Every National Album, Ranked From Worst To Best

Ohio based rockers The National have been ever-present in rock music for the better part of two decades: forming in the late 90’s and releasing their self-titled effort in 2001, Matt Berninger and co. have been at the helm of seven records of varying quality, usually finding at least one of their albums in an album of the decade list. Thanks to their arty sombre work, The National have found themselves appealing to people both young and old which have helped them to remain both commercially and critically viable.

Of course, we can’t simply sit idly by and not ask the question: what’s their best record? Well, you won’t have to ponder for much longer as Transistor’s fantastic four Andrew (@weeandreww), Callum (@cal_thornhill), Josh (@jxshadams) and Kieran (@kiercannon) have helped to 100-per-cent-definitively rank their albums – will there be hot takes? Absolutely. Will there be an obvious loser? Probably. Will you be pissed off at us? Most definitely.

Quick disclaimer: This is, like, our opinion or whatever, dude. Disagree? The comments down below will house whatever rage you’re feeling.


7. The National (2001)

Andrew: The National’s self-titled debut actually isn’t as bad as its made out to be. It’s certainly no Pablo Honey in terms of quality, but in a similar manner to Radiohead’s debut, it pales in comparison with the rest of The National’s discography (apart from the sophomore Sad Songs for Dirty Lovers). If I’m honest, this isn’t a record that has stuck with me anywhere near as much as the rest of the band’s discography and I rarely find myself listening to this record.

However, it’s not a complete dud. On tracks like American Mary, you can identify the elements that the band have refined in recent years to make themselves so adored – in Aaron and Bryce Dessner’s interlocking guitar/piano parts, Scott and Bryan Devendorf’s airtight rhythm section and Matt Berninger’s hazy, weary baritone.

Callum: Although this record is being ranked last, it is simply because the others hold more personal and sentimental value. The National’s self-titled debut was, for me anyway, a record I went back to and picked up on vinyl to simply complete my collection. But now, it is a record I dabble in when catching the train or in need of background music. There are some tracks, for example, Theory of Crows that have stuck over the years with the lyrics “I’ll suck off investors, I’ll suck off VCs
I’m losing my posture from time on my knees,” that proved to be the core of The National’s witty and charismatic lyrics. A good foundation of what was to come for the Ohio alt-rockers.

Josh: It has been claimed that the band’s self-titled debut was made simply just because they could, and it shows.  Whilst it undeniably has it charms in cuts like “American Mary” and “29 Years”, it lacks both the punch of their other earlier work and the sophistication of their later albums, opting for an alt-country twinge that never totally sits well with the New York group.  “The National” is the sound of a band searching for their idiosyncrasies, rather than one fully formed and ready to turn heads – not offensively bad, but definitely less than essential.

Kieran: Grammy Award-Winning Band The National are a rare breed – they have yet to release a dud. Although their first two ‘forgotten’ albums (S/T and SSFDL) aren’t quite on the same level as the ones that followed, they’re still enjoyable in their own right. Those who were introduced to The National post-Alligator will be surprised by the Americana-tinged style of the tracks, but there are more parallels to their later material than meets the eye. 29 Years, for example, is essentially a lo-fi draft version of Slow Show, where the same “You know I dreamed about you / For 29 years before I saw you” refrain gets immortalised in its climactic outro. S/T is a solid album, although it’s rather eclipsed by what comes after it.

6. Sad Songs For Dirty Lovers (2003)

Callum: Murder Me Rachael, Available and Sugar Wife. With a fine collection of other The National tracks it could be easy to forget about these gems, but when we reminisce about their 2003 sophomore record we can see exactly why fifteen years later they are continuing to put out tracks that echo the sounds from this sophomore record. Very rarely will you see The National slip a Sad Songs For Dirty Lovers, which makes it a more ‘exclusive’ record for those daring to take a punt on them all them years ago.

Josh: There’s not much between their second LP and their debut, other than the permanent arrival of guitarist Bryce Dessner to the fold and a more formidable growl from singer Matt Berninger.  The instrumental palette is widened and the lyrical tone sounds less despondent, and more whiskey-soaked, allowing The National to bear their teeth on what are, not coincidentally, the best tracks here: “Slipping Husband” and “Available” drunkenly shuffle with barely concealed bitterness until the rage erupts in one of Berninger’s trademark screams.  What really lets “Sad Songs…” down though is its production: flat and lifeless, it ruins the good songs and only makes clear the flaws of the bad ones.

Kieran: On their second album, The National start to move away from the country roots of their debut and begin to forge their own brand of indie rock. Containing some of their heaviest bangers to date (Available and Murder Me Rachael) as well as the debut appearance of Matt Berninger’s infamous screaming, SSFDL is significantly more fleshed-out than S/T but it still lacks the polish and songwriting finesse of the subsequent five albums. That being said, it’s the first time Matt’s lyrics really start to demonstrate his dark humour and wry observation – the unique ways in which he discusses life, love, and relationships.

Andrew: Once again, I’ll have to admit that I haven’t listened to this record nearly as much as the rest of The National’s albums since it’s almost a universally agreed fact that the first two National records are almost stepping stones for the greatness that soon followed. However, Sad Songs is undoubtedly a step forward from the self-titled.

It perhaps showcases the heavier side of The National which the band have flirted with throughout their career more than any other studio album, with Berninger’s groan turning into a full-bloodied scream on Slipping Husband, Available and Murder Me Rachael. However, especially on Rachael, it becomes apparent that these tracks deserve better production than they have on the record, and you can’t talk about Sad Songs without mentioning the undisputed-worst-track-ever-recorded-by-Grammy-award-winning-band-The-National – the somehow reggae-infused Sugar Wife. However, it’s on the tracklisting beside tracks as beautiful as closer Lucky You, so, ultimately, Sad Songs shows a band who have potential, but are sadly yet to fully realise it.

5. Alligator (2005)

Josh: This is where The National hit their stride, and it was helped by the fact their backs were against the wall where success had eluded them for years.  The performances are powerful, the lyrics are powerful, and the track listing consistent: from “Secret Meeting” to the absolutely stunning “Mr. November”, it has something for everyone to latch on to and form memories from.  The only reason it’s so low down in the list is that it pales in comparison to the heights the band have gone on to achieve off the back of this record, which in itself is a testament to its quality.

Kieran: The step-up from SSFDL to Alligator is astonishing. Within two years, their maturity and songcraft multiplied exponentially without losing any of their youthful energy. The best way to describe this album is it’s the pal who comes round to your house with a crate of booze when you’re feeling a bit shit, sits and drinks with you until you’ve forgotten what was wrong in the first place. It’s wild, raucous and (relatively speaking) fairly optimistic but also manages to be hard-hitting when it needs to be (see Val Jester). It’s also massively underrated – so many relatively unknown tracks like Lit Up, Secret Meeting and Geese of Beverly Road deserve to rank among the band’s very best. It’s possibly my favourite National album, and I’ve been searching for any reason to rank it #1 but the margins between Alligator and Boxer really are very fine indeed.

Andrew: Here’s where it gets interesting. Alligator is the first great National record, at the band’s third attempt, and the beginning of the Brooklyn five-piece’s ridiculously consistent run. More than that, Alligator marks the first iteration of what is now The National’s trademark sound. The Dessner’s songwriting is laser-sharp, and its marriage with Berninger’s occasionally hilariously honest songwriting (“Karen put me in a chair, fuck me and make me a drink”) is seamless.

The finger-picked guitar of Secret Meeting is the perfect introduction to the band’s most eclectic record yet. There are tracks as plaintive and stripped back as Daughters of the Soho Riots alongside massive rock songs like Abel, and almost everything in between. What is particularly enjoyable about The National is you can truly pick out each members’ contribution to each track and record and it must be said that drummer Bryan Devendorf is incredible on Alligator, and is the driving force behind some of the record’s best moments – none more so than the incredible closer Mr. November, where the life-affirming chorus is backed up by rapid-fire drumming.

If there is to be one criticism of Alligator, it’s an understandable one – the production isn’t flawless, and on certain tracks, the guitars especially can sound quite tinny – however this can be put down to the fact the band weren’t blessed with a huge recording budget, as this is more than rectified on later attempts.

Callum: All The Wine is as lyrically succulent as The National get and Alligator is the perfect example of Berninger and co.’s turning point. From a cult, nichely appreciated into a majestic, celebrated festival headliner. Teeing up the release of Boxer, the band transition from the delicate to the angsty and the record mirrors how The National construct their live show; just when you are settling into a steady theme of swaying shoulders you’re smacked in the face with fan-favourite Mr. November. Glorious.

 

4. Trouble Will Find Me (2013)

Kieran: This is where the rankings get *really* tough. The beauty of The National, who have consistently matured and adapted over the years, is that the run from Alligator through to Sleep Well Beast is crammed with five records whose individual merits are all sufficient to see them take the #1 spot. Ranking them objectively is incredibly difficult and fans listen to the band for such a wide variety of reasons that an argument could justifiably be made that, perhaps, TWFM deserves to sit at the top. It’s one of their most candid and accessible records, but it certainly isn’t lacking in genius. Matt’s lyrical poetry is in fine form on Graceless as he delivers the line “god loves everybody, don’t remind me” with a hefty dose of sarcasm. There are countless gems to uncover throughout, like the perfectly timed key change on This Is The Last Time, but in my opinion Fireproof and Slipped are comparatively weaker tracks – hence TWFM stays at #4.

Andrew: Anyone at all familiar with The National will know that they’re hardly a band for parties or sunny days at the best of times. This reputation is largely justified – thanks, in no small part – to Trouble…, easily the gloomiest record the band have put out. If you were to assign a mood to this record it would be anxiety, which seems to permeate every kick drum and guitar lick on the record.

This is personified on Don’t Swallow the Cap, arguably the best track the five-piece have ever recorded. The track isn’t heavy, but moves at breakneck pace, with a breathless guitar line propelling Berninger’s frantic, stream-of-consciousness delivery which details a 4am drunken panic attack. The track is backed up by some rapid drumming and a haunting string score, adding up to the kind of track only The National could make.

Personally, when I think of Trouble.., its stunning ballads are the first tracks that come to mind. The five-piece are rarely as stripped back as they are on tracks like Slipped, I Need My Girl and Pink Rabbits, with Berninger’s heart-breaking lyricism taking centre stage with lines as stunning as “I was falling apart / I was a television version of a person with a broken heart”.

