There is no more of the End of Year list as by this point it's too late to go through all of them. April 2013 is not the best time to continue raking over 2012, not when there's so much good music coming out this year in any case. The old buggers are all emerging from the woodwork: Bowie for the first time in a decade, Nick Cave returning to form after his simultaneous work in the fields of embarassing midlife crisis ponytail rawk and oh so tasteful film soundtracks, My Bloody Valentine emerging with an underwhelming album that took longer than I've been alive to make and sounds like something you could do in a week, tops....as always, the old bastards are stealing the spotlight.

Every year, it seems, is the year of the comeback: no one goes away anymore. Everything is recycled, repackaged, re-released, nothing but the sum of its influences. This isn't always bad: a band mashing Le Tigre, Xasthur and early Cocteau Twins together, for example would be very welcome. Just no more of the following please:

• Reheated, over-rehearsed "garage rock" recorded in fancy studios, given an audiophile mastering job and quantised and pitch corrected to within an inch of its life then slathered with artificial dirt in all he right places. No. Thanks. Don't put the dirt on after, as that's not the point of this stuff. Scheduled spontanaeity. No thanks.
• Same with hip-hop: it's supposed to be the voice of the disenfranchised. Don't ignore the stuff that genuinely is made my pissed off people of all ages, sexual orientations, ethnicities, whatever in favour of the chintzy orchestrated idiocy currently being peddled. Hip hop is a broad church but let's take David Guetta out of the equation. Put the Ministry of Sound compilations away, boys and girls. Leave the grime in grime, otherwise you have....nothing,that's right. 
• Publications supposedly promoting bold new music only accepting what's fed to them by back slapping publicist wankers who went to school with each others dads. The NME would never pick up on riot grrl these days, although we've supposedly advanced as a society in 2013 we've only become more conservative. Where once Disco Inferno, Godflesh, early Manics, Bikini Kill, a very broad group of bands had the one thing in common of kicking against the pricks now no one says anything anymore.
• Same with BBC 6Music: there's some good stuff on there, I love Stewart Maconie, but a lot of it was only cutting edge music 20 years ago when Peel was playing it. Face it: indie rock is the new mainstream, and you're only playing the depoliticised "It's all about the music maaaan" Topshop drivel. It's still a boys club, and while this is the case you're always going to be a bunch of hypocrites. It's still the best major station broadcasting, though. Maybe they'll become less parochial now they've had to relocate to Manchester (or develop a parochialism that works in my favour as a North West artist).
• Fawning documentaries about punk where talking heads piss on their legacy, favouring straight white males who're always from London over The Slits, The Raincoats, Throbbing Gristle,The Blue Orchids, Crisis/Death In June, Current 93 etc. You know, the genuinely interesting ones. I bet the bastards breathed a sigh of relief when Peter Christopherson died.
• Repeating the past instead of learning from it.

• If it's not too much to ask, The Bordellos, The Longdrone Flowers and Death Masks all outselling Adele. Yes, I'm in two of those bands, but Death Masks I genuinely think are a brilliant live band.

Yes it's unproductive bitching but this is a blog and no bugger reads it anyway.

Tracks of the year 24 - 14

This may have some slightly unorthodox formatting in terms of tracks listed per post but that's just the way I'm playing it baby, and writing the introductions in the style of a smug oaf.

24. Frank Ocean - Bad Religion (From Channel Orange)



Blah blah blah bisexual man in a very homophobic and heteronormative subculture, blah blah blah alternative R&B bleat moan bleat overstate him at this early point in his career, compare him to Prince or Stevie Wonder at a shockingly early point in his career because he's black. That's basically the formula for people writing about Frank Ocean. Yes, it's great that a non-stereotypical man can come out of the closet, yes it's great he doesn't define himself by his sexuality even if the people bending over backwards to show how liberal they are are defining him by it not his incredible talent. Yes it's great that the racist idea that black people are more homophobic than white people is being exposed as the cowardly lie it is, but let's not damn him by comparing him to talents he's not had time to reach yet or focus on what gets him off.

Fact is Channel Orange is a great album and as with The Weeknd it's hard for me to pick just one track off it, so I won't, but this one is my joint favourite off the album with Pyramids, the one I'll write up later. It's just as ambitious in it's own way as that 10 minute epic but what it reminds me of more than any of the obvious reference points is late 60's Scott Walker, if Scott was informed by hip hop and R&B not Brel and Brecht. This is a story song that could possibly be autobiographical that builds, with swooning strings, and fits some ideas that're pretty subversive for the genre he's working in into an irresistible pop song. Just as singing about brothels (Next), Big Louise and a song from the point of view of a rich man's toyboy (Thanks For Chicago Mr James) was more than a lot of Scott's audience would be used to at the time, in a genre where men sing about women even if they are gay (Luther Vandross) and if God enters the equation it's standard Godfearing the Lord is my Shepherd stuff this is pretty subversive stuff. Check the pronouns - "I can never make him love me" is something not heard often sung by a male R&B singer.

Now I've fallen into the same trap I complained others do but I never said I was a great writer. What's important is the gender or sexuality of the singer and the way they're singing it is irrelevant to this song. This song could be performed by Antony Hegarty, or Tracey Thorn, or Nina Simone (same as Antony I guess), any great singer could perform this in any style and it's be a great song. The melody line when he sings "Unrequited love, for me it's nothing but a one man cult" is indescribable, soaring and why this is in the list, and I'm a sucker for handclaps (no hetero). I'm starting to think you and me are a lot alike.

I just can't wait to hear Frank's Symphony or Damn. Damn.

23. Edwyn Collins - 20 Years Too Late (from Dr Syntax)



When Edwyn Collins released the Dr Syntax album it went largely ignored, but if it came out now it'd be held up as one of the albums of the year, any year it was released in. Not only has he had the accident which raises anyone's stature among the press vultures (and he still doesn't get the credit he deserves), but it's an album where he does the now very trendy thing of mixing post-punk and indie influence up with various kinds of soul music with some beats that wouldn't be out of place on, well, Channel Orange. Collins spits on those fashionista ideas of what music it is and isn't acceptable to draw influence from at that time.

I heard it this year and thought "This is a masterpiece". There's not a bad track on it but this one stands out for the sheer insanity, moving from a guitar intro that wouldn't be out of place on a Fleetwood Mac album to Edwyn rapping over a hip hop beat, funk bass and Chic-meets-folk guitar riffing then growling out the chorus. You can almost understand why the proscriptive landscape of the music press didn't pick up on this - surely he should've been making an unplugged album or having a midlife crisis and calling in some hotshot producer to do this, not making this MODERN sounding album on his own.

Quoth Mark E Smith (who's also appeared on an Edwyn Collins track), He is not appreciated.

