After realising how easily I lose track of what I’ve actually listened to/watched/read/played over a year by the end, I came up with the notion of a more regular periodic journal of what I’ve listened to, loved, or been affected by. So, as we arrive at the end of March (and the beginning, apparently, of Spring), I give you more lists, and links (Spotify, unless unavailable or irrelevant).
This isn’t the end of any discussion, it’s the start. Take this list and recommend stuff I should be immersing myself in. Please.
Also the source of my most commented-on t-shirt of 2010:
Los Campesinos! – Romance is Boring
I pre-emptively called this “almost definitely my favourite album of 2010” before even hearing it. Whether that will stand true remains to be seen – come on, 2010, if you think you’re hard enough. I said it immediately, expecting it to change with time, but it hasn’t and I don’t think it will: this isn’t my favourite LC! record. I wanted it push further in the direction The Sea Is A Good Place To Think Of The Future suggested, into full-on emo territory. But I’m damning with faint praise here. Romance is Boring isn’t boring. It certainly isn’t a disappointment, and it sparked my love affair with LC! again completely effortlessly. It just doesn’t strike me as a particularly good entry-point into the band, and so isn’t a terribly useful record to talk about. That doesn’t stop it being a stunning piece of work.
Dan Le Sac vs Scroobius Pip – The Logic of Chance
About which I suspect I’d have slightly different things to say, had I not been to see them live yesterday. With the beats pushed to the fore (in full t-shirt-quivering bass-heavy glory), and Scroobius’ lyrics feeling slightly more organic in person, the new stuff makes more sense. But it hasn’t changed the fact that Dan Le Sac has grown hugely, and absolutely owns this record, while the words sometimes come off a bit contrived.
As recently found in my (lovely) girlfriend’s fridge:
Gil Scott-Heron – I’m New Here
One of those things that dropped into my life (thanks, Sam Cowley!) to immediate awe. It deserves more time than I’ve given it, and I don’t know enough about Mr Scott-Heron to comment properly (apparently it’s a more personal album than his usual political material, he hasn’t been around for decades, he was in prison) but that’s part of it. This is one of those albums that is bigger than you, that you just have to bow down to and accept.
The ‘companion to reading’ album:
The Knife – Tomorrow, In A Year
I guess this is the most ‘challenging’ album I’ve spent time with this year (having rejected Joanna Newsom as not for me), being the mysterious Swedish duo’s foray into opera. It’s about Darwin and evolution, apparently. I’m proud to say my boy Sam Langtree beat Pitchfork to the idea that it works mimetically, evolving from a sparse nothingness into some top-quality, almost-traditional Knife material. You must, must, must listen to this through the best speakers you can possibly get access to. On a laptop, it sounds underwhelming but, through a nice soundsystem, it overwhelms. Whether it stands up past that experience, I’m still not sure, but it’s worth a go.
It’s already been a strong year for albums which, being an over-analytical music-type, is reassuring. Last year was all singles, but we seem to be looking at a healthy long-form crop in 2010. But the singles are still important. When aren’t they?
I can’t believe I didn’t drop a mention to Music Go Music’s Warm In The Shadows in my 2009 round-ups. On repeat, it helped me through 12,000 words of essay-writing in January, and while that’s made it kind of difficult to love the same way in a non-work context, it’s still beautiful and ethereal.
Then there’s the Lady Gaga Telephone video, which is of course phenomenal and the pinnacle of everything the Lady’s been working toward – for now. It’s also retroactively increased my enjoyment of the song in general, which I’m always faintly suspicious of. On the other hand: cigarette sunglasses.
Right now, my life is dominated by Rihanna’s Rude Boy. It’s one of of those delightful moments where a big pop star finally clicks for me, though I haven’t experimented with Rihanna’s backcatalogue to see if it does more for me post-Rude Boy. Just… the ultimate dominant/submissive, self-aware/silly, masculine/feminine, endlessly quotable/catchy sexy song. I mean, you’ve heard it, haven’t you? “Give it to me baby like boom boom boom”.
My 2010 cinematic life has been more dictated by what I didn’t watch rather than what I watched. I haven’t seen Avatar, still, or The Hurt Locker. Ponyo fled from cinemas before I got a chance to see it, and I never got to rewatch Where The Wild Things Are, which I still think deserves better treatment than the melting-screen, broken sound version I saw. I have seen Alice in Wonderland which was okay but had a lack of ideas (always an issue when you’re doing an Alice story) and wasn’t all that stylistically impressive (crippling when you’ve got Tim Burton to direct an Alice film) and 3D is still a load of rubbish.*
One game has pierced through all the (rather good, but still largely unexplored) Christmas games to unquestionably dominate my year so far. It’s also dominated the year of my housemates, as discussion of nefarious plans (and misfunctioning files, being a play-by-email game) becomes a standard between those involved in the game. That game is Solium Infernum, a very much turn-based strategy boardgame set in Hell. It’s as little of an Alex Spencer game as exists in this world, and I don’t have the vocabulary to fully capture its majesty, but it deserves your time (try the demo), and the time and annoyance of the people around you.
And that was my 2010, Part One. Thanks for reading, and TELL ME WHAT TO READ/LISTEN TO/WATCH/PLAY.
*Though, I probably have to stand by my 3D disclaimer: I will not judge until I’ve actually seen both Avatar and boobies in 3D.
**They’re twins. No, I do not know why they have different names.