Callum: In my opinion, this is where critics realised that The National were far more than an underappreciated, cult-followed, niche band. Some of their most heartfelt tracks feature on this record and have been echoed back all around the world since it dropped in 2013. Kicking things off with, yep you guessed it, a hearty ballad in the form of I Should Live in Salt; what follows is an accumulation of brilliance which makes it extremely difficult to choose just one highlight. Dabbling in the poetic, e.g. Pink Rabbits and I Need My Girl as well as the abstract lyricism of Graceless, this is without a doubt one of the greatest records since the turn of the millennium.

Josh:  “Trouble Will Find Me” is a strange album, and, in a way, arguably the most “National” album of all in their discography.  At first it is an uneven listing, with some of their best tracks ever recorded rubbing shoulders with some of their worst (looking at you, “Don’t Swallow The Cap” and “Fireproof”), and the whole record has a grey, almost lethargic sheen to it; like a fog smothering a skyscraper in the Financial District.  But over time, it grows and opens up, allowing some of Berninger’s most striking lines to cut right to the bone: “You didn’t see me, I was falling apart, I was a white girl in a crowd of white girls in the park” from Pink Rabbits is a personal favourite, and it sums up why this album is so good; because you don’t see it at first.

 

3. Sleep Well Beast (2017)

Andrew: The newest entry in The National’s discography saw a pretty seismic shift in the band’s songwriting. Sleep Well Beast is far more electronic than its predecessors, and for the most part, it is a remarkably subtle record. The National’s 7th LP is characterised by tracks like Walk It Back and Empire Line, subtle tracks that establish a mood and atmosphere and stick with it for their entire run time rather than building to any sort of climax.

This could easily have backfired and come off as boring, but by this point in their career, The National are masters of atmosphere, and these tracks are all the more fascinating for their refusal to build to a crescendo. Walk It Back in particular features a brilliantly piercing guitar line courtesy of Bryce Dessner while a lengthy vocal sample plays in the background.

That is the record’s mood for the most part. However, there is one beautiful outlier in the form of Turtleneck: a track that just scrapes the three minute mark where the band really lets their hair down. Berninger’s ragged vocals fire shots at “another man in shitty suits” currently occupying the White House, but the track’s best moment comes when the Dessner twins trade guitar solos on the ferocious bridge.

Callum: 2017’s dark and enigmatic Sleep Well Beast ties together everything The National has ever released, but with a subtle yet gracious twist. Using samples, electronics and most importantly cutting lyrics to portray love, loss, and desperation; the Ohio outfit delve deep into one’s core and submerges itself in a portion of self-deprecation. In the quieter ballads, for example Carin at the Liquor Store and Guilty Party, we are offered a voyeuristic glimpse of where relationships have faulted – but, the hastier tracks like Turtleneck reminds listeners of their tongue in cheek abilities. Similar to Mr. November in terms of style; Turtleneck, however, refers to Trump as “just another man, in shitty suits, everybody’s cheering for.” Classic.

Josh: Only The National, the musical epitome of the underdog, could provide one of their greatest this late into their career.  The band’s embracing of electronics into their otherwise consistent chamber rock proceedings gives each song an unusual yet captivating flavour, with eerie vocal samples and skittering drum machines bouncing between Berninger’s voice and secret weapon Bryan’s drums, often revealing themselves to be a welcome addition.  Whilst it may stumble off a bit towards the end with one too many slow burners, “Sleep Well Beast” is proof enough that The National still have plenty of fight left in them.

Kieran: Their latest and most experimental album to date, Sleep Well Beast was a radical departure from pretty much everything else they’ve released. Plenty of electronic bleep-bloops, unconventional song structures and – wait – is that a guitar solo?! The sense of freedom is palpable, as the band eschewed the tedious and meticulous sort of recording process they endured for High Violet in favour of a much more freeform and avant-garde approach. The record evokes feelings of winter and hibernation – saying no to the party invitations, closing the windows and shutting out the world until everything makes a bit more sense.

For this reason, it’s melancholic even by Ntl standards, but this doesn’t mean there aren’t moments of tenderness. On album highlight I’ll Still Destroy You, Matt sings about his daughter – “Put your heels against the wall / I swear you got a little bit taller since I saw you” – a bittersweet remark about the downsides of being on the road, missing out on important stages of your kid growing up. It’s an intriguing new direction the Cincinnati sad dads are heading in, and it’ll be fascinating to see how it pans out.

2. Boxer (2007)

Callum: The only record by The National to warrant an official, full-length live recording (Boxer Live in Brussels), so that means something, right?! For me, though, as brilliant as Boxer is, it is an accumulation of banging tunes as opposed to an iconic album as a package. The two year period between Alligator and Boxer allowed The National to develop from a somewhat angst-saddled outfit into a maturer, emotion charging, dinner party band. Of course, you can’t drop Available or Mr November when you’re in red wine territory, but you definitely CAN pull out Guest Room.

Josh: And this is where it becomes controversial.  “Boxer” is often considered to be the point where the band finally broke through and became the sad dads we all know and love today.  Everything about the group that has remained steady well into the present was firmly established here: Berninger’s baritone croon, the lush orchestral arrangements, the driving guitars, the powerful drums.  It all comes together in a glorious mix that nearly lasts the entire LP, with “Squalor Victoria” and “Slow Show” being definite highlights; unfortunately, like most National albums it stumbles towards the end with one too many slow songs after a balanced entrance that contrasts their enthralling energy with their gloomy tendencies.  “Apartment Story”, “Racing Like a Pro” and “Ada” to their best to save a sludge of the second half, but not enough to make it the crème de la crème.

Kieran: This is it. Boxer. The album that arguably defines The National and captures their essence in a way no other album has managed so far. In terms of their progression musically, it’s difficult to exaggerate how important this record is. Its use of lush orchestral arrangements and synths lifts the melodies to new heights – and despite the grandeur on the fanfare at the end of Fake Empire, on other tracks the devil is in the detail. Green Gloves, for example: the keyboard part playing in the background of the final chorus brings the song to a subtle but incredible climax. The genius is that you don’t even notice until you listen to it a few times and really pay attention.

The album’s track order is perfect as well – slower tracks arrive at just the right time to let off some of the pressure built by upbeat, rapid-drumming songs like Apartment Story. The decision to end on three fairly low-key tracks – Racing Like a Pro, Ada and Gospel – could be considered a bold move, but in reality there’s no better way to wind down the album. The explosive nature of Mr November was the ideal way to end Alligator, just as Gospel is a fitting way to reflect on Boxer as a whole. It’s the very definition of a slow burner, but trust me folks – it’s well worth sticking by it.

Andrew: While Alligator was undoubtedly a huge step forward for the band, Boxer was the record when the world really took notice of The National, and for good reason. In 43 incredibly concise minutes, the five-piece announced themselves as the band everyone knew they were capable of becoming. The piano part that opens Fake Empire and the record is now nothing short of legendary, and the track’s politically-infused lyricism is as relevant now as it was in 2007.

Boxer just feels like the trademark National album. From the legitimately threatening Mistaken for Strangers to the brilliantly bullish Apartment Story (“we’ll be alright, we have our looks and perfume on”) this is a band on top of their game.

Perhaps the quintessential National track is Slow Show, a ballad beautifully incorporating acoustic guitar and piano, with Berninger describing his social anxiety at a party and his desire to rush home to his partner, with a vintage lyric “can I get a minute of not being nervous and not thinking of my dick?” If you ever find yourself doubting why The National are such indie royalty, just look at how moving their tracks can be while Berninger sings about his penis.

1. High Violet (2010)

Josh: Here we have the only National album that doesn’t stumble once throughout its 48 minute long run time – the closest the band have ever come and probably ever will to a perfect record.  It’s almost ironic then that it starts tentatively, with an echoing muted guitar strum to test the water before jumping straight into one of their most moving songs, “Terrible Love”, that features a monster of a chorus that feels like it was designed for the larger crowds the group found themselves playing for after “Boxer”.  Nearly every song builds to a climax or a certain moment that takes your breath away: the repeated mantra at the end of “Afraid of Everyone”, or the joyous crescendo of “England”, or the final, reverberating chorus of delicate closer “Vanderlyle Crybaby Geeks”. Everything just works, and works staggeringly well at that. What more could you ask for?

Kieran: When I first started dabbling in The National, in all honesty, I wasn’t sold – that is, until I heard the opening drumbeats of Bloodbuzz Ohio. High Violet is the album that got me utterly, utterly hooked on the band. It’s an explosive, cathartic wall of sound and it’s so compelling I still find myself struggling to turn it off without listening to the entire album front-to-back. Terrible Love is the perfect way to start an album (although plenty of debate has raged about whether the alternative version on the extended edition is better) and is a case in point that the band have mastered the art of the opening track.

It’s much more polished and painstakingly produced than Boxer or Alligator, to the point where Lemonworld was rewritten 80 times in order to achieve the perfect sound – although the final version ended up resembling the original demo. I absolutely loved High Violet (still do), and although it got me into The National –  Alligator and Boxer made me stick around.

Andrew: High Violet is a flawless record. As much as I love them, if I was to nit-pick, I could criticise Sleep Well Beast and Boxer, but High Violet is a different beast. There’s not a weak track to be seen in the track listing. Hell, there’s not even a weak chorus, verse or bridge.

To discuss the actual songwriting of High Violet, it’s easily the most cinematic National record. It’s almost the antithesis of Sleep Well Beast in that it is thoroughly anthemic: High Violet is personified by colossal climaxes – such as “it takes an ocean not to break” on Terrible Love, your voice is swallowing my soul” on Afraid of Everyone and the huge wordless crescendo of Bloodbuzz Ohio.  Remarkably on a record with moments this huge – it’s not at all disjointed, the flow is incredibly natural and even the less ambitious songs on the tracklist, such as Little Faith and Lemonworld, serve as small but vital parts of the beautiful canvas.

Arguably the record’s most dynamic track is penultimate number England, which develops from a world-weary piano riff into a colossal emotional epiphany – worthy of closing just about any album. However, what comes after is one of the most beautiful tracks in the band’s discography – Vanderlyle Crybaby Geeks, a stunning acoustic track which features Berninger singing in an uncharacteristically high octave, seemingly suggesting there’s nothing this band and album can’t do.

Callum: Another accumulation of The National’s musical prowess here. High Violet is home to the commercially wonderful Bloodbuzz Ohio, but it is elsewhere that we find the ripe, unpicked fruit. From front to back, this record oozes powerful emotion and tracks perfect for all aspects of life – predominantly the themes of abandonment (Anyone’s Ghost and Conversation 16) and pining for the second coming of what has gone before (England). Teetering on the magnificent, majestic and all round.