22. Azaelia Banks ft. Lazy Jay - 212



See, pop music doesn't HAVE to be dull and conservative. This is an irresistible pop rap gem that gets me doing a strange sat down dance as I replay it as I write this entry and charted in spite or because of the way it gets the line "I guess that cunt getting eaten" stuck in your head. Over and over again. As if to counter decades of hip hop homophobia, a lot of this year's great hip hop has been by LGBT artists in a way that hasn't really happened before, and not in the fake "getting off with girls to get guys interested" Nicki Minaj style between this, Zebra Katz, Angel Haze, Nykki Blanco and Le1f among others. That makes sense - hip hop was supposed to be the voice of the downtrodden and now it's become part of the status quo, there's not much danger in sticking to the sexist gay hating (but secretly hiring rentboys) party line of the rich elites is there?

Now this isn't a voice for the voiceless moment either but as with the Frank Ocean entry I've fell into discussing the artist and society and not the track which is just something that's good for getting people dancing in a club or at a party or writing a blog entry very few people will read about your favourite tracks of the year. There's a lot of cliches in this, the high-pass filter "soar" preceding the chorus, the stop you in your tracks key change, the "introducing dubstep influences" trope so common to pop hip hop at the moment, but the strength of this track is that it's only after it's finished I start dissecting it. When it's on I just think "Yeah, I guess it probably is getting eaten". It makes me want to hear it again, too.

At the time of finishing this list she's got in trouble for writing stupid homophobic shit on Twitter, then even more problematically saying that faggot doesn't mean gay but "a man who acts feminine" to which I have to say - what's wrong with being feminine, love, (some) women are great!

21. Zebra Katz ft Njena Reddd Foxx - Ima Read



Now, I go from complaining about misogyny elsewhere to praising a song where every other word is bitch. Yeah, and I don't apologise because it's catchy as a cold. There are a few other reasons too - one of them is because there are two people rapping on this one, and one of them is a woman. It's also left pretty gender neutral, as by this point bitch is a pretty gender neutral insult and especially in the context of hip hop. If it was "dyke" then I don't care how catchy it is or even if it was made by lesbians, it'd probably make me uneasy. Maybe it'd still get in the list because it made me uneasy.

Enough bitching about the word bitch. This track shows you very clearly how you can do more with less - it's just two voices and a very basic drum machine beat but it's catchy as hell. If you're a DJ this is great for you, even I could fill a floor with this and mix it into something else. Your average listener doesn't care about that stuff and they've got the right idea, but this further demonstrates my point that it's not about genres it's about mood. Because there's another record in my list a million miles away from this but using the same ingredients - Cut Hands Has The Solution by Whitehouse. Similar use of violent imagery, it just so happens that the mood of this is a kind of mordant joy whereas the Whitehouse track just makes you want to tunnel to escape.

The Moment in this track that made me fall in love with it - Njena Foxx's delivery, as if having an epiphany of "I don't like that bitch". I'm not going to go into the vogue/ballroom routes of the song because I don't know enough about them. Suffice to say this is really good. The video is also pretty excellent.

Bitch.


20. Xiu Xiu - Honey Suckle (from Always)



I love Xiu Xiu and the more Xiu Xiu I hear the more I fall in love with them. I love Jamie Stewart's voice, the frightened, panicky, verge of tears way he often sings annoyed me first time I heard them but gradually I got used to it, and went from tolerating it to finding that his voice and his way of writing has an effect on me that no one else has. I could say he sounds like a mixture of Antony Hegarty and Morrissey if he wasn't a daft racist, or he sounds like Robert Smith looking down the barrel of a gun but what he sounds like is a mixture of Jamie Stewart and Jamie Stewart. There's a strength in his voice that's not apparently obvious but it's there. Here it interlinks with the equally beautiful voice of Angela Seo, who wrote the track. Apparently this is her first foray into songwriting, which is pretty phenomenal.

Now onto the song itself, which is something you could imagine The Xx doing but somehow the way Xiu Xiu do it is a lot better, and more affecting. While The Xx are great and all there's a studied detachment and even when they sing of heartbreak you know they'll get over it. They're too cool, their model looks and the fact they're The Xx mean they'll ensnare someone else soon. The two voices on this Xiu Xiu track are both beautiful voices but neither of them are cool or trying too hard, they're very expressive and fragile and for me that makes them far cooler. It's a wonderful life, Jamie Stewart. It was a toss-up between this track and I Luv Abortion, but I went with the poppier one because that's the mood I was in at the time.

19. Dubstar - Stars



How this band haven't been rediscovered in a time where it's permissible for indie bands to listen to music outside of the indie ghetto again I don't know, as lots of people are making things that sound like this (but aren't as good). Again it's fairly minimal, not many bells and whistles just some pretty synths, a looped drumbeat, a bit of New Ordery guitar here and there and a catchy bassline setting the stage for a good vocal performance. This most definitely still sounds fresh (in both the old hip hop speak sense and as in it sounds new), and will endure a thousand listens.

18. Lindsey Buckingham - That's The Way Love Goes



I'm not sure I want to meet a person who is unmoved by this and doesn't have a really good reason for disliking it. You know when people babble on in an old-fogeyish way about "perfect pop"? Well this is the real deal. The verses are just multi-tracked Lindsey vocals and some of his guitar waterfalls - there's simply no other way for me of describing those arpeggios, they're like rivers flowing by or rain falling, there's something liquid about them. Then the chorus is the kind of stadium rock piledriver that'd turn me off if done by anyone who isn't a former member of Fleetwood Mac or Manic Street Preachers. His voice, with the same yearning embedded in it as all the best singers, brings another dimension to lyrics which otherwise are the stuff of every other lovesong - "I'd like to take your pain away/I'd like to take your shame away". Basically, the guy's really good and I predict big things for the lad in future.

17. Scott Walker - The Day the "Conducator" Died (from Bish Bosch)



Obviously I love Scott Walker. It's in my blood. But I think that as well as missing the dark humour in his work, too many people miss that the trilogy of Tilt - The Drift - Bish Bosch isn't that much different from his work prior to that. It's just that he's singing in a slightly higher register. His songwriting is still flawless - this song has a hook, in the "Nobody waited for fire" section. Shorter and more uptempo it could be a Roy Orbison song - this register of his voice sounds like Orbison, and it's uncanny - one of the best singers to grace the planet so effortlessly sounding like another.

