strolled casually onto the Brixton Academy stage to a rousing chorus of 'YOU FAT BASTARD!' and launched straight into "Surfin' USM" - the lights were bright, the speakers were turned up to full, and it was completely and utterly the most awesome thing ever. Both members of the band were the best they've ever been with not a hint of their age to show for it, as they ploughed through a set composed almost entirely of pre-1995 material, which, as I later found out, was a godsend considering their musical downfall post the "Worry Bomb" album. Using all of the original sample tapes that the band are famous for, until the electric finale of "Sheriff Fatman" and the fond farewell of "G.I. Blues", the two London lads rocked harder than ever to the perfect greatest hits setlist, with some banter in between and a hell of a lot of laughs and drunken sing-a-longs from those in the stalls.
Sarky punk rock had had it's day, I thought. On 10th November this year, however, Carter The Unstoppable Sex Machine proved otherwise in an awe-inspiring display of electric, punk excellence. Wow...just thinking about it makes me want to cry at the total perfection...
2. Bob Dylan addresses 'betrayed fans' who dubbed him 'Judas' as 'evil motherfuckers'
Perhaps even more 'punk' than Pussy Riot and Carter USM combined, was American singer/songwriter legend Bob Dylan speaking out against legions of 'betrayed' folk-music fans earlier this year with harsh intentions.
Since picking up an electric guitar and launching into the electro-blues genius of "Maggie's Farm" at Newport Festival in 1965, Bob Dylan has been subject to the complaints, criticisms and condemnations of his earliest fans whose firm belief in his protestant songwriting set to the sounds folk music, felt betrayed after their hero 'went electric' in one of the most important musical moments of the last 50 years.
This year, during an interview, Dylan, who has famously stayed quiet on this particular subject, finally spoke out against those who intelligently dubbed him 'Judas', the most famous example of this being a heckler at the 1975 Rolling Thunder Review, whereby the outspoken crowd member was silenced by an specially dedicated and heart wrenching performance of "Oh Sister".
In addressing the 'betrayed' as 'evil motherfuckers', Dylan immediately went even further up in my estimations. It was, on his part, a slightly brave, but mostly assertive and yet casual move. In his age, with his musical tenure, he is an untouchable fountain of genius. Music, as you will know from reading this countdown, has become bland and boring. For true artists like Bob Dylan to stand up and make their point so frankly, so solidly, and yet so humorously, well, it makes one smile... In my case, I smiled a lot - this is just what music needs right now, especially musicjournalism...a firm kick up the arse...nice one Bob...
http://www.nme.com/news/bob-dylan/66076
Perhaps even more 'punk' than Pussy Riot and Carter USM combined, was American singer/songwriter legend Bob Dylan speaking out against legions of 'betrayed' folk-music fans earlier this year with harsh intentions.
Since picking up an electric guitar and launching into the electro-blues genius of "Maggie's Farm" at Newport Festival in 1965, Bob Dylan has been subject to the complaints, criticisms and condemnations of his earliest fans whose firm belief in his protestant songwriting set to the sounds folk music, felt betrayed after their hero 'went electric' in one of the most important musical moments of the last 50 years.
This year, during an interview, Dylan, who has famously stayed quiet on this particular subject, finally spoke out against those who intelligently dubbed him 'Judas', the most famous example of this being a heckler at the 1975 Rolling Thunder Review, whereby the outspoken crowd member was silenced by an specially dedicated and heart wrenching performance of "Oh Sister".