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The Importance of The Streets

by callum thornhill (@cal_thornhill)

Mike Skinner. The Streets. The UK’s greatest (totally unbiased) urban export and an influence on everyday life in the grim north east of England. With five albums out (and seemingly more to follow), it is impossible not to have at least one gritty tune that is scarily relatable to your life. Here, in this feature celebrating The Streets ahead of their comeback tour this spring, I am going to delve deep into their first two records; Original Pirate Material and A Grand Don’t Come For Free, and explore how and why the Birmingham musicians have soundtracked my life for as long as I can remember.


From the first time I heard Fit But You Know It on Fifa 2005 I knew that they were going to be the band to soundtrack my life. Now, some thirteen years later, I find myself totally absorbed in looking back and constantly re-appreciating The Streets. They are, in my opinion, a headphones-in band in the sense that the lyrics and music were crafted to give a personal experience. There are some bands that MUST be blasted through massive speakers, but Skinner and co. don’t fit this criteria – there are few records since the turn of the millennial as jaw-dropping as their debut Original Pirate Material. Released in 2002 (and apparently being re-released on vinyl in time for the upcoming tour) it is still as relevant now.

Weak Become Heroes dabbles in various themes including the drug-taking past of the protagonist. Opening with “nothing but grey concrete and deadbeats,” Skinner speaks for a generation with the approach of having nothing better to do. Most striking is that even now that mindset is still popular – a lack of societal improvement has left the youth behind where they are swept under the carpet as long as they are only harming themselves or the community around them. The melodic chorus of “weak become heroes and the stars align,” give the impression that via taking these experimental substances has allowed a greater lifestyle and everything finally coming together away from the monotonous doom and gloom.

There are two sides to The Streets – the first being the confident, lairy attitude as shown in Sharp Darts“I’ve got a worldwide warranty, satisfaction guarantee”. For Skinner to come out in a sub-two-minute banger on album one with such a bold statement – especially considering the DIY approach of producing Original Pirate Material (the majority was recorded in his London flat, with vocals done in a wardrobe), definitely has something to do with The Streets being one of the most recognisable UK garage acts of the past two decades. In this genre, you have to be ballsy and unapologetic, something that this track, and many others, portrays.

The other side of The Streets is the almost-romantic self-reflective approach. Take album closer, Stay Positive, and you can see Skinner using positivity to drag the protagonist out of a downbeat, negative rut. “Your idols – who are they? They too dreamt about their day. Positive steps will see your goals,” gives the impression of hope and that the opportunity to succeed is doable if your mindset flips. Something we all need reassurance of every now and then. Sophomore record, A Grand Don’t Come For Free follows this theme with arguably their most iconic track, and one of the most recognisable ‘love songs’, (Dry Your Eyes) from the 2004 concept album.

Exploring themes of loss, despair, and grief throughout Skinner’s narrative, it is one of the most exhilarating albums of all time. Take Dry Your Eyes and you have a break-up being torn apart moment by moment. Pleading that he can change, grow or adjust, as well as offering an open relationship shows his desperation of trying to cling on to something that has sailed its course. Take also Could Well Be In: a track documenting a new found love but being wary of previous partners; both his and hers. Opening with “her last relationship fucked her up” gives the context of why there is a sense of anxiousness during the date before the male protagonist opens up about the money going missing in response to “close mates all were, always the most important thing to her.” His approach is contradictory to hers, yet he still comes across as smitten and questioning if she is just being friendly – thus emphasising the delicate side to Skinner as opposed to the grittier classics.

To finalise, Mike Skinner has spoke of A Grand Don’t Come For Free, saying: “Every song needs a drama at the centre of it” – using this logic, I am going to coin the quote, or probably reinvent the wheel, and say ‘Every life needs an album at the centre of it.’ For me, it is A Grand Don’t Come For Free.

Top 50 Songs of 2017

We’ve been fairly negative this week, what with the moaning behemoth that was our ten worst tracks of the year list, but let us assure you that music in 2017 hasn’t been terrible: in fact, it’s arguably the strongest it has been since the glory year of 2015. There’s still another week to go before we give you the round up of the records we couldn’t get enough of but until then, the BLINKCLYRO team have a treat for you.

This year’s Top 50 Songs list marks the first year where it isn’t just Liam compiling his favourite tunes: all the writers for the site have submitted their top 10 tracks of the year and after compiling them, tallying the points and laying them out, this post before you is the end result of that. So strap yourself in, relax and prepare yourself for a bucket load of great tunes that’ll make you feel blessed to have ears.

50. Blaenavon – Orthodox Man

First heard in 2015 when played to a crowd of under twenty, Orthodox Man has remained very much the same between then and now. However, now played to sell out crowds it has become somewhat of a fan favourite and it is clear to see why. It is fun, it is exciting, it gets the crowd going. What more could you want from a debut record single?

49. The Xcerts – Daydream

What sets The Xcerts out from others is the vocal style, and Daydream is no exception. Murray Macleod’s Aberdonian accent beams through the track and the catchy riff and drums make it a dance along track. Throw in that beautifully constructed bridge and you have yourself an upbeat pop rock song, that is sure to send the Xcerts flying into 2018.

48. The War On Drugs – Holding On

Holding On is a highlight pick from the new War on Drugs album and makes for easy listening with a dreamy feel across the instrumentals and vocals. The fact that this song stands out on A Deeper Understanding, which is an already amazing album, testifies to the quality of the track. The winding journey that the track takes you on is definitely one to remember.

47. The Mountain Goats – Unicorn Tolerance

This funky pop track off this year’s Mountain Goats album is remarkable in both its familiarity, in terms of lyricism from Darnielle, and harmonised chorus, taken straight out of the bands previous works; it is notable too for its difference, with a very chill melodic pop beat going through, and an almost dreamlike feel, making something that old fans, as well as Mountain Goats VLs, will get.

46. Pip Blom – Babies Are A Lie

Hailing from Amsterdam, Pip Blom have been around for around half a decade now yet continue the evolution from, as they put it, the girl with little guitar to a full-on band that hit their stride on this tune; a chill track that eases in with a simple introduction and lets its hair loose on its earworm of a chorus.

45. Benjamin Clementine – Phantom of Aleppoville 

From this year’s I Tell A Fly, delivered by the avant-garde maestro Benjamin Clementine, this is very much a high point experimentally for the album, with a lon sweeping intro, blending in classical music, after an anxiety inducing chant early on with the track’s lyrics really shining as the song reaches its end.

44. The Smiths Street Band – Birthdays

I feel overwhelmed so I wanna be alone but then when I’m alone I feel lonely” were the words shared on the Australian rock outfit’Instagramam about Birthdays, a romance heavy tune that features on the band’s frankly underrated LP More Scared Of You Than You Are Of Me. Transparent and deeply emotive, The Smiths Street Band manage to effortlessly discuss issues of mental health and desire over this tight 3-minute odd track.

43. Idles – Mother

2017 was a fantastic year for Bristol outfit Idles, and their single Mother punched and kicked straight into the music communities consciousness. With scathing, growling lyrics from frontman Joe Talbot, the song was a perfect shot of heavy guitar music arrived with aplomb this year. This track stands out on their excellent album Brutalism for its much-needed commentary on the social fabric of our country.

42. Woes – Losing Time

Opening with an excellent sounding pop punk riff, Losing Time doesn’t hesitate to go huge. The vocals are reminiscent of the bands’ self-titled EP released last year, and both singers vocals blend brilliantly to create a beautiful harmony. The bridge of the track slows right down, with lead vocalist David Jess passionately shouting, before getting back to business: Woes are definitely one to watch in 2018.

41. Tommy Genesis – Tommy

While there’s a solid bit of production in the form of a Charlie Heat beat, Tommy‘s main draw is the display and establishment of herself as an aggressive and hyper-sexual rapper who can stand her own ground. With the bravado and confidence that Tommy Genesis holms, we wouldn’t be surprised to see her come out with something major in the near future.

40. Dua Lipa – New Rules (Initial Talk Remix)

It’s no secret that Dua Lipa seemingly came out of nowhere to deliver one of the biggest pop tunes of the year, one with a great sense of empowerment. Initial Talk thought that New Rules was missing something and decided to give it a dollop of 80’s gloss, an odd decision but one that works very well for a song that could have easily found itself sang by the pop juggernauts from that decade.

39. Enter Shikari – Undercover Agents

Easily one of the best tracks off The Spark & one of the most accessible Shikari songs, Undercover Agents is a bouncy number that’ll get the whole floor howling at the moon. Is it a song about Facebook or Instagram, or is “I want to see your body” covering for something else?

38. N.E.R.D – Lemon

Though it could be argued to be more the “Pharrell and Rihanna show” rather than a full-blown N.E.R.D comeback, this song is still a bonafide club banger. Just like the lyrics, the production bounces along with deep 808 bass kicks and a high popping synth, while in the latter part of the song, Rihanna raps with a swagger that is seldom heard.

37. Rostam – Bike Dream

Aeronautical oranges, continental paintings, an uxorious pair of boys. These are some of the images that populate Rostam’s Bike Dream, the fanciful second track of his excellent debut Half-Light. Atop the synth-drum dynamo powering the song is the exultation of Rostam seeing himself in the myriad New Yorkers ambulating around 14th Street. Amid the chaos, Rostam reaches the bittersweet summation of his many romances: “Telling me something or nothing, never the one thing I wanna hear”.

36. St Vincent – Slow Disco

Near the culmination of Annie Clark’s neon pop masterclass, Masseduction, sits one of her finest songs yet. An emotionally affecting powerhouse, Slow Disco stands out as a work of stripped back beauty amidst the sea of oddball experiments. On first listen it may just seem a welcome variation from the robotic and futuristic sounds of the rest of the record, but with time it reveals itself as the albums powerfully vulnerable highlight.

35. Vistas – Retrospect

Latest single Retrospective is everything we know and love this Edinburgh pop-rock outfit for. Opening up with the catchiest of riffs, the nod-along melody kicks in with frontman Prentice Robertsons’ spectacular vocals create a happy, feel-good vibe. The band has worked tirelessly the past two years and it is now all beginning to pay off with this tune being evident of the progress they’ve made.

