Bubbling Under
Goldfrapp - Rocket
The Big Pink – Velvet
Gorillaz – Stylo (Disaster for this band to have a rush release following a leak. Rush release means no video, and half of the fun with Gorillaz is the videos)
Alicia Keys – Empire State of Mind (Part II)
A decent shortlist this week:
Biffy Clyro – Many of Horror (When we collide) (18 Jan) – Classic Indie guitar based rock.
Timothy B Schmit – Parachute – It sounds like the Eagles, which is no great surprise because he’s still in the band – but you’d hope that the solo output would have something to give it that individuality. Good song, but maybe a bit stuck in the past.
Ocean Colour Scene – Magic Carpet Days (26 Jan) – still waiting for a video for this one, but it’s a nice return – bouncy, enthusiastic, good fun.
But the winner is…
Owl City – Fireflies (8 Jan) – for a song that was originally recorded in the eons, it still sounds very fresh. Which is why it came out of nowhere to be US number 1 at the tail end of last year. Nominated for the Beeb’s Sound of 2010, I suppose the risk is that they were only a flash in the plan. But, all I need to do is take each song on its own.
Don’t stop the music (25 Jan) by Jamie Cullum is almost certaintly the best cover I’ve heard in years. It’s quirky and a totally different twist.
But One Republic actually take TOTW with All the right moves (11 Jan). It’s got that catchy repetitive hook, a slightly haunting vocal melody.
How long have Muse been around for now? The short answer is well over a decade, so I’m quite ashamed to come to them late. Hearing a song on the radio I’ve often enjoyed it, but only appreciated them as a band since V2008.
As a result, this is the first album I’ve bought of theirs, and have been anything but disappointed. It’s imposing, and powerful. Much has been said about the 3-part Exogenesis that concludes the album – and I can only agree. It’s described as a symphony, and it can be very moving.
Personal highlight is probably the title track, with its eyrie opening and full-on chorus. I’m a bit bewildered by the heavy Queen influence on United States of Eurasia that I spotted as soon as listened to it, and am not the only one. MK Ultra also seems to start with the theme to Treasure Hunt.
There’s little to say against this album. One of those rare beasts with not a single dud track – even in comparison they’re all as strong as each other, and also very different – whilst keeping the essential sense of assembly. It’s easy to listen from start to finish again, and again, which is obvious the true test.
It’s good that I like the Arctic Monkeys though, because it is more of the same. All fairly dark, guitar heavy, and with very distinct vocals.
There’s a few expections to that norm, so accurately demonstrated in tracks like My Propellor. Secret Door is, for instance, is quite melancholy and dreamy. Second single Cornerstone is also very different, fairly simplistic, and calms down the pace of the album very much.
Personal pick – Pretty Visitors. The variation within itself is pretty good – crazy fast paced opening, before an anthemic chorus.
It’s not a hugely different album, but more of a progression. Which is good, when there’s no need to be daring. The lyrics and song writing remain excellent, and it makes it clear that there’s more good stuff to come.
This year, I’m not going to do a Top 10 per-se, just a general shortlist.
Fleet Foxes – Mykonos (TOTW2)
Take That – Up All night (TOTW11)
Noisettes – Don’t upset the Rhythm (TOTW15)
Killers – World We Live in (TOTW22)
Florence & The Machine – Rabbit Heart (Raise it Up) (TOTW27)
Paolo Nutini – Pencil full of lead (TOTW44)
Hockey – Song Away (September Last Chance)
I’ve slightly surprised myself with this list.
I mean, come on, Take That? The thing is, their comeback has been full of really good pop songs. I don’t think they can really be classed as a boy-band any more, I whilst Gary Barlow has been accepted as a brilliant songwriter for years, he’s really demonstrating it here.
No Arctic Monkeys despite buying the album (yes, I still need to review that…) and having 2 TOTWs. Likewise repeat mentions by La Roux, Lily Allen, or the Yeah Yous managed to get onto the shortlist – but the latter did come very close.
It does say something about the year that there is such a pop-contingent in the TOTWs. The other big things have been come backs and “classic” artists (see Mark Knofler, Michael Bolton, Lionel Richie), and classically-based songs. Take Pencil full of lead – it’s American dance hall music. All of the Noisettes have had that slight 60s funk too.
At the end of the year though, I’m not actually that surprised by my TOTY choice. What I am surprised at is that they’ve only had one TOTW hit, although other mentions have been there. The album is predictably sensational, and I’ve been harking on about the artist to anyone that’ll listen for well over the past twelve months. I’ve looked at the songs objectively, and still can think that my favourite emerging artist of the past few years has produced my favourite song of the year.
It’s very different, and slightly quirky (especially with the video). It’s memorable, and one I could listen to again and again. Ladies, Gents, and other bloggers I present my Tune of the Year 2010 – Florence and the Machine.
And now it’s your turn. Agree, disagree? Here’s the poll to cast your vote – if you agree with my playlist. Comment if you wish, and if you want your own review of 2009 guest posts are always welcome – just drop me an e-mail. In the meantime, 2010 starts right here!