It's hard to pick a highlight from a track like Bish Bosch but just as Farmer In The City is my favourite song from Tilt as it's a perverted mirror image of his opulent 60's material, this is my favourite for the same reason. I could've picked Epizootics, the first I heard of which parts are properly catchy and which suggests he could make a great dance record or I could've picked the first track, the sonic extremity of which sounds like a poppier Whitehouse, but this is a beautiful thing about a less than beautiful subject. Just as Farmer In The City was nominally about the death of Pasolini, this is another song about a violent death but in this case as in Clara on The Drift or the Eichmann trial referencing The Cockfighter on Tilt, The Day the "Conducator" Died centres around the death of a dictator. More specifically the key motif is the execution by firing squad of Nicolae Ceaușescu. It ends with a snatch of Jingle Bells, features a guitar sound you wouldn't be surprised to hear on a Justin Broadrick record, and it's chilling and beautiful.

Ultimately, though, it's still pop music, as all good music is. By no means all pop music is good music, but all good music is pop music. It sticks in your head, and inspires you to create or cry or laugh or break things. That's what it does. Don't let anyone tell you this is "difficult" music, because it's really not. Difficult to beat, though.

16.  Gilbere Forte feat. Raak - Black Chukkas



This is full of making cliches interesting - the churning dubstep/d'n'b inflected beat, the odd bit of stutter-effect on the vocals, an Autotune semi-spoken chorus. There's a bit that could be knowing or could be accidental where the riff from Pretty Vacant is briefly played by a very early 90's rave sounding synth. It doesn't matter. It's very catchy, and refuses to dislodge itself from my head.

15. SBTRKT ft. Little Dragon - Wildfire (Remix feat. Drake)



Yeah, I was behind on this and the whole post-dubstep thing but this really worked for me as did SBTRKT in general. I've picked the remix with Drake not because I love the Drake but because it's a bit longer and gives us more of the infectious bassline and drum beat behind Drake praising himself in his customarily monotone way - it's not a terrible verse, but the best bit is when his "Yeah, that'll do" self congratulatory laugh overlaps with Little Dragon's voice coming in. This isn't that different formulawise to the Dubstar pick further up the page, really. Like all the other tracks I've picked, it's infectious and it's not overly busy but there's quite a lot going on. Enough that you'll pick up new things after a few listens - replaying it again for the purpose of this, I heard a buried string-patch I never really noticed at first.

14. Bikini Kill - Rebel Girl



"That girl thinks she's the queen of the neighbourhood - I've got news for you, she is!"

As the global becomes local and the local becomes global Kathleen Hanna really is the queen of the neighbourhood, and this is the song that started my (figurative, I don't want to get lynched by the Beastie Boys) love affair with her and her work. Basically there's something great by every project she's been involved with, and if pop music wasn't still such a boys club she'd get all the reverence bestowed upon Ian McKaye and Henry Rollins. Ian Mckaye's a particularly good parallel - there's the same switch between straight up punk (Bikini Kill/Minor Threat) to something artier, more collaborative and more FUN (Le Tigre/Fugazi). They're both people who've stayed true to their original intent, and long may they continue to do so.

Oh, the song - it's catchy as hell, it means something, there's a few hooks that sink into you and then there's that other intangible "Yes, this is one of those songs for me" factor. It's concise and it's another perfect pop song.

Tracks of the year, 34 - 25

"Take a good look at my face, and if my smile looks out of place, then you could do worse than have a listen to my tracks of the year" - sing it, it scans pretty well.

34. Chairlift - I Belong In Your Arms



This may be another thing that got me into Fleetwood Mac, seeing a review of this that said it sounded like a Christine McVie song. So I listened to her songs off Tango in The Night and it really does, but with more of a John Hughes film vibe mixed into it too. Terrifying thing - the 80's revival has lasted longer than the 80's at this point. Even scarier, the 50's has been revived even longer. The second it goes, it gets revived, but I'm wondering what from the 2010s will be revived and revisited - possibly there'll be loads of stuff that sounds like Burial. Simon Reynolds is right again, but you all knew that. Retromania writ large. All that aside, what really matters is that this is a fantastic, wintry sounding synth-pop song, and I love it. There's an abundance of great hooks crammed into it's short running time; I hate the term "perfect pop" but if such a thing exists (and it doesn't) this is a great example of it.

33. Aht Uh Mi Head - Shuggie Otis (from Inspiration Information)



Another most certainly not from this year but it really sounds like it could be, doesn't it? All I knew about Shuggie Otis up to the point of listening to it was that he was an early adopter of the drum machine and you can hear a primitive drum machine sputtering away on this one along with an almost toy like organ sound. If you brought a track that sounded like this out now it would still sound fresh, and that could be said if it came out any year since 1974 when it originally did. There's a run on theme in these last two choices of sorts that's painful to write out but simple to just realise - Aht Uh Mi Head sounds both AHEAD of it's time and OF it's time. Just as with the Disco Inferno choice before, you get the impression that if Shuggie was making this record now he'd use the technology and equipment available to him, not engage in pointless retro fetishism, but even if he did his voice is soulful as all hell so you'd forgive him.

32. Usher - Climax (from Scream)



Ugh. "Alternative R&B". What an oxymoron - it has been the mainstream, the mainstay of the charts for years now. I can see the Reynolds argument that some of it is so sonically inventive you can't help but like it, and in a few cases I agree. A good pop song is a good pop song, and there are plenty of artists like James Blake, The Xx, How To Dress Well and the like for who R&B was a big influence on their work, and know what it's been a big influence on mine too, it being inescapable as it is. I just can't help but think that while artists should be kicking against the pricks what they seem to be doing is in fact slobbering all over them. Good pop is good pop, good music is good music but a lot of it isn't good music, it's just Guetta shite with ill thought out misogynistic drool all over it. Homophobia from the mouths of preening manicured vest wearing tarts. And frankly, who needs that?

My problem with a lot of the so called R&B stuff coming out now is there's no blues anymore in there, the soul influence is pretty much dead replaced with a mix of the worst novelty hip hop records and the worst (and there are very few good ones) in sidechained chart dance music. There's no blues, just a wall of neon, the blues replaced with a dead behind the eyes hedonistic nihilism. Which is fine if you sound good but it doesn't, it's designed to be the soundtrack to predatory men cornering lonely cokehead girls on the dancefloor, same in every town.

But this record you do need in your life. That strain of R&B-influenced post-dubstep stuff influenced this R&B chart smash, and it really is good. There's a strain of melancholy in a lot of this stuff that's quite easy to pick out - "Dance like it's the last night of your life", anyone, but this takes it to another level. The vocal performance and production are great - not a spot of Autotune, tasteful use of falsetto, gentle dubstep-esque rhythms in the chorus. I've not liked many of his tracks but this one is excellent.