34. Protomartyr – My Children

The second single to be released from their latest album and one of the most complete songs they’ve recorded yet, Protomartyr have managed to distill almost every aspect of their music into a deeply satisfying 3 minutes and 42 seconds. An ominous, mumbled intro gives way to angular guitars as anti-frontman Joe Casey delivers a caustic take on issues of growing old, remaining childless and the implications that might have on his legacy.

33. Alex Cameron – Runnin’ Outta Luck

Who would have thought that a satirical concept album based around the trials and tribulations of toxic masculinity and fragile egotism could be so catchy? The third single from 2017’s delightfully playful Forced Witness epitomises the thematic musical and lyrical consistences that run deep through the record via a bombastic, synth-embellished sound that recalls the classic rock and pop of the 1980s with an unrelentingly ear-worming chorus.

32. Harry Styles – Sign Of The Times

2017 marked the year that the members of One Direction stepped out on their own and released their debut solo material, and unarguably the best track born of the hiatus has come from unofficial band leader Harry Styles, who boldly emerged with Sign of the Times, a 5-minute epic which channels heroes Prince and David Bowie, effortlessly building from a solemn piano into to a rock opera without breaking sweat. Styles vocal performance is enthralling throughout, growing with the track from a brooding opening before howling “WE”VE GOT TO GET AWAYYY” in the epic climax, the track’s escapism aided by a choir and a glam-rock guitar tone elevating Styles’ already huge vocal into the stratosphere.

31. Clairo – Pretty Girl

Clairo seems to be fitting in remarkably well to her newfound position as a self-aware, bedroom pop artist. As you may expect, Pretty Girl is a relationship influenced song but one that finds pleasure in pointing out the flaws of superficially lead ones with a simple music video only exasperating the simplistic charm that she delivers in bucketloads.

30. Phoebe Bridgers – Funeral

A cut from her debut album, this track from Phoebe Bridgers is a real story of Bruce Springsteen proportions, delivering a thought-provoking, heartfelt and genuinely sad song, involving the artiste singing at a funeral: just as morbid and depressing as you would expect but with a glimmer of beauty.

29. Peach Pit – Being So Normal

Described as being “chewed bubblegum pop” by, well, themselves, Peach Pit manage to leave a muffled indent with this eponymously titled track off their debut LP; the lead smooth vocals may sound exhausted but when backed up by warm guitars and an undeniable crisp production, it’s hard not to feel yourself mellowed out and enthralled.

28. The Vegan Leather – Shake It

This paisley disco-pop outfit’s debut single was one of the hottest Scottish indie hits of the year, almost anthemic in its delivery; with a fantastic dance beat to accompany it. One of the most notable elements of the track is the harmonies between male and female fronts of the band, Gian and Marie respectively, working together to deliver a positively electric track.

27. King Krule – Dum Surfer

Dum Surfer, from King Krule’s album The Ooz, amplifies the very darkest aspects of his music. The lyrics are aggressive and unsettling. Krule’s deep and brooding voice matches the violent imagery which contrasts starkly with the jazzy saxophone and abundance of percussion. It sounds like nothing else but manages to stand by itself as one of the best tracks of the year.26. Young Fathers – Only God Knows

Young Fathers provided the backbone to the Trainspotting 2 soundtrack. Included was the beautifully layered track, Only God Knows. Accompanied by Leith Congregational Choir, the trio from Edinburgh create three and a half minutes heart pounding, distorted bliss: it’s impossible to not find yourself smiling when this song comes on. Not only does it undeniably bring the other songs from T2 together but also establishes the versatility of Scottish hip-hop.

25. Lil Peep – Save That Shit

The “Pt. 1” affixed to Lil Peep’s debut album Come Over When You’re Sober will forever serve as a reminder of what Gustav Åhr’s career might have been. A sense of death’s rapid encroachment pervaded much of Peep’s music, and last month, a fatal overdose granted his self-fulfilling prophecy.

Standing out among Åhr’s robust oeuvre is Save That Shit, a maudlin breakup song featuring spidery post-grunge guitars, tightly-wound trap drums, and Lil Peep’s trademark gruff whine. The details of the couple’s relationship are in constant flux: “All she want is payback,” “You ain’t getting nothing I’m saying, don’t tell me you is,” “Do I make you scared? Baby, won’t you take me back?

The optimist in him wants to salvage the relationship, but the realist in him knows he can’t save that shit.

24. Corbin – Giving Up

When Corbin dropped his album Mourn earlier this year, it showcased his soulful vocal talents over moody and mournful cloud rap and RnB beats which have stuck out in our minds over this year though Giving Up is the track that has remained at the forefront of our minds.

The synths create a very downtrodden atmosphere to begin with and bring you into a state of melancholy where you can then be lulled by Corbin’s silky smooth voice. The drums kick in about 2:30 into the song which lifts the track considerably but the depressive quality of this track just gets stronger as Corbin’s vocals become more powerful and desperate near the end.

Taking into account the song’s lyrics’ focus on suicide makes this track a total emotional barrage, but a fucking good one.

23. Sorority Noise – A Portrait Of

Although Sorority Noise have teased listeners with lyrics and themes meaningful enough to rip your heart from your chest, 2017’s A Portrait Of is when the depth of the band really hit home. All of YNA_AYT is a journey into the deepest crevices of your conscience, but when the sophomore track opens with “I’ve been feeling suicidal..” you know you’re going to be in for an emotional ride.

Roaring a mid-section poetical giving reference to living his life as a continuation of theirs, Cameron Boucher truly opens up here and by the end of the track you’re left speechless, in tears or both.

The instrumentation is not ghoulish, nor is it an overly slow ballad to emphasise the lyrics, it is standard Sorority Noise in-your-face riff-topia with cutting hooks, dominant drums and quite frankly an elegant yet boisterous glue holding everything in place.

22. SZA – Drew Barrymore

Throughout her debut album CTRL, SZA discusses both relationships with others and herself with remarkable honesty and this is most evident on Drew Barrymore.

An ode to SZA’s favourite actress, the song’s themes are reminiscent of Barrymore’s iconic roles of women finding their identities. Similarly, on the track, SZA admits her insecurities and instead of being embarrassed by them, she sees a piece of herself in one of her biggest idols.

It is rare to see such difficult emotions towards relationships expressed so directly and with that comes sincerity that makes this track resonate so deeply; anyone that’s ever felt inadequate will both appreciate those feelings described so accurately and also a reminder that even people as talented as SZA feel the same way.

21. Mount Eerie – Real Death

Artistic expressions of death and grief are rarely ever as direct as they are on A Crow Looked At Me, an album dealing with the of passing Mount Eerie mastermind Phil Elverum’s wife Geneviève Castrée at the age of thirty-five. Yet in the opening track, Elverum insists that his record is exactly not that: “Death is real… it’s not for singing about, it’s not for making into art”.

With every word his cracked and pained voice utters, the listener gains only a minute sense of what it must be like to have been put through such a traumatic ordeal, and then shift through the aftermath. It’s a song so heartbreakingly beautiful that I struggle sometimes to listen to it in full – but I’m still glad that such a succinct statement of personal loss exists in today’s world.

20. Everything Everything – Desire

Desire feverishly builds, reaching a chorus featuring so many layered vocals, it sounds like an entire choir made up of Josh Higgs’ indulgent falsetto. The guitar riff at times rings like early naughties math rock in the best possible way and topping it all off are some very on brand Everything Everything lyrics “I am a pencil pusher with the pencil pusher blues“.

The beat stomps on through from the start, breaking at times into a delicate two-step instantly transporting you to a sweaty dancehall. It’s a song that makes it near impossible not to dance; some of the best indie pop we’ve had all year.

19. Kirin J. Callinan – Big Enough (Ft. Alex Cameron, Molly Lewis & Jimmy Barnes)

This is one of the rare songs on this list that has to be heard to be believed, especially in conjunction with its fabulously grandiose music video. Country twangs, EDM drops, heavy metal screams and a fist-pumping, chest-burstingly triumphant list of arbitrary countries, continents and states for a conclusion that, similar to marmite or self-immolation, will change your life for the better or the worse.

The reason it works and not devolve into the aural equivalent of a thirteen-way pile up on the M8 is the strength of the songwriting and the dynamics of the production, both of which create an addictive cocktail of a serotonin rush that never fails to lift your spirits. That, or make your face cringe so hard it cracks in two, but if it does that then you probably hate fun.

18. LCD Soundsystem – tonite

If James Murphy and co.’s first two comeback singles were intriguing yet divisive, then tonite firmly solidified the validation for their return to the stage, whilst simultaneously setting the scene for the album upon which it settles into snuggly in the middle third.

Lyrically, Murphy rearms his iconically ironic New York cool stance but with an updated penchant for the self-aware, allowing himself to deprecate the stagnant state of the charts without ever falling into the “Old Man Yells At Cloud!” trap that haunts many of rock music’s elder statesmen.

Pounding behind the words is a groovy instrumental that takes its cues from Daft Punk and The Human League, and reaffirms LCD Soundsystem’s place on the dancefloor, and indeed our hearts. We’ve missed you, Murphy.

17. The Menzingers – Thick As Thieves

With February’s After the Party, Scranton natives The Menzingers reached a career peak. A wonderful record bursting at the seams with shout-a-long slices of life, it establishes the band as a bonafide grade-A rock outfit. An ode to reckless abandon, Thick as Thieves encapsulates all that is great about the album.

The whole track just drips with an endearing sense of nostalgia and sincerity, with vocalist Greg Barnett gleefully yelling of ‘building castles of cans and bottles’ without a trace of cynicism or irony. The chorus, perhaps the best the band has ever come up with, seems tailor-made for crowds to scream back at the stage; it’s just joyous.

If you can get it out of your head, you’re not human.

16. Remo Drive – Yer Killin’ Me

What a belter this track is. A slice of raucous, driving, almost poppy emo from the Minnesota 3-piece Remo Drive’s beauty of a debut album Greatest Hits (killer title).

There’s such an infectious venom in frontman Erik Paulson’s vocals and lyrics that you almost can’t help but be subconsciously pissed off at whoever’s wronged him.

The mathy breakdown towards the end of the track is delicious as well. Yer Killin’ Me is a perfect introduction to the world of Remo Drive, and one that would easily fit into your running playlist or your moody playlist. Brilliant.

15. Lil Uzi Vert – XO Tour Llif3

The king of emo rap’s magnum opus. XO TOUR LIiF3 by Philadelphia’s own Lil Uzi Vert manages to walk the tightrope between depressing as fuck and club banger with aplomb. Flexing about his car one minute and lamenting a failing relationship in the next, this is a deceptively complex slice of hip-hop from one of the most exciting MCs of 2017.