In addressing the 'betrayed' as 'evil motherfuckers', Dylan immediately went even further up in my estimations. It was, on his part, a slightly brave, but mostly assertive and yet casual move. In his age, with his musical tenure, he is an untouchable fountain of genius. Music, as you will know from reading this countdown, has become bland and boring. For true artists like Bob Dylan to stand up and make their point so frankly, so solidly, and yet so humorously, well, it makes one smile... In my case, I smiled a lot - this is just what music needs right now, especially musicjournalism...a firm kick up the arse...nice one Bob...
http://www.nme.com/news/bob-dylan/66076
1. Green Day release "¡Uno! ¡Dos¡ ¡Tré!" album trilogy
It looks as though there'a hideous bias here. In the last month, many of the songs I have reviewed have had connotations to Green Day in some way, and only a few days back, the band topped my list of top 10 shoddiest moments in music for the year. Maybe then, there's even more to the surprising brilliance of the Cali-punk collective's latest musical output; that a band could disappoint legions of fans in such a way and then not lose a single one, and all by simply tossing a record in their direction; well, that's commendable is it not? Either way, the trilogy is awesome...
"¡Uno!", released in September of this year, is the loudest, most brash of all 3 records, and bears most resemblance to a punk album. Opening with the bombastic "Nuclear Family" peaking at the danceable "Kill The DJ" and fading out to the only-just-lighter-hearted "Oh Love", "¡Uno!" is the first Green Day album since 2000's "Warning" to embrace simple punk rock values; a string of fast paced, loud 2-3 minute songs who lyrics embody the substance of the genre; sex, drugs and rock 'n' roll. Where "American Idiot" and "21st Century Breakdown" before it, have incorporated complex themes, stories, values, subjects and even, to a degree, sounds, "¡Uno!" is immediately a return to the teenage wildness of previous albums and represents a new aspect of experimentation with Green Day's sound, though I must admit, they've done a rather wonderful job...those still hating on the dancey rythms of "Kill The DJ", go listen to the hundreds of Green Day songs before this; "¡Uno" marks a welcome and not-so-severe change...
"¡Dos!" has more swear words. That's my first observation. Secondly, it has a more garagey vibe, and, as such, sounds more like a collection of demos for the next Foxboro Hot Tubs album. However, it's still very good, though definitely the weakest of the 3 albums. Allegedly carrying an 'at the party' vibe, where the atmosphere of "¡Uno!" was 'getting ready for the party', and that of "¡Tré" is 'the morning after', "¡Dos!" is more experimental in sound, and more danceable as a result. It's also very childish, in both it's themes and phrasing. "Fuck Time", just on the merits of it's title, is testament to this, and similarly the apology for cheating that is the pop music heart attack of "Stray Heart" and the catchy, wingey vocal phrasing of "Nightlife", display a similar intention.
However, it's "¡Tré!", the trilogy's final instalment, which carries the most musical expertise, soul and genius. Opening with the waltzing hangover of "Brutal Love", and jumping thereafter into "Missing You", the heartfelt message to an absent loved one, the album covers a wide range of moods and atmospheres as it progresses through the more "¡Uno!"-like "8th Avenue Serenade", into the acoustic solemnity of juvenescent exploration with "Drama Queen". Afterwards, "X-Kid", the perfect pop-punk single, plays out feeling like the pinnacle of Green Day's evolution, before the speedy "Sex, Drugs & Violence" and "A Little Boy Named Train" carry the listener through the to the hopelessly "Insomniac" era sounding "Amanda", possibly the best song in the trilogy. Closing the album, the mature rock song, "Walk Away" leads into a childish chorus of vocal phrasing in the 6 minute + plus epic that is "Dirty Rotten Bastards" and out the other side, into the '70s rawness of "99 Revolutions", before the whole epic trypch closes with (the unfortunately "Twilight" penned) "The Forgotten", a song which reaches back, in style, to the ballads we know and love from "21st Century Breakdown".
An amazing 37 songs in length, the trilogy is one of the finest musical outputs the band has ever produced, and it's solid genius, surprisingly uninterrupted by the frequent change in atmosphere and lack of underlying story which, has, in the past, cemented the success of their albums, is pure, and something which you would have to search long and hard before finding again on today's music scene. It really is the most beautiful moment in music from this year, and represents an entire career in music climaxing superbly, and with completely soulful reverberations. If we could have asked anything from 2012, it was that music might make a change for the better, that maybe, something as exciting as punk would happen again. Well, instead, punk did happen again. I love it, unconditionally, and it's a real achievement, if not anything else.