31. Cocorosie - Beautiful Boyz (from Noah's Ark)



Not a new one. I'm going to stop saying that before every track that isn't, this one was new to me. It features Antony Hegarty, which improves most things - here he sings the chorus which passed the litmus test for a great pop song by lodging in my head whenever the song is mentioned. The woman from Cocorosie who sings and whose name I don't know is really good too, her delivery mirroring Antony's in its unhinged beauty. The song is about Jean Genet, apparently, a writer who I also investigated this year to see what the fuss was about and I found him quite interesting. In a parallel universe this would've went to Number One and stayed there for ages when it came out, a sane universe that is. I found this through How To Dress Well's Live Yourself mix, so thanks to that guy.

30. Whitehouse - Cut Hands Has The Solution (from Bird Seed)



I've not actually checked out much Whitehouse, what I have done I've liked but it falls into the trap a lot of noise acts do of the output being pretty homogenous. Which is fine if you like it but it's something I can take or leave. The problem I have with a lot of art that is aimed at challenging and shocking me is I just find it really funny and actually quite conservative in the way that it goes for the easy mission of "winding up liberals" which A) is like shooting fish in a barrel and B) having the same homophobic, misogynist, racist attitudes as the ruling classes isn't exactly a blow against the status quo, is it? On the other hand, in the interest of balance, you could make the point (as I sometimes do somewhat optimistically) that by juxtaposing these outdated attitudes with references to far-right politics, rape and serial killers, these artists are actually pointing out how harmful these mainstream but ugly views are. In the case of people like William Bennett and Dominic Fernow, I'd think this is actually the case as they're obviously very intelligent people.

Cut Hands Has The Solution does not fail, because with very few ingredients (I like cooking metaphors) it engenders a reaction in me which I found very surprising. Just one monotonous plodding drum beat trudging on, and on, and on, some whirring electronic tones and a voice alternatively shouting and speaking in a calm but slightly terse manner. The text read out mixes the language of self-help with references to self-harm and strange methods of torture, and as with the best records it's hard to explain why it's good. It just is. It may not be to your taste. It may be your taste. But I'll tell you, it's helping, I'll tell you, you're doing the right thing.

29. Holy Other - Touch



Again, I find it hard how to explain why I like this, but as with Burial, Holy Other is not a cult of personality act, just a guy anonymously making great music and manipulating (presumably) the sampled voice of others to speak his message. In a way this idea is another way of the listener projecting their own preferred meaning onto a text, whether it be a song or a photo or a literal text, inventing their own backstory and a whole inner life of the song. In this case the only lyrics are "I've been looking for your touch", and "Everything you touch" sang in that same androgynous alien cut-up way as the voice on Burial's Archangel (or loads of other Burial songs).

Holy Other's name read aloud is also Wholly Other and he both is and isn't. Loads of people are doing stuff like this, it's just they're not doing it on a trendy well promoted label (spot any bitterness?). To be fair, nor are they doing it as well as he does, presumably. There's got to be some kind of limit on music this transcendent. It's all build, build, but when it switches and gets more 2-steppy it's a real eargasm moment. Slinky and spooky, like the best in electronic music.

28. Grimes - Oblivion (from Visions)



The soul and R&B thing's big this year, eh? It certainly fed into Grimes, who listed two of her biggest inspirations as Mariah Carey and Marilyn Manson - but she's better than both of them, so that's okay. Oblivion is a lovely, sighing helium-high falsetto pop song that reminded me more than anything of something Annie would do when I first heard it. The wisps of alien backing vocals and self harmonies here make me a bit jealous, and if I sang along all the nearby dogs would join in with me. The R&B influence is less obvious than on, say, How To Dress Well but it's there in the inventive percussion and melismatic vocals it just happens that here it's accompanied by synths that could be from a peak era Depeche Mode track. Definitely not a bad thing at all.

Makes perfect sense that Grimes is signed to 4AD, there's a kind of continuity between her vocal style and that of Elizabeth Fraser, where the words are almost secondary. Here the phrase "See you in the dark night" flits around and refuses to leave your head. Litmus test for a great record passed - it's staying in your head whether you like it or not.

27. The Weekend - XO/The Host (from Echoes of Silence)



From a free mixtape last year but re-released with added tracks as part of the Trilogy album, XO/The Host is the extended prog-R&B centerpiece of the Echoes of Silence tape from around this time last year (you've gotta love it - release three great free albums last year then reissue them "remastered" as a physical release. The remasters sound worse than the originals too). The lyrical content of this one is pretty standard, unabashed victim blaming, misogyny and cash-flashing as you'd expect. It's a world I want nothing to do with but The Weeknd makes it interesting by acknowledging the ugliness of it all. Technically it's lyrically well crafted and Abel Tesfae has a great voice, but it's all about the production for me.

The stabs of distorted guitar, wavering synthetic strings, semi-dubstep drum programming (soon to be R&B's new tiresome trope but for now it still works), ghostly backing vocals and that segue into the The Host section where the regular drums drop out to be replaced by a slow, intermittent tattoo, that's what it's about for me. In this production what could be the thing of a tiresome Chris Brown stupid-fest takes on a whole new dimension, but the importance of Abel's phrasing and nuanced delivery definitely helps. It was hard to pick just one Weeknd track for me, so there'll be another later, as the House of Balloons and Echoes of Silence tapes are fantastic.

26. Scritti Politti - The Boom Boom Bap (from White Bread and Black Beer)



See, this guy knows where I'm coming from. Green Gartside, another reason to be proud of having Welsh roots, went from post-punk to producing lushly produced soul/R&B with lyrics a step up from the usual R&B fare (like "true as the Tractatus"), before getting more and more into hip hop and collaborating with hip hop. Part of the appeal for him could easily be the same as my own aesthetic attraction to The Weeknd and stuff of that sort - it's exotic, because you know that you'll probably never go there yourself. Green is also pretty heavily into folk music, and of course hip hop was a late 20th century form of folk music, one not as beloved by the real ale and beard stroking crowd but folk music nontheless just the same as punk was and dubstep is.

The Boom Boom Bap is lushly produced and I recoiled from it on first listen, that late 90's/early 2000's R&B sheen combined with his androgynous tenor made me think of some boyband atrocity. Then as the song progressed the real, beating heart of the song emerged. The lyrics are, again, excellent: "The yes yes y'all was the siren call to come around to our life", progressing through a verse consisting of Run DMC songtitles (Hard times, Sucker MCs) to the closing lines "I love you still, I always will". It's open to your interpretation I guess who that's addressed to. Is it addressed to hip hop; is it addressed to the listener, or someone he knows; or is it addressed to music itself? I don't know. It doesn't matter.

25.  Julian Cope - Roswell (from Psychedelic Revolution)


The thing I like about Julian Cope is the same thing I like about The Fall and hip hop. I like prolific artists who weed things out less, who don't abide by the one 10 - 13 track album every 3 years schedule. With more and more artists releasing independently there's less and less need to stick to the release model of a rapidly fading industry. Well, it pretends it's fading, the sales of the Adele album and some others recently speak for themselves. Albums don't outsell Dark Side of the Moon in a time when people aren't buying music, people! Some people are still buying music - just a shame record company employees are being sacked to make up for the funds lost and shops are closing instead of the executives taking fewer holidays and living in, say, just one house. Downloading is a convenient excuse to behave like an avaricious pig.