Mr. Vert explores concepts that most modern rappers wouldn’t dare touch, the likes of how maybe drug abuse isn’t that good and suicide. On a surface level it’s a cracking trap track, but if you listen to the lyrics it’s a sad portrait of a man who’s a bit lost in the world of hip-hop. And that’s what makes it so good.

14. King Gizzard & The Lizard Wizard – Open Water

Choosing a highlight from King Gizzard’s extensive set of 2017 releases is no mean feat. From tightly wound prog to loosely held together jazz pop, the range this band have displayed this year trumps what most bands achieve across their whole career.

Way back in February, the group released the finest of these efforts, Flying Microtonal Banana, and with it, Open Water, the seven-minute colossus that stands as the jewel in the crown.

Bursting with pitch black imagery and fluid, winding licks, it sees the band really push themselves to their limit. Their drums had never been quite so ferocious before, the atmosphere never quite so delightfully disorientating, and the end result rarely quite so brilliant. 

13. Carly Rae Jepsen – Cut To The Feeling

Carly Rae Jepsen‘s transition from early 2010’s meme to critically applauded pop artist has been one of the most interesting moments over the past few years and this cut for animated flick Leap continues the trend.

We could easily discuss the effortlessly ascending and descending bits of production that tie into the Canadian singer’s wonderful pipes or her delivery from hushful whispering to ambitious proclamations; the hook, line, and sinker of Cut To The Feeling is just how bloody fun it is and in another dark and dreary year, we need more of these than ever.

12. The National – Day I Die

Bryan Devendorf herein stakes his claim as one of indie’s pre-eminent percussionists, kicking off one of the highlights of Sleep Well Beast with a frenetic drum intro. Relentlessly uptempo and featuring guitar licks reminiscent of The Cure, themes of marital affairs are navigated with reference-laden lyrics.

Matt Berninger boasts that, “Young mothers love me, even ghosts of / Girlfriends call from Cleveland“, although he’s clearly still more concerned about the no-mans land his current relationship occupies, struggling to understand where exactly things stand.

During the bridge, further context is given to “great uncle Valentine Jester“, a character visited previously and, as it happens, someone who Berninger shares a lot in common with, particularly when he gets “a little punchy with the vodka“.

11. Lorde – Green Light

Fresh from a break-up, Lorde’s second album, Melodrama, explores dealing with losing someone for the first time and all the thoughts that come with it. The first single, Green Light, starts desperate and heart wrenching.

The song opens with her raw, slow vocals and simple piano, but builds quickly to a fast dance anthem, flinging her reputation as a moody teenage songstress into the mainstream. The sincerity in her vocals mixed with the constant change of pace creates a warmth inside your stomach. It’s a song to cry but also to move on to. Lorde is showing us how to dance through the pain.10. Frank Ocean – Chanel

Frank Ocean is famed as one of modern music’s lyricists for his complexity and deft storytelling talents. However, Ocean throws this subtlety out of the window in the mic-drop of an opening couplet to surprise single Chanel – “My guy pretty like a girl / and he got fight stories to tell”.

This sets the tone for Chanel’s lyrical tone – it’s part bashful, part confessional, varying as Ocean drifts between singing and rapping – displaying a mastery of each. The dreary beat is the perfect bed for Ocean’s varied delivery, and transitions into perhaps Ocean’s most iconic hook yet – “I see both sides like Chanel” – another lyrical masterstroke as he flips hip-hop’s obsession with brands into an expression of sexuality.

9. Stormzy – Big For Your Boots

Stormzy seems like one of the nicest guys in music, but Big For Your Boots is a definite warning to anyone tries stopping his rise. His flow is incredible throughout the whole song, and some of the lines are solid gold.

Had a peng ting named Amy telling me to come round hers on a Valerie ting“. Sublime. The whole of GSAP was one of the standout albums of 2017, but this was the biggest diamond in the jewelers.

8. Paramore – Hard Times

Where do you start with the summery, pop anthem that is Hard Times?! The emo, pop-punk icons of yesteryear seemingly flipped their iconic style on its head and replaced it with a neon light complementing, almost sickly pink doused, upbeat classic.

Hayley Williams’ voice sounds as good, if not better, as their Riot! days and the re-addition of founding drummer Zac Farro adds a warming, sentimental value for the old-skool Paramore fans.

What we have is effectively an infectiously catchy piece of pop elegance from someone who was the antithesis of Hard Times. A fluorescent burst of colourful chaos, synths galore and a something that is a simple yet strangely complex arrangement of upbeat fun.

7. Father John Misty – Pure Comedy

Father John Misty’s third LP is comfortably the most lyrically ambitious release this year – providing social commentary on the grandest scale imaginable. This is best executed on the record’s stunning title track where Josh Tillman gives his perspective on “the comedy of man” – beginning with the birth process and arriving at religion with a lot in between – on the most grandiose score Tillman’s voice has ever graced.

The lyrics are the star of the show here, however, with Tillman addressing the human race at large with observations like “their illusions they have no choice but to believe”, however, the lyrics never take themselves too seriously, especially as he smirks “how’s this for irony?” in a subtle nod to his Father John Misty persona.

6. Brockhampton – Star

In a year where BROCKHAMPTON dropped three albums, there were several stand-out tracks that defined their year but none more memorable than STAR.

This track has a unique theme with its constant pop culture references. From Dom McLennon’s rapid-fire name dropping from Matthew McConaughey to Liam Neeson to Ameer Van’s bragging about being “the black Tom Hanks” and being “kingpin like Jay Z, dance moves like JT”. The track finishes on perhaps their strongest verse of the year as Kevin Abstract pronounced himself “Heath Ledger with some dreads” in a hilarious yet vicious verse that mixes references to pop culture and his own sexuality with ease.

America’s newest boyband have been on fire this year and that’s no more evident than on STAR.

5. Gorillaz – Ascension (Ft. Vince Staples)

When Vince Staples strutted onto the stage unannounced midway through Gorillaz’ sold out Hydro show, it was clear that the already fantastic gig was about to reach a new level. Staples’ stage presence was electric, his short frame covering almost every inch of the arena’s huge stage.

Somehow, the Long Beach MC manages to convey that energy as well on record as he does live on apocalyptic banger Ascension. Beginning with a quick-fire Staples verse atop a wartime air horn which soon gives way to Staples’ nonchalant attitude to the end of the world with the lyrics “the sky’s falling baby / drop that ass ‘fore it crash”.Gorillaz latest record Humanz was criticised for being too guest-heavy, but with Staples in such electrifying form, you can’t blame Damon Albarn for giving him the spotlight across his 2 lightning-quick verses.

As much as Staples is on fire, this still feels like a Gorillaz track. An Albarn verse is interspersed between Staples’ and is the perfect foil: Albarn sounds his age in contrast with Staples’ youthful exuberance: his verse darker, gloomier and more measured. He is happy to give the spotlight back to Staples who trivialises the apocalypse once more; with Staples on the mic, the apocalypse has never seemed so exciting.

4. Vince Staples – Yeah Right (Ft. Kendrick Lamar & Kucka)

Wouldn’t you know it – two tracks featuring Vince Staples back to back and boy, does the man deserve the high rankings on this list; anyone with a vague knowledge of Odd Future will have been made aware of the rapper’s potential and while he’s released some solid solo material, this track off Big Fish Theory certifies that there’s gold in them there hills.

Packing in the stellar production that can be found over the course of the entirety of Vince’s sophomore LP, Yeah Right teases the listener with his trademark delivery and a subdued instrumental before it’s released like a pack of lions with Detroit techno coursing through their blood. The sheer velocity of the bass borderlines on untenable at moments which adds to not only the power this song possesses but how closely this album walks the line between experimental and excruciating.

Then there’s that Kendrick verse which may possibly be the best guest bars to have been spat all year with an abundance of meta, serious, humourous and braggadocious lines that’ll etch themselves into your cranium. Tie in that bridge by Kucka which has a reminiscent tinge of old school UK Grime and you’re left with one of the greatest hip-hop tunes of the year.

3. Wolf Alice – Don’t Delete The Kisses

Already known for being able to essentially do anything, Wolf Alice proved that once again when they defined the modern love song with Don’t Delete The Kisses.

Ellie Rowsell’s lyrics have never been better even though they are the most sentimental she’s ever written. “I might as well write all over my notebook that you ‘rock my world!’” she admits in one of two verses Rowsell delivers in an almost talkative tone that mimics the thoughts going through her head; it somehow encapsulates these thoughts that everyone experiences in a creative way.

Don’t Delete The Kisses is unashamedly lovesick and cliché, and it’s confidence forces a massive smile onto your face as Rowsell’s closing words “I see the signs of a lifetime, you til I die” would manage to touch even the most cynical of hearts. The second single from sophomore album Visions of a Life, such an instant classic was unprecedented and will be hard for Wolf Alice to top but for now, they can revel in the success of creating a song that will undoubtedly remind a whole generation of fans of the person that they love.

2. Tyler The Creator – 911 / Mr. Lonely

True to form, the 10th track of Tyler’s widely acclaimed comeback project Flower Boy is a two-parter – a reoccurring theme across each of his albums. It’s a perfect synopsis of the dichotomy between the two different personalities of the record – one side is airy, melodic and full of summery optimism; the other, introspective and brooding.

The beauty of this track and, indeed, the rest of the album is the way Tyler reconciles these aspects and lays them bare so candidly. Perhaps one of the most apparent throwbacks to earlier, darker material such as Goblin, he alludes to his erstwhile depression throughout – in 911 he takes a philosophical approach, realising his own experiences can help him relate to others. Portraying a soothing voice on the other end of the phone, perhaps an emergency call handler, he introduces himself: “My name is Lonely, nice to meet you”.

Soon, though, he finds himself the one most in need of reassurance as he lapses back into despair in Mr. Lonely. The beat becomes dark and snare-heavy as he condemns his outwardly loud and brash personality, also questioning whether materialistic pursuits have ever really helped to alleviate that omnipresent feeling of loneliness. The last line cuts the deepest of all: reaching for a friend “so I never have to press that 911”.