It looks as though there'a hideous bias here. In the last month, many of the songs I have reviewed have had connotations to Green Day in some way, and only a few days back, the band topped my list of top 10 shoddiest moments in music for the year. Maybe then, there's even more to the surprising brilliance of the Cali-punk collective's latest musical output; that a band could disappoint legions of fans in such a way and then not lose a single one, and all by simply tossing a record in their direction; well, that's commendable is it not? Either way, the trilogy is awesome...
"¡Uno!", released in September of this year, is the loudest, most brash of all 3 records, and bears most resemblance to a punk album. Opening with the bombastic "Nuclear Family" peaking at the danceable "Kill The DJ" and fading out to the only-just-lighter-hearted "Oh Love", "¡Uno!" is the first Green Day album since 2000's "Warning" to embrace simple punk rock values; a string of fast paced, loud 2-3 minute songs who lyrics embody the substance of the genre; sex, drugs and rock 'n' roll. Where "American Idiot" and "21st Century Breakdown" before it, have incorporated complex themes, stories, values, subjects and even, to a degree, sounds, "¡Uno!" is immediately a return to the teenage wildness of previous albums and represents a new aspect of experimentation with Green Day's sound, though I must admit, they've done a rather wonderful job...those still hating on the dancey rythms of "Kill The DJ", go listen to the hundreds of Green Day songs before this; "¡Uno" marks a welcome and not-so-severe change...
"¡Dos!" has more swear words. That's my first observation. Secondly, it has a more garagey vibe, and, as such, sounds more like a collection of demos for the next Foxboro Hot Tubs album. However, it's still very good, though definitely the weakest of the 3 albums. Allegedly carrying an 'at the party' vibe, where the atmosphere of "¡Uno!" was 'getting ready for the party', and that of "¡Tré" is 'the morning after', "¡Dos!" is more experimental in sound, and more danceable as a result. It's also very childish, in both it's themes and phrasing. "Fuck Time", just on the merits of it's title, is testament to this, and similarly the apology for cheating that is the pop music heart attack of "Stray Heart" and the catchy, wingey vocal phrasing of "Nightlife", display a similar intention.
However, it's "¡Tré!", the trilogy's final instalment, which carries the most musical expertise, soul and genius. Opening with the waltzing hangover of "Brutal Love", and jumping thereafter into "Missing You", the heartfelt message to an absent loved one, the album covers a wide range of moods and atmospheres as it progresses through the more "¡Uno!"-like "8th Avenue Serenade", into the acoustic solemnity of juvenescent exploration with "Drama Queen". Afterwards, "X-Kid", the perfect pop-punk single, plays out feeling like the pinnacle of Green Day's evolution, before the speedy "Sex, Drugs & Violence" and "A Little Boy Named Train" carry the listener through the to the hopelessly "Insomniac" era sounding "Amanda", possibly the best song in the trilogy. Closing the album, the mature rock song, "Walk Away" leads into a childish chorus of vocal phrasing in the 6 minute + plus epic that is "Dirty Rotten Bastards" and out the other side, into the '70s rawness of "99 Revolutions", before the whole epic trypch closes with (the unfortunately "Twilight" penned) "The Forgotten", a song which reaches back, in style, to the ballads we know and love from "21st Century Breakdown".
An amazing 37 songs in length, the trilogy is one of the finest musical outputs the band has ever produced, and it's solid genius, surprisingly uninterrupted by the frequent change in atmosphere and lack of underlying story which, has, in the past, cemented the success of their albums, is pure, and something which you would have to search long and hard before finding again on today's music scene. It really is the most beautiful moment in music from this year, and represents an entire career in music climaxing superbly, and with completely soulful reverberations. If we could have asked anything from 2012, it was that music might make a change for the better, that maybe, something as exciting as punk would happen again. Well, instead, punk did happen again. I love it, unconditionally, and it's a real achievement, if not anything else.