Now onto talking about the artist. Julian Cope is a great singer and songwriter, and this gets overlooked in favour of talking about his madness. He reminds me a lot of Bowie, which isn't because he sounds a lot like him but because they have roughly the same two big prominent influences - Scott Walker and Iggy Pop, even if he doesn't like Scott much anymore. As important as Cope's madness is to his work, the fact he's a stone cold genius is too often ignored. I think the reason a lot of critics ignore him is that not only is he an immensely talented artist but he does their job better than them too! This track reminds me a bit of a more meditative Safesurfer which can only be a good thing, but here he keeps a less is more approach right until the end. Whatever I wrote about this song itself wouldn't do it justice, so just play it.

Tracks of the Year, 2012, 45 - 35

The usual proviso/disclaimer with these things - this list is not in any order of value, some of these tracks I like more than others but that's about it. It's been a good year for music but every year is a good year for music, there'll be none of this "Things were better in (insert year)" false nostalgia from me. Some of these aren't actually all that new, just new to me, so if you're reading it to scoop up stuff you've missed this year from just this year then you will definitely, definitely be disappointed. But if you really want to get technical about it, plenty of songs released this year weren't recorded last year anyway, were they? Quite a few of these songs aren't new but they're new to me. So if you're reading this (highly unlikely, I only write things like this to get it out of my system and avoid boring my friends, family and strangers) you may still discover something great. There are 45 songs in this multi part, and there may well be multiple tracks by the same artist but I'll try to keep it down per entry. Definitely only one per album.

45. The XX - Chained (from Co Exist) 



No beating around the bush here, this year's XX album sounds just like the first XX album sounded - sparse, saying nothing really but said it beautifully. When I heard the first new track Angels I liked it a lot, but this second track provoked the age old "this is brilliant" reaction - I put it on again, and again, and it's lost none of its splendour (which SHOULD go without saying, yeah, but there're plenty of songs that provoke the repeat listening reaction only to be drained by that burst of replaying). This is sparse but there're always new details I pick out, even if I'm picking them out for the 10th time. That Burial-esque "2step with one foot in the grave" rattle that underpins the whole thing, loads of people are doing it (I'm one of them) but Jamie XX is one of the best among them to my mind, even if Far Nearer by him has a sample that sounds like someone singing "I fell down a well" all the way through it. He's far better with The XX, especially the Tracey Thorn-esque longing in Romy Madley Croft's voice.

44. Patrick Wolf - Vulture (from Sundark and Riverlight)



I'm not one for the "rework your own material" glorified best of album, Kate Bush's attempt last year, while interested, didn't really add anything to most of the songs. Vulture only came out a few years ago, too, on the Bachelor album that it's trendy to slag off (possibly as he's an openly bisexual artist who makes political statements and is sonically inventive, not the done thing these days). I loved the perv-pop of the original but this version actually moved me. I'm really interested to see what he does next, after what was to me the misstep of Lupercalia he's definitely back on form it seems. Maybe he's realised that trying to be too "normal" doesn't suit him.

43. Fleetwood Mac - Tango In The Night (from Tango In The Night)



Not a new one by any means, in fact it's from before I was born but after seeing a documentary on Fleetwood Mac I realised how nuts their story was and Lindsey Buckingham's contributions were, are and will continue to be. Also Pictureplane's Seven Wonders sampling for the track Goth Star pushed me to check out this album, and when I finally listened to it this track blew me away. The strange operatic chorus consisting of the word "Tango" stretched out for ages, the dated synths playing off his trademark fingerpicking, the vague but evocative lyrics and the closing solo where he shows why he's the envy of and a huge inspiration for guitarists who hear him - what's not to like? It's great that a band who were this big had moments this odd on their records. The weird glitziness of this has rubbed off on me a bit.

42. Death Grips - I've Seen Footage (from The Money Store)



I'm not your typical "spell everything out" journalist so if you're reading this and don't already know about the No Love Deep Web fiasco/promo stunt then look it up, it's exciting stuff and a great shooting yourself in the foot punk gesture. People who're prepared to risk legal battles to defend their right to be prolific, I can't knock that. It'd be more powerful if this had been one of the tracks on No Love Deep Web, instead of the (subjectively, to me) inferior material on it. I've Seen Footage reminds me, in a weird way, of Replicas by Tubeway Army, and that whole period of Gary Numan's career. You can't get much higher a compliment from me (unless I'm comparing you to one of the instrumentals which marrs Replicas). Is there more hip hop that sounds like angry crackheads shouting over late 70's - early 80's Numan outtakes? Please find me some if so.

41. Angel Haze - New York (from Reservation)



If this was in order of merit this'd be near the top. The second I heard Angel Haze I fell in love with her delivery but this track (which happily everyone else has picked up on and realised how brilliant she is) is just something else, isn't it? Jamie XX rears his head again, a track from his Gil Scott Heron remix album sampled as part of the beat - it's a pretty minimal beat but it needs to be to make room for her performance. When she half-sings "I run New York" you believe she could if she wanted to, and due to her delivery "I'm Satan and I'ma take your ass to church now" is one of the lines of the year for me. Hard to pick a track off Reservation, there's so many good ones on there, it was this or the remix of Das Racist's Jungle Fever.

40. Kanye West featuring Big Sean, Pusha T and 2 Chainz - Mercy



Yes, 2012 was when I really got hip hop, mainstream or otherwise, and picked up on the mixtape phenomenon really late in the game. It was a natural progression as I'm a lyric man - I like lyrics to look good on the page and sound good too, but the meaning is almost secondary as because I'm usually not au fait with the life of the artist and what went into the song I'm going to be projecting my own meaning onto it anyway. Even if I know the artist's intentions, I'm going to project another meaning onto it anyway. I also like a bit of arrogance, and there's spades of that in hip hop, miles apart from the "muttering into their sleeves, waiting for approval of their opinion" indie mileu. DON'T tell me you're just like me in interviews and in your songs, it's insulting to both of us. If Bowie had done that, we wouldn't have Ziggy, Low or even the much underrated 1.Outside. It's okay to have dreams and aspirations!