1. Kendrick Lamar – DNA.

Regardless of your opinion on DAMN., light 7 or not, there’s no denying that 2017 has very much been the year of Kung Fu Kenny himself. From the teaser track The Heart Part IV tearing apart America’s newly elected toddler/President to his comeback single Humble, along with its subsequent meme value, to the hotly discussed topic of how his fourth LP should be played, there are very few artists who managed to stay relevant for all the right reasons in 2017.

A constantly evolving artist, think back to K Dot on Good Kid, m.A.A.d City or the existential, jazz poet on To Pimp A Butterfly, Kendrick Lamar is the most important figure in hip-hop at the moment and certifies this perfectly with D.N.A. An introspective and aggressive behemoth, this track serves not only as a reflection of himself as an idolised and sought after celebrity (Only Lord knows I’ve been goin’ hammer / dodgin’ paparazzi, freakin’ through the cameras) but it’s so much more than that.

True to his roots and heritage, D.N.A is primarily about Kendrick as a black man and in a year where race was the focus of some of the most despicable moments of the year in America, its message is more important than ever: the feature of a Fox News anchor stating that his music “has done more damage than racism ever has” only provokes him into becoming the passion-driven, bar spitting activist that music needs more of.

As he ends on some vicious lines, the inclusion of “peace to the world” could be taken literally or be a homophone for the slang for a gun; either way, the intentions are made clear on a song that seems to sum up this year into a claustrophobically tight 3 minutes, six seconds. 

https://open.spotify.com/embed/user/111518578/playlist/4T1V1dcSEhkDsZcyny9CWY


So there you have it, our definitive list of the best songs we’ve heard all year. I’d like to thank the following people for contributing not only their rankings which helped make the list but also the little write-ups they did for each track: 

The Best Gigs of 2017

It’s finally here: no, not Christmas, list season BAYBEE! A culmination of all the good, and bad, that the year has had to offer, we’re kicking things off with some positive content about the live shows that the team loved every second of.

Before we get into each team member’s choice, let’s have a glance at some of the honourable mentions that deserve a shoutout…

The Vegan Leather @ TRNSMT

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At a festival with some of the biggest names in music, it goes to show how utterly impressive this Paisley art-rock outfit were at the debut entry of TRNSMT. “Talking Heads meets Yeah Yeah Yeahs meet LCD-Soundsystem” is the only way we managed to describe their sound yet that still doesn’t do The Vegan Leather justice: if you’re lucky enough to have New Years free from work then be sure to boogie on down to see this foursome kill it at King Tuts.

FULL REVIEW HERE

SWAY @ Tenement Trail

Photo Courtesy of Cameron Brisbane | Twitter | Facebook
Photo Courtesy of Cameron Brisbane | Site |Facebook | Twitter

If our accolade of “Best Band At Tenement Trail 2017“, a prestigious award depending on who you ask, wasn’t enough to do SWAY‘s performance at Nice N Sleazy justice then let this be your final telling off. Presenting a beautiful blend of indie rock finesse with shoegaze and pop influences, the Paisley act put on an amazing show featuring great tunes, inflatable footballs and a bloody nose (#PrayForDanDrennan).

FULL REVIEW HERE

Wolf Alice @ Barrowlands

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Photo courtesy of Jose Ramon Caamaño | Facebook | Flickr |

Hot off the back of providing one of the best sophomore releases of the decade, lovely London lot Wolf Alice treated their Glasgow fans to not one but two shows at the iconic Barrowlands venue. Playing a healthy dose of the old and the new, along with some golden oldies like Blush, the indie rock outfit show that they deserve every morsel of hype they’ve accumulated over the past few years.

And now, onto the team’s top picks…

Isabella McHardy (@isabellamchardy)Strange Bones @ TRNSMT

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I hadn’t heard of them before but a friend suggested we go see Strange Bones – it was by far my favourite performance of the festival and ultimately the entire year. They played the tiny Jack Daniel’s Jack Rocks tent on the Sunday and it was perfect. They played with such an infectious energy, I couldn’t stop smiling the whole set.

The entire tent was jumping up and down and yelling even if they didn’t know the words. They were probably one of the heaviest bands at the festival but they still managed to pull in such an enthusiastic crowd. The band were crowd surfing and running into the audience throughout the show but no one got tired of it. It was the first gig I had been to in a while where I felt completely ecstatic. After their set, I couldn’t wait to get home so I could go through their discography.

Disappointingly, their EP’s don’t live up to how they perform live, but I would still go see them again just for the atmosphere and the ‘Theresa is a Terrorist’ t-shirts.

FULL REVIEW HERE

Callum Thornhill (@calthornhill) – Sorority Noise, Turnover & Citizen @ Camden Underworld

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They say good things come in threes. Wise men. Amigos. So on and so forth. For this ridiculously intimate show; it was American emo icons that arrived as a magnificent trio. Heading to Camden’s Underworld via stunning performances at this year’s Slam Dunk Festival came Citizen and Turnover; ‘supported’ by Sorority Noise.

What made this an incredible line-up was the enthusiasm shared by bands towards other bands, fans to bands and even bands to fans. Splitting the set times evenly, no band took the limelight, however, Sorority Noise were first up to get things going. With third LP, You’re Not as _____ as You Think released earlier this year, it was the first time many fans had heard tracks such as Car and No Halo; Cameron Boucher even recited Manchester Orchestra’s I Can Feel a Hot One ahead of No Halo. These new, heartfelt ballads combined with golden older tracks, e.g Nolsey and Using, made Sorority Noise the perfect opener.

Turnover were next up and thankfully, and I am sure fellow fans will agree, they decided to play a set full of classics rather than cramming their set full of Good Nature tracks. Peripheral Vision dominated the setlist with the crowd singing along to everything from Cutting My Fingers Off to the iconic Dizzy on the Comedown. A mellow atmosphere greeted the Virginia outfit, who took it in their stride to engage in a chilled out yet passionate vibe.

‘Headlining’ for the evening were Ohio/Michigan alt-rockers Citizen. Brutally belting out The Summer instantly showed what was about to unfold. The highlight of the set was How Does it Feel? purely because the dark, moody atmosphere perfectly complemented the pitch black surrounding of the Underworld. Giving Yellow Love and Cement air-time before The Night I Drove Alone closed their slot, Citizen gave a stunning performance to cap off an amazing night of bands from across the pond.

To conclude, good things do come in threes, and this line-up does nothing but emphasise that fact.

Ethan Woodford (@human_dis4ster) – Gorillaz @ Hydro, Glasgow

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In a year where I finally saw some of my all-time favourite bands (Radiohead, The Libertines) as well as seeing some old friends again (Wolf Alice, Basement), every gig stuck out in my mind but none more so than the Gorillaz‘s massive show at the Hydro.

Having been desperate to see them for years, it was such a joy to hear some of my favourite songs sung back by thousands of people in unison. Damon Albarn was in top form, a massive smile barely leaving his face except when he was stood at the edge of the stage trying to look menacing during Clint Eastwood. It’s commendable a man of his talent and success is still so humbled by fans singing his lyrics and his constant gratitude to his many guests and backing band members made for a wholesome sight. 

Speaking of his guests, they only added to the spectacle, from De La Soul to the show-stealing Vince Staples, each guest injected even more energy to the atmosphere and by midway through the set, the entire crowd was bouncing,

A truly mesmerising gig that had me smiling for the rest of the night after, Damon Albarn and his friends deserve the crown of best live show of the year.

Ryan Martin (@ryanmartin182) – Childish Gambino @ Radio City Music Hall

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Photo Courtesy of Bradley Robinson

Seeing Childish Gambino co-headline an event at Radio City Music Hall with Dave Chappelle was truly something special but after his announcement earlier this summer that he would be retiring after his next album, it truly made the concert something to be cherished forever.

Being a massive Donald Glover fan, I had never seen him perform live as Childish Gambino except for a small radio show festival performance where he only did his biggest hits before exiting. Gambino at Radio City Music Hall exceeded my expectations from the multi-talented performer. He performed the majority of his new album Awaken My Love with the help of a full band, backup singers, and an incredible display of lights and visuals.

Hearing AML live without the vocal effects made for an entirely new experience of the album. The album sounded fresher, more exciting and more fun live. Gambino’s performance was incredible, filled with passionate shrieks reminiscent of Prince in his prime. He showcased his dancing skills throughout the set and was all over the stage, even moonwalking at one point.

Gambino’s decision to perform most of AML with exception to 3005, Sweatpants and Sober really showed how much Gambino has matured in recent memory and how he is beginning to grow out of most of his discography. This could be a partial reason for his decision to retire the Childish Gambino moniker and will almost surely affect his future touring schedule. One thing is for sure, if Gambino stops by your area, be sure not to miss out.

Andrew Barr (@weeandreww) – Frank Ocean @ Parklife

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Photos Courtesy of Parklife

Here lies the critical irony; my favourite show of the year, Frank Ocean’s surreal headline slot at Parklife festival could scarcely be considered a performance, serving as more of a glimpse into the elusive star’s psyche.

When Ocean stuttered onto the stage 40 minutes late and restarted opener Solo 3 times, it looked like his long-awaited live return could end in spectacular failure, however, Ocean managed to claw it back in a way only he could. His confidence and stage presence grew throughout the set dominated by Blonde and Endless material, and by the time he walked offstage during the Korean verse on the alt version of closer Nikes, it was clear; this wasn’t a show for everyone, but one that the many diehard Ocean fans will never forget.

Liam Menzies (@blnkclyr) – Run The Jewels & Danny Brown @ O2 Academy

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Photo Courtesy of Ryan Johnston | Facebook | Site

 

It shouldn’t be much of a surprise to anyone that this gig was a highly anticipated one for myself: Run The Jewels and Danny Brown are both Album Of The Year winners, in our 2014 and 2016 lists respectively, so the prospect of seeing both acts in the one night was too good to pass up.

It was no disappointment (I mean, it’s on this list, isn’t it?) as the Detroit king of rap Danny got things underway, storming through his impressive discography with some running man dancing and what can only be described as an intimate strip show for the thousands in attendance. Tracks from his magnum opus Atrocity Exhibition got just the reaction he must have expected, provoking a wave of moshing and rapping from the enthusiastic crowd.

Not to be outdone, RTJ made their way to the stage (albeit a bit late) and from start to finish, they undoubtedly affirmed why they were a force to be reckoned with. Not only that but there was a great deal of duality on show: Killer Mike is an absolute monster when he’s on the mic but the amount of compassion and love shown between songs, from a speech about mental health to a big fuck you to groping at gigs, the man is like Sully if he had an abundance of sick bars. Don’t worry El, I haven’t forgotten about you; RTJ is a two man show after all and if it weren’t for the bounciness, crassness and sheer bragadociousness of El-P then it just wouldn’t be the same.