All this is lending false profundity to Mercy which is basically your standard bitches and money mainstream chart-rap brag. Of course it sounds good, a hell of a lot of people worked on it, most of them making more in a day than we would in a decade. The chopped up hook is good, even if it is basically an advert for Lambourginis, but there's a real energy about this track. It's impeccably produced, with the Shakespeare sample, the synths and the piano line that gets stuck in your ears like wax, but there's still something off about it as there often is with Kanye's stuff, whether it be 808s and Heartbreak and My Beautiful Dark Twisted Fantasy clipping all over the shop or as here the way the drums are slightly out of step and 2 Chainz drop happens before Kanye's even stopped rapping. This just adds to the appeal, for me. Funny how he gets main billing on what is basically a posse track as he only does one verse and also shares production duties, but quibbling aside it's great - I especially like how the beat changes for his verse (and "Most rappers taste level ain't at my waist level" shouldn't be as good a line it is but it's all down to delivery).

This record is so good because when I write it down I don't get why I like it so much but when I play it I do.

39. Perfume Genius - Hood (from Put Ur Back N 2 It)



Now this track hit me full in the heart when I first heard it and still does. It's short and very bittersweet and again, shows how a good lyric can be something majestic with the right delivery. Very few music videos are actually worthwhile, as far as I'm concerned, but the bold, beautiful video to Hood (Mike Perfume Genius playing the twink dressed up in drag and later as Freddie Kruger by a large, hairy, musclebound porn star) is a piece of art in it's own right. The video also showed the homophobia/sexual wrongheadedness still shamefully prevalent even in more purportedly liberal quarters of society - this video judged inappropriate by Youtube, but you can listen to songs like ET by Katy Perry where she sexualises the idea of abduction without censure, don't worry about that. All that pales into insignificance when you hear the sub-2 minute girl-group-pop via David Lynch song itself. The sentiment "You would never love me if you knew me truly" is one that's easy to relate to, but the yearning he somehow pours into the line "I wish I grew up the second I first held you in my arms" is indescribable so just listen to it. I'll even forgive him spelling his album title like a twat.

38. Lana Del Rey - Born To Die (from Born To Die)



Strictly speaking last year, but I only heard it this year and it's lodged in my head today so here it is. Someone else using that now trendy Lynch aesthetic, someone else to spark the hoary old authenticity debate - for the last time, The Beatles, Pistols and Elvis were all controlled by their managers and Springsteen's had more plastic surgery work done than her so stop going on about her lips, the multi-millionaire symbol of the working man was going bald in the 80s and now has a lower hairline than I do, go figure. Smeone else doing great pop songs that lodge in your head. Lana is a hip hop literate Doris Day, I would've put Video Games in the list, obvious and great as it is, but I just like this one more. The high concept video does the opposite to me that the last track does, glorifying as it does women being drawn to physically abusive "bad boys" - but not showing that it happens isn't going to stop it, really.

Part of what appeals to me is the unabashed bleakness and nihilism of that statement - "we were born to die", true as it is, a subversion of "we were born to run" but it means exactly the same thing. There's a lot of bleakness and nihilism in the charts, sugarcoated in shitty Euro production that could be from any point in the last 20 years, music originating in gay clubs being danced to by beer sweating homophobes. The production is better on Born To Die, the songwriting is better, her voice is great, communicating so much in a sighing, numbed way and if Richey Edwards was alive he'd love it too.

37. Jesu - Tired of Me (from Jesu)



The two link up as far as I'm concerned, both are expressions of the same emotions, it's just Justin Broadrick's version is marginally less produced and sugar coated. It just so happens that instead of doomy trip hop beats and swaying strings he uses a doomy trip hop beat (but slower and through a few more pedals) and layers of distorted down tuned guitars. The melody is no less beautiful, and although many people categorise Jesu as metal I wouldn't as when I think metal I think purism and Broadrick's work is never totally straight ahead, there's always a lot of influences feeding into it - this is a man who's gone on record being equally enthusiastic about drum'n'bass 12"s, Teenage Fanclub, Celtic Frost, Public Enemy and Red House Painters. What he feels is what I feel - it's not about genres, it's about mood, and there's a melancholy running all the way through his work that really strikes a chord with me. "I'm so tired of me, withered and unclean, I'm too blind to see shit that is me". He's really not dressing it up but the soaring melody attached to it makes it uplifting, til the instrumental coda with the military drums confirms that tiny germ of an idea that it's going to be alright. That's always the point you may feel there's something in your eye, and your other eye, and your heart.

36. Odd Future - Oldie (from Odd Future Mixtape Vol. 2)



A 10 minute epic with most of Odd Future on it from this year's Odd Future Mixtape Vol.2 (mixtapes are supposed to be free guys, keep up). The album's not flawless, there's plenty of lazy shock tactics and as with a lot of hip hop albums it goes on way too long but it's better than Kanye's Cruel Summer (not saying much). Another one where written down I should hate it - it drags on too long, loads of cliches and dead wood, but the bits that're good are so very very good that it still winds up on the list (which again isn't in order of merit otherwise this'd be at the bottom. But still on there.).

The very very good bits are Tyler's verses and especially his second one that ends the song; Frank Ocean's verse - Ocean should do more rapping, he's got a real lazy golden age of hip hop voice; and Earl's verse, by miles. It's only been a year or two since his Earl tape came out but he's already developed so much that it's scary. This is best illustrated by the fact that his verse is longer than anyone else's, and he completely steals the show. The beat is pretty good, too, I'd swear it was made of old funk samples if I didn't know that Odd Future productions don't use samples.

35. Disco Inferno - Summer's Last Sound (from the 5 EPs)



This isn't a new band either and the fact that it isn't really made me sad. I heard this and thought "What the hell is this, it's brilliant", the bird song intro giving way to a steady build up that never quite crescendos with this voice ranting with great intensity but a kind of weary detachment too. "Fruits get bricks in windows and foreigners get hushed up trials", true as ever. There was something Joy Division like about it but if Joy Division formed now more informed about sampling and synthesis and immersed in the good side of shoegaze and hip hop, not a retro-fetishist glorified tribute to the great band. I wanted to hear more by them and then I looked to see this had been released the year I was born, and to be honest I felt quite angry because we've not moved on at all since then.

The lyrics are the thing about this, they look good on paper and they sound good low in the mix, half-ranted, but the meaning I'd project onto them seems to be the meaning Ian Crause intended. I read a great interview with him by Neil Kulkarni on the Quietus and his intensity seems undimmed, I bought a copy of the 5 EPs and excitedly played this track to someone I wanted to work on some music with, saying, "This is what we have to live up to". He just looked at me blankly, not getting why I was moved so much by it and to be honest this was around the point I realised it wasn't going to work. Not because he didn't like it but because he couldn't see the value of that or anything else I threw at him. Pop music telling unpopular truths, that's the stuff dreams are made of. If you're not touching people's hearts, then what's the point?

This touches mine. Thank you, Disco Inferno.