Danny even showed up for his verse on Hey Kids, wearing only his underwear as the O2 Academy witnessed not only Mike giving the audience a glimpse of his ass, but two of the best acts on the fucking planet: and the crowd goes…

Jake Cordiner (@jjjjaketh) – Gorillaz @ Hydro, Glasgow

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Photos Courtesy of Getty Images

 

While I was ever so slightly underwhelmed by Damon Albarn and his band of merry primates’ latest effort Humanz (DO YOU GET IT BECAUSE GORILLAZ?) I still jumped at the chance to see them live at The Hydro when the gig was announced earlier and the year. And I’ll tell you something, I’m bloody glad I did.

Gorillaz live are a different beast entirely from Gorillaz on record. There’s something of a more immediate urgency about them in a live setting, particularly in the vocals of head gorilla Damon “I Love Witches” Albarn. I’ve never seen Blur live in person, but I’ve seen my fair share of their sets from the comfort of my own computer chair and Albarn seems to turn everything up to 11 when he’s performing under the Gorillaz banner. Gone is the subdued, mild-mannered, middle-class Englishman that belts out Tender with a quiet confidence, instead he’s replaced by a grown man doing his best impression of an actual Gorilla. To put it bluntly, when Damon Albarn is in Gorillaz mode, he is a fucking nutter. He jumps around the stage with a reckless abandon, screaming in innocent concert goers in the front row like a man possessed by a pure primal force. It’s a joy to watch.

As are the rest of his band, I was blown away by how flipping CHUNKY everything sounded in a live setting. The bass was lovely and sludgy, both drummers played flawlessly and the keys were whimsical one moment and downright demonic the next. Then came the guests: Bootie Brown, Zebra Katz, Vince Staples, DE LA BLOODY SOUL were all there in the flesh and it was chuffing magnificent.

I’d wanted to see Gorillaz in some capacity for over a decade, and holy fuck me did they deliver. This ranks as not only one of my gigs of the year but genuinely one of the best gigs I’ve ever been to. So thank you, Damon and company, you bunch of fucking lunatics. We wouldn’t have you any other way.

Rory McArthur (@rorymeep) – King Gizzard & The Lizard Wizard @ Albert Hall, Manchester

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If you know me, this choice won’t come as a surprise; I may or may not have a little bit of a thing for this band. This was my fourth time seeing King Gizzard, but this was the first time it properly hit me how unfathomably incredible they are live. From the tried and trusted old favourites to the, at that point in the year at least, new microtonal tracks, everything went down an absolute storm with a suitably energetic crowd. The electricity inside the Albert Hall that evening was honestly breathtaking. I don’t think there’s another rock band in the world right now that can put on a show quite like Gizz. If they’d have decided to play all night long, I wouldn’t have minded one bit. 

Kieran Cannon (@kiercannon) – Protomartyr & Oh Boland @ CCA, Glasgow

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Protomartyr’s third visit to Glasgow in as many years takes place at Sauchiehall Street’s pre-eminent creative hub, the Centre for Contemporary Arts. Incidentally, this occasion marks their first time playing above ground in the city; apt, considering their meteoric rise from the underground to the forefront of contemporary post-punk, a sort of symbolism that isn’t lost on despair extraordinaire Joe Casey.

Joking that it’s a sign they’re finally moving up in the world, his self-depreciating humour is disingenuous to their cerebral yet deeply enjoyable brand of music. Turning up on stage without further ado, the band launch straight into lead single My Children. Casey’s appearance, grey-suited and formal, carries as little extravagance as his vocal delivery: barking and authoritative, the right level of Angry Da but never unintentionally bombastic. 

Audience interaction is sporadic and generally kept to a minimum, save for a few amusing exchanges; however,  such was the level of quality and electrifying atmosphere that the crowd quickly began dancing of their own volition. In contrast to the chaos of Casey’s performance, Greg Ahee’s guitar work is a controlled explosion of riffs and inventive, often unexpected chord changes complemented by a captivating dynamic between himself, bassist Scott Davidson and drummer Alex Leonard, whose stellar percussion work underpins every track, relentlessly propelling forward. While leaning fairly heavily on their latest material, Protomartyr nevertheless treated veteran fans to plenty of classics including two tracks from their oft-overlooked debut. 

Support act Oh Boland, covering the spot regrettably vacated by Sauna Youth, proved a worthy opener, commendably navigating one or two technical glitches to produce exactly the kind of high-octane introduction needed to prepare everyone for what lay ahead.

Gregor Farquharson (@grgratlntc) – The LaFontaines & The Dykeenies @ Barrowlands

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Having a gig at The Barrowlands is a massive achievement for any band. Tonight, The LaFontaines were ready to unleash their chaotic, charisma filled live show to the sold-out Glasgow crowd. The buzz in the buildup to the performance was surreal, with fans everywhere eager to see the fonts once again.

The band tasked with getting the crowd ready? The recently reformed The Dykeenies. The band played a good 50 odd minute set, with highlights being Waiting for Go and Sounds Of The City. The fans were ready and The Dykeenies job was done with success and the fonts took to the stage.

Opening up with Slow Elvis and going straight into Junior Dragon, the atmosphere was something else. The bands unique sound works beautifully live and the feeling in the crowd was magical. New songs Common Problem and Hang Fire went down great with the crowd, proving the band are not just a one album wonder and that their second full length is doing wonders.

If anything, this gig proved that The LaFontaines are going to get even bigger than what they already are. If they keep up the work rate and live shows they have going, it’s a bright future for the band that are already seen as Scottish heavyweights.

FULL REVIEW HERE

Tilly O’Connor (@tilly_oconnor) – Gorillaz @ Hydro, Glasgow

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Photo Courtesy of Aidan | Source

With the Autumnal gig season drawing do a close, I saw Gorillaz at the Hydro in Glasgow. As someone who normally consumes live music in dive bars, the stadium’s sheer size was daunting, even if it’s sticky floor felt like home. The crowd was full of groups of families with grownup-kids near my age. My parents got me into Gorillaz young and I credit them with playing a part in shaping my current tastes in music, visual arts and even politics. The group has always been all-encompassing, and their 29th November gig was no different.

The band rattled the room with M1 A1. This was followed by Albarn, mic in hand, asking the 13,000 strong crowd if we were the last living souls. These songs from the band’s earlier work set the tone for the rest of the show, as it would feature hits peppered with memorable album tracks. A high point for me was Dirty Harry. The live performers were accompanied by a disjointed choir of cartoon South Park-esque kids singing the chilling chorus to the delight and discomfort of all watching. The band’s alter egos played a huge part in the engulfing feeling of the show. Carrying out heists and racing games, 2-D, Murdoch, Noodle and Russell Hobs reached deeper into our collective consciousness, pulling out gleefull pockets of nostalgia, providing the perfect backdrop for the night’s music.

Along with visuals, the main band were accompanied by a vast amount of guest performers, most notably the hip-hop trio De La Soul who feature on one of the bands most famous songs – Feel Good Inc.

Hong Kong was the first encore song, and it provided the most haunting musical moment of the night. The song which plays heavily on imagery surrounding neon lights and electricity was spontaneously met with thousands upon thousands of glowing phone lights, bringing the previously black room to an eery yellow which shined down Damon Albarn’s face. Singing to us, an army of smartphone welding fans, with a wry smile “All the people in a dream, Wait for the machine” he brought the night towards its end. This scene felt stunningly fitting for a band who have continuously captured the zeitgeist. From their self-titled debut in 2001 to this year’s Humanz, the group have always painted a vivid picture of the world in the 21st century.

Will Sexton (@willshesleeps) – Frank Carter & The Rattlesnakes @ O2 Academy, Bristol

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Photos Courtesy of Ashlea Bea | Twitter

Now I know what you might be thinking, “ooh pick the latest gig you went too” but people who are thinking that obviously have never seen Frank Carter live. The stage presence of this man is electric all in itself and arriving on stage with an absolute roar of noise and appreciation is so magical every single time. Frank has had a bit of a tough year but you wouldn’t have ever guessed, coming back from tonsillitis and taking a small break to help recover from the incredible work he has done over the last three years which was very well respected amongst the fans.

He came back with a total bang and every song from Primary Explosive right to I Hate You were electric. Filled with moshing and inspirational speeches about girls feeling safe at gigs, mental health and just straight up appreciation of us, it was a magical night!

Dominic Cassidy (@lyre_of_apollo) – The Mountain Goats @ The Art School, Glasgow

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The Mountain Goats were awaited by the crowd with bated breath and I’d be lying if I said I was not amongst their number, in terms of the mob or the state of breath. North Carolina based folk rockers The Mountain Goats – consisting of the ever-present singer-songwriter John Darnielle and multi-instrumentalist Matt Douglas – ascend to the stage accompanied by cries of devotion from the loving Glasgow crowd. Opening with Have to Explode, the cheers and whooping give way to absolute silence. When the song ends so does the hush, the hanging silence expelled with thankful applause.

Honestly, for me the gig was a beautiful exhibition of long-crafted skill and art, showing how well playing to the crowd can be done. The innate crowd interaction from John Darnielle who was loving the little stand-up bits, made the night all the more special. If you have not seen The Mountain Goats live, I can recommend nothing more, and if you have never heard them, I would start now; on The Sunset TreeTallahassee, or Beat the Champ.

FULL REVIEW HERE

List Season Continues…

10 WORST SONGS OF 2017 – 11TH DECEMBER

50 BEST TRACKS OF 2017 – 15TH DECEMBER

10 WORST ALBUMS OF 2017 – 18TH DECEMBER 

25 BEST ALBUMS OF 2017 – 22ND DECEMBER

 

Top Corner! Five Fantastic FIFA Tracks

By Callum Thornhill (@Cal_Thornhill)

There is no secrecy or mystery between the linking of football and music. The terraces are constantly changing iconic lyrics with the names of their nippy winger or slating the opposition with “____ are falling apart, again” to the tune of Joy Division‘s Love Will Tear Us Apart. One connection between the two industries is closer to home and often overlooked by passive gamers – the Fifa, originally Fifa Football, franchise is constantly churning out a quality soundtrack year after year to millions of players around the globe.

With hundreds of tracks being on the Fifa jukeboxes over the past two decades it is impossible to make a solid, fairly ranked list of the best, but here I look at what I call the golden tunes EA Sports have included over the years since Blur’s Song 2 hit us in 1998 like a Steven Gerrard worldie.