Frank Ocean - Channel Orange review

Channel Orange is my album of the year so far. Normally I'd be resistant to this level of hype but as far as I can see (hear) it really is that good. As occasionally happens, this is great pop music that is also very popular, being towards the top of the charts in various places in the world and breaking into the UK Top 20 before it had been physically released, breaking UK Records by debuting at No.2.

All reviews of this album are obligated to mention how Ocean "came out" as bisexual in the form of a letter on his Tumblr (included in the CD package) before the album was released, after speculation arose based on a few male pronouns on the album in love songs. I put came out in quotation marks as, typically, he did it in a much more nuanced way then saying "I'm bi". Instead he wrote movingly about how his first (and unrequited) love was a man, starting the letter with the phrase "I'm starting to think we're a lot alike". The fact that all reviews mention this isn't just journalistic gossiping though - the combination of this letter makes the proper opening track (after a brief Playstation sampling interlude) Thinking About You hit like a bomb. This had already been released but appears here with a gorgeous new string arrangement.

A few other tracks were actually enhanced by this revelation - Bad Religion, an organ led torch song and album highlight as previewed on Jimmy Fallon, is a rush hour confessional to a taxi driver drawing parallels between spiritual love and secular sexual love where he protests how he "can never make him love me" simultaneously referencing the homophobia at the heart of organised religion and the unrequited love that to him "is nothing but a one man cult". Similarly, Forrest Gump's admiration of a man "so buff, so strong...running my mind boy" is probably more likely to be about the guy in the letter than a crush on Tom Hanks. Indeed the song's postscript of footsteps walking out of a car, through the rain and into his house, shutting the door echoes the detail in the letter that following Ocean's admission of love the object of his desires left the car they were in and went back inside to his girlfriend.

This album is about more than an artist in a largely homophobic subculture coming out of the closet where no man has (willingly) gone before - even if it wasn't it'd be important but what is most important is how good the other tracks are too. There's the sparkling, Pharrel Neptune produced Sweet Life where the chorus "Why see the world when you got the beach" can serve both as a barbed comment on the rich subject of the song and a summertime singalong that runs through a grainy spoken word recording into the Earl Sweatshirt featuring Stupid Rich Kids which is less ambiguous. Rhythmic piano stabs frame Frank's story of "super rich kids with nothing but fake friends" and Earl's numb scene stealing guest verse.

Then it's back to a curious mix of innocence (the childlike premise of a sky romance) and experience (the character's a dealer) for Pilot Jones flowing into the druggy psych-soul of Crack Rock where the social commentary is even more obvious than it was elsewhere - but the political is still personal, as he refers to the addict's family stopping inviting him to things and not letting him hold infants. Via a monotone final recitation of the title/chorus the track segues into Pyramids - otherwise known as the first track released expressly for the album where I realised this guy was REALLY something special. It's rare I'll use proggy as a compliment but this is a proggy near 10 minute track drawing on both the poppy post dubstep of acts like SBTRKT and Stevie Wonder at his 70s peak. It moves from ancient Egypt to a man watching his stripper girlfriend who "for now let's call Cleopatra" get ready to work at a club called the Pyramid and reminds spellbinding for every second right up to the heartbroken Cortez The Killer fuzz guitar outro.

Lost is a potential hit single, like many other tracks on the album, and the perfect followup to Pyramids, bringing us back to earth. A pleasant guitar interlude (John Mayer playing over the instrumental track to White, Frank's contribution to this years Odd Future Volume Two) links us to Monks, a song about stage diving monks and Ocean and a girl "Who likes to fuck boys in bands" fleeing an army sent by an overprotective father. This song returns to the idea of a sky romance as mentioned in Pilot Jones, and is overshadowed slightly by the aforementioned Bad Religion and the Andre 3000 featuring Pink Matter where Frank's listless crooning is followed by Andre's drowsy scene stealing appearance. A common thread is any rapping on this album is done as if on the verge of falling asleep / having just woke up.

Then the final track, Forrest Gump leading into the final interlude....only for a hidden track to appear. Now it's encouraging that Frank cares this much about album structure - just a shame he included something that has never been a good idea in the existence of CDs. Luckily the Tyler the Creator featuring hidden track is a good one. That little sequencing irritation I have nothing bad to say about the album. It's a piece of art and I can't wait to see what he does next.

You Can't Spell Apathetic without Pathetic

Maybe there genuinely is or was someone on this sick planet for who the pinnacle of popular music was Dire Straits Brothers In Arms. By this same token maybe through some twisted fluke Adele’s 21 will be the moment that defines the current state of play. In a sick way it does - a double dip recession, highest rates of unemployment for years (and I’m writing this as one of many “flowers in the dustbin” stuck in this situation), a right wing government, and the far right enjoying a resurgence. None of this reflected in the mainstream or even the tastemaker's picks.

Our situation is very close to the endlessly revived and fetishised 1980s - back then we were all out of work too but this piece of writing would've been written in my neatest handwriting, photocopied and embedded in a fanzine, not an RSS feed. Way back when in a time I wasn’t even around for, you had voices crying out for help in the mainstream - The Smiths, Public Enemy, even Depeche Mode - all charting somewhere. What you saw of hip hop was the part that has now been replaced, typically, by the conservative version - patriarchal, homophobic and lusting solely for money - when it was (and still is, don’t get me wrong) a cry from the disenfranchised. The racial tensions hip hop shone a spotlight on are still there, and our Prime Minister recently echoed the language of the EDL in an uncanny echo of the Iron Lady's tacit support for the fascist NF.

They were shit times but if you read the right papers and went to the right places, what a soundtrack! Instead in 2012 we're drowning in a sea of endless blank faces and apathy, closed minds and open, drooling mouths. “It’s all about the music, we don’t really think about that” - you can safely read that as “Our agent told us to keep our mouths shut so we don’t run the risk of alienating anyone, anywhere, or inspiring anyone to do anything they wouldn’t already do.”. Studied blankness. Kick against the pricks? I dunno. Some of those pricks may want to use our song in their advertising campaign. A voice for the voiceless? Well that sounds nice but the voiceless don't do endorsements.

I know times are hard, I’ve just said they were above I don’t really begrudge any of these Apathy Merchants any money they can make, but at the same time there’s always going to be an element of nostalgia for a time I wasn’t around for when the voiceless were briefly, well, given a voice. Of course, its still out there but in no way will it cross over to the mainstream. Nice as Lady Gaga’s stuff is and I’m really not having a go at her she’s not going to have the same effect on a troubled young kid as Bowie putting his arm round Mick Ronson or Soft Cell singing about crying in the rain outside (both on Top of the Pops on primetime); she may make it easier for some, sure, but when the people who’re beating you up, saying you’re disgusting and making your  life a misery, driving you to the edge are listening to the same supposed message songs as you (like Born This Way) and still pushing you about isn’t that going to be all the more demoralising? They’re listening to the same shit as you, homo, its homogenised (and the ghetto has been Guettaised).  There is an enjoyable irony to the large amount of homophobes listening to Lady Gaga and the "chart hip hop" where a Swedish house producer has grafted an Autotuned and impossibly preened moron spouting drivel about his shorties on top of the cheesy Eurohouse that originated in gay clubs but that's another rant entirely.

Even though Bowie or Almond or Morrissey were in the mainstream there was still a hint of outsiderdom about them, something separate from the lumpen production line pop that surrounded them. Something separate from the music that THEY listen to, in a good way, to mirror how separate and Other you feel. Take Morrissey (and I wish someone would) and contrast “Beautiful in my own way because God makes no mistakes” with “No it’s not like any other love - this one’s different, because it’s us”. In the Gaga example we’ve got sympathy while offering no comfort. With Morrissey there’s a nod to the loneliness of being a young gay kid, the knowledge that while you shouldn’t be thought of as Different and Apart, you really are! You need a different soundtrack to that of the morons giving you a hard time, something BETTER ideally, because hearing the right song at the right time is better than any patronising speech or It Gets Better video. 

 In the charts in the 80s, that last time things were this dire for this many people in the UK, there was Frankie Goes to Hollywood’s Relax, Depeche Mode poncing about in bondage gear and singing about pretty boys and the stuff I’ve already mentioned in the charts alongside Annie Lennox and Grace Jones’ androgyny. There was also, in Bronski Beat’s Smalltown Boy, a song about the loneliness that sometimes comes with people not liking something fundamental about you. And it was in the charts. No, not Gaga’s technicolour gay dance party where we look after her bag while she’s in the toilets and help her pick out men. A song about running away from a bunch of meatheads who want to kick your face in. A reality loads of us have faced and will continue to face. Can you imagine that in the charts now?

Well, no, because while the British charts used to have room for the outsider now its the oppressor's turn to stand in the spotlight, be they England's sweetheart who married a black footballer to distract from her fondness for beating up black women in toilets or a violent misogynist thug duetting with the very woman he beat up. Even our supposed "innovators" repackage tried and tested established conservative viewpoints in fancy new packaging. Look at Odd Future. Now I like Odd Future a lot because they’re funny, prolific, Frank Ocean is as near as we're getting at the moment to a progressively minded hip hop sex symbol and Syd tha Kid is a great step forward for hip hop, a sexist homophobic genre. She’s not just a lesbian she’s the lesbian who makes a lot of their beats and engineers their stuff. I'm a fan but who do they think they’re foo…oh shit they have actually fooled some middle class critics by being “delightfully un PC” and “brave”. It’s a sad day when someone apparently educated talks about how brave rape jokes and saying faggot all the time is (at a time when politicians are still advising women not to dress provocatively and "bring it on themselves". Makes my blood boil).

Tyler just said "faggot"! What a blow against the establishment who still inconvenience LGBT people that is at a time when homosexuality has only been legal for forty five years in this country and you can still be put to death for it in other countries who cannot be held accountable as they are following their imaginary friend’s doctrine. Yes. What a blow against the establishment calling a gay man a faggot is, or endlessly talking about bitches. These fools forget (or just try to block out) that this is just safety valve rebellion. Demonise "political correctness" all you want, you're just toeing the party line of the conservatives who are in power. But even this, irritating as it is is way preferable to the studied blankness of a lot of musicians just out for a quick buck. I don't know who to blame - the X Factor "pop music minus the glamour, sex and emotion" culture that nearly made Theodor Adorno rise from the dead is a tempting one to blame but its easier than ever to find some exciting new music!

Frankly it’s not for me, I’m looking for a job at the moment and while it would be nice to one day do what I enjoy and live off it I know how unlikely it is. So I’m not going to make any compromises for what I make or apologise for it. I will not be self deprecating from this point on as I know there are enough others out there  who are happy to put my stuff down. But above all it’s because I’m not cut out for it. Call me self indulgent, say I’m missing the point, call me a cry baby, I’m not going to say I don’t care because I do actually, more than you'll ever realise. For me the best music has usually been an expression of emotion, a way of getting stuff off your chest and communicating your darkest thoughts, your greatest joys and your own unabashed uncensored truth to someone in a way that can make them want to dance, cry, break things and/or get off with someone. It appeals to our primal instincts as the more sophisticated side of us can enjoy  the space in the music or the interplay between elements. When that first caveman played that first note it was because he wanted to express something about himself, not with a view to a potential lucrative sync with a cave painting or a sponsorship deal with pictures in the fire. Its an obsession for me, my first love and it will be my last, it just keeps on giving even now as I write this. So why, knowing I’m never going to be the next big thing, would I dilute my output? This isn’t the time to keep your mouth shut if you can’t think of anything nice to say.

"Not everything has to have a message", no, it doesn't. But SOMETHING has to have a message.
 

Thoughts on the Mixtape

I'm new to the whole mixtape thing, just now dipping my toe into the water - last year I was hooked by the free releases of The Weeknd and Frank Ocean and other Odd Future mixtapes. Yep, the "hipster R&B"/"PBR&B" stuff so often dismissed (as in one pompous Guardian thinkpiece) for fusing genres together. To quote Simon Munnery via Stewart Lee, if the crowd's behind you, you're facing the wrong way - I can't wait to see what this new blend of the always interesting and envelope pushing sonics of R&B production with lyrics that mean something other than "tits + expensive booze = good" has to offer, not that the likes of the Weeknd are short on celebration of that stuff either. The mixtape is something that appeals to me, and the more reading I do into it the better it gets. It appears mixtapes have been around since the 70s when people would record Kool Herc's shows and circulate them, and serve as a way for little known acts to get their name out there.

Now of course, the mixtape is an industry within the industry, with even the biggest acts like Kanye and Lil Wayne (who is inhumanly proliic) churning out mixtapes. This serves two purposes I can immediately think of - it bridges the gap between the major labels and the indies, giving something back to the fans who buy the tickets and merchandise and look the other way when David Guetta's involved. Mixtapes are a good place for less radio and user friendly material, room to experiment where "official" releases are (understandably in this climate) packed with hits. Well, in theory they're packed with hits and not stupid guest skits by Chris Rock and filler tracks but the reality is often different.

The other one is that on a mixtape, a free release, its possible to do things that haven't been possible since at least the mid 90s. The Bomb Squad's densely layered productions would not be possible in 2012, not without a budget even Jay Z would baulk at. Neither would Paul's Boutique, Entroducing, name your own sample heavy classic. They would all cost silly money to make now - not on a mixtape.

More on this as I learn, just almost writing this down as a record of some ideas I can come back to