Before revealing the list below, there are a few that could easily have been added including:

Flogging Molly – To Youth (My Sweet Roisin Dubh), Bloc Party – Helicopter, The Strokes – Machu Pichu, and Caesars – Jerk It Out.

5) Morrissey – Irish Blood, English Heart [FIFA 2005]

Okay. So, in my opinion, Morrissey’s solo stuff isn’t THAT great, but this tune soundtracked endless hours of rinsing the PlayStation 2 version of Fifa Football 2005 while I was winning various titles with Ajax. Nestled amongst a brilliant soundtrack (more of which are on this top five list), Fifa may be to blame why I am a Smiths-loving loser…just maybe.

4) The Sounds – Seven Days a Week [Fifa 2005]

Another gem here, The Sounds, who I still know absolutely nothing about except they are a Swedish outfit, have old-school Blondie vibes and an abundance of sass. Seven Days is easy listening and was always allowed to be played through fully rather than hitting the R3 button to skip. The Sounds have made it to endless Spotify playlists I’ve made in the past and thanks to Fifa I actually have a vague idea of who they are.

3) The National – The System Only Dreams in Total Darkness [Fifa 2018]

A modern great in the form of The National. Needing absolutely no introduction at all, they are a band who have only excelled themselves time and time again and even though I don’t own this edition of Fifa, it is heartwarming to know that anyone who (stupidly) hasn’t discovered the band themselves will be introduced to some ambient brilliance.

2) Foals – Olympic Airways [Fifa 2009]

Oxford’s math rock maestros have featured on Fifa soundtracks a couple of times, but it is Olympic Airways that makes the list. Added pretty much at the same time as their debut, Antidotes, dropped. Foals, like the Fifa series, have been a constant companion to my life for a long time now and to see the two combine is fantastic.

1) The Streets – Fit But You Know It [Fifa 2005]

THE tune that got me into music. As a football-loving eight-year-old, who thought it’d be such a stressful life at that age, I didn’t really understand the whole blue Topshop top or being a 9 and a half in four beers time, but knew the lyrics off by heart. It took a fair bit of convincing but I managed to get A Grand Don’t Come For Free on CD that Christmas and had to play it through headphones because of the parental advisory sticker. In short, I have to thank EA Sports and Fifa for effectively making me the person I am today.

Do you agree with the list of Fifa soundtrack greats? Let us know on the usual social media places with your favourites.

Killer Finales: Albums That Finish With Their Strongest Tracks

Whether your album goes on for an hour or ten minutes, the general rule of thumb is to finish things with a bang rather than a fizzle. Sure, there are a handful of albums that could be considered one of the greatest whose best track is somewhere in the middle (hell, maybe all the tracks are so great it’s hard to pick a definitive one) but that’s not what we’re talking about today. So strap yourselves in folks because today, the good folk of blinkclyro are going to go through a host of favourites that made sure to bow out in the best way possible.

The Velvet Underground – Sister Ray
White Light/White Heat

17 and a half minute long epitome of the legendary band’s sophomore avant garde quest to create something new from the thunderous noise rock they hammer out via tribal drums, buzzing organs and melting guitars – so brutal the producer walked out half way through the recording, but so very good.

Josh Adams (@jxshadams)

The National – Mr November
Alligator

The ultimate send-off for the album which represented a turning point in their careers, the twilight zone of a band on the verge of critical and commercial success. An explosive 4-minute distillation of everything they’ve done up to that point, Matt’s voice nears breaking point as he yells “I won’t fuck us over / I’m Mr November” with steely conviction.

Kieran Cannon (@kiercannon)

Carly Rae Jepsen – Roses
EMOTION SIDE B

WILDCARD BITCHES! Nothing omitting a cheeky wee b-side album, not as long as I’m running this site, which means the once meme turned queen of Partrician can make an appearance with this stunning track. If you’re gonna title two of your albums with EMOTION then you gotta show it and Roses just oozes heartbreak, whether it be the flower imagery or Jepsen’s vocals that at times sound like she has a legitimate lump in her throat. 

-Liam Menzies (@blnkclyr)

The Clash – Train In Vain
London Calling

Initially elided from the track listing and kept as a secret cut on the record, The Clash opted to close out their sprawling, genre-swinging double album London Calling with a modest breakup song. Detailing the dissolved relationship between vocalist Mick Jones and Viv Albertine of The Slits, the band turn their politically keen focus inward. Easily the most personal song on the album, Jones reaches an invaluable epiphany in the throes of his heartbreak: “You don’t understand my point of view/ I suppose there’s nothing I can do.”

-Sean Hannah (@shun_handsome)

Fatherson – Foreign Waters
I Am An Island

Just sums up Fatherson and their debut in every way possible. Slow, sad moments mixing with huge chorus and drum – throw in the addition of the wee 2 minute hidden track at the end and you’ve got a superb finale.

– Gregor Farquharson (@grgratlntc)

Radiohead – Motion Picture Soundtrack
Kid A

So much has been said and written about the icy atmosphere of that record and MPS continues this to the n-th degree with the chilling organ backdrop, however the twinkling harp that comes in combines with some of Thom’s best ever vocals to bring a beautiful sense of humanity to the record, and “I will see you in the next life” has to be the best album-closing lyric ever.

-Andrew Barr (@weeandreww)

Gaslight Anthem – National Anthem
Handwritten

An album that shows so much ‘in your face’ guitar angst is closed perfectly with a delicate, emotional ballad. It shows the versatility of their sound & that they have much more to offer than riffs, hooks & drum fills – for me, this is the peak of the most rounded album The Gaslight Anthem have ever put out.

-Callum Thornhill (@cal_thornhill )

Biffy Clyro – Now The Action Is On Fire
Vertigo Of Bliss

It (somehow) manages to condense everything that made very early Biffy so special into one song. It has a bit of everything, a frantic string section, some of the best vocals the trio had ever and will ever put down, some gloriously heavy instrumentation and weird as fuck lyrics that were fast becoming a signature part of the Biff’s repertoire. It’s bombastic, loud and by all accounts it shouldn’t work but THAT’S why it’s so good. In a word, masterful.

-Jake Cordiner (@jjjjaketh)

Arctic Monkeys – 505
Favourite Worst Nightmare

At this point in their career 505 was the most emotionally bare Turner’s lyrics had been and still today remains arguably their best song and suitably ends most of their sets with that unforgettable riff sounding better each time you hear it. On an album where the band improved in every way, 505 embodies that change during its climax.

-Ethian Woodford (@human_dis4ster)

Muse – Knights Of Cydonia
Black Holes & Revelations

The epitome of bombastic rock and roll grandeur, from the giant opening stabs to the infamous “No one’s gonna take me alive” bridge/ending, it could be used as a blueprint to end an album. It’s overblown, in your face and pompous, making it the perfect song for the credits to roll.

– Oliver Butler (@notoliverbutler)

Death Grips – Hacker
The Money Store

Described by cuindependent.com as “the moment when all shit breaks loose and all that’s left to do is riot”, Hacker is the point in Death Grips’ career where they realised that they were the shit and wanted everyone to know about it. They’re in your area, whether you fucking like it or not. 

-Liam Menzies (@blnkclyr)
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Album Review: Soccer Mommy – Collection

By Callum Thornhill (@Cal_Thornhill)

It is easy and somewhat lazy to associate lo-fi with mainstream success stories Mac DeMarco or Car Seat Headrest, but it is Bandcamp where the real hidden gems linger and ripen until picked like prize fruit. The latest of those to release a full length (eight tracks of blissful bedroom pop infused lo-fi vibes) is Soccer Mommy.

Following on from 2016’s For Young Hearts comes Collection; a selection of elegant, fuzz laden tracks freshly pulled from the wordsmith Sophie Allison that dabble in whispery harmonies flowing over subdued instrumentation. That is not to say that Collection is an overly emotive, depressive accumulation of even more Bandcamp finds to listen to on a downbeat, overcast day, though – quite the opposite. The skill set acquired by Allison is showcased on the album in crevices so acute that it takes you until the final track, Waiting For Cars, to realise the development and progression that has just occurred before your eyes and ears.

There are seamless and gentle transitions between tracks throughout, which given the eclectic mix of traditional and new wave lo-fi vibes merging is quite the feat. Take 3am at a Party, for example; connotations with that title would assume that it is a boisterous, carnival-esque atmosphere, but Soccer Mommy have juxtaposed this and crafted a two and a half minute reflective, short but sweet, track that could quite easily soundtrack a motion picture showing the motion picture of the night before. Hindsight visuals could be represented alongside the delicate audio and this is what makes their sophomore full length so brilliant.

With the likes of Elvis Depressedly and Salvia Palth setting the bar in recent years for the lesser known, not as mainstream as DeMarco lo-fi scene it takes an outstanding record to put yourself in that category, but what we have here is something that has stuck to what it knows and not tried to reinvent the wheel or head so off-piste that the core of Soccer Mommy is diluted and replaced with something that does not reflect their style. Benadryl Dreams is the only song featured on the album that comes anywhere close to high profiler Mac DeMarco’s recent releases and it is quite refreshing to hear someone follow up and album without going for the spangly, jizz-jazz approach.

Musically, it is all pretty expected, to be honest. Muffled drums in the background while weaving hooks connect verse to chorus to bridge – not a bad thing, of course. There are, without a doubt, thousands of other Bandcamp artists that could have put this record out and if you are not familiar with traits or signature marks from them it would be near impossible to see any differences. Lo-fi is brilliant for that, though, it forces bands to make a name for themselves and inject their music with quirks and notable features.

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With this attempt at ‘making it’ in the scene, Soccer Mommy have opted for frequent stabbing synthesisers and intriguing, mopey vocals coming together in perfect harmony as their ‘mark,’ so to say. Death by Chocolate is the ever-questioning synth laced ballad delicately gluing harmonies to tale-telling lyrics with glistening hooks. Similarly to Waiting For Cars, Death by Chocolate comes to its end after four minutes and it is then that the arrangement sticks with you in an irritating “oh, God! What is THAT song?!”

Overall, for a sophomore record and one that could easily have been overlooked if Sophie Allison hadn’t created an audience over the past handful of years on Bandcamp; it is like any other lo-fi record. Mostly predictable and as mentioned, not reinventing the wheel, there are moments where you go “ooooh” to make Collection well worth a listen.

6.5/10


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