The list is done, the end of year compilation is complete and the festivities can begin. Except, how did I miss out the Wild Beasts album from the Top 30? Why didn’t the Huw M album come out a little earlier, as it would have been guaranteed a good placing? What do I write about now that I’m not knee deep in a list? Ah, list maker’s anxiety has set in. Watching music journalists, music makers and music fans on Twitter over the last week or so, it’s been a familiar tale of people realising either that they’ve missed out something crucial from their list or that they simply can’t boil down what they like into a manageable ten, twenty or forty. For some reason, it matters. Not to everyone, admittedly, but to those of us who try to fill our days with as much music as humanly possible, the opportunity to present our likes in a clearly defined format is exciting and important. Partly, it’s another way of showing the world who we are, and it also allows us an opportunity to range scrupulously over our music, revisiting albums we’d forgotten or never quite clicked with. It’s an event.
This year it seemed particularly difficult to do: on the one hand, because of how many utterly wonderful albums have come out and, on the other, because I’ve been hoovering up new music for the last twelve months. The vinyl revival (hey, good name for a radio show) has continued apace to the point where pretty much any alternative music gets a release on the magic wax. Indeed, but for my still not especially forthcoming right ankle, I could lay out my entire Top 30 on the floor, on vinyl, for a real-life version of that montage picture I made for the Spotify list. I rather like that. Ok, not all of these records have recent prime-quality pressings, but the vast majority sound wonderful on the superior format. An album like ‘C’mon‘ is absolutely suited to the inherent warmth that format affords, likewise the magical ‘Tamer Animals‘ by Other Lives.
Anyone who looked at the list I produced in July, as a half-way point round up of the year in music, will notice that both Alessi’s Ark and Elbow slipped from the top ten to outside the thirty come December. Alessi’s Ark simply got worn out, and I still wonder if I’ve been unduly harsh. Elbow, however, I’m struggling with a little. It’s sonically outstanding, just like ‘The Seldom Seen Kid’, but ‘Build A Rocket Boys!‘, from its missing comma onwards, just seems a little to poised. I find myself listening and thinking, ‘ah, there’s man of the people Guy Garvey extending some syllables in a matey fashion’. I’ve always loved Elbow. I adore their debut and ‘Leaders Of The Free World‘, and regular readers will remember that ‘The Seldom Seen Kid‘ just pipped Laura Marling to the top of the 2008 albums list. Whether it’s overexposure, less exciting songs or a little bit of music snobbery kicking in, I seem to have lost the bug. My first listens left me cold – which, having been tasked with reviewing it, was an immediate puncturing of the bubble – but then it grew and grew, a more subtle offering than its predecessor. Now though, I’ve no idea. Sometimes music doesn’t make sense, does it? I’m sure it’ll click at some point. Feel free to give me some pointers.
And then there are the ‘too late’ brigade. For most people, that means albums released in the last weeks of December, although for music monthlies it means mid-October onwards. This year, The Black Keys‘ cracking ‘El Camino‘ came out slightly too late to make the cut, its insane vinyl price not exactly inviting last-minute good will. It’s a great follow-up to ‘Brothers‘, to which I came rather late, with a punchy and brisk flow of soulful blues-rock. Let’s face it, if you know what The Black Keys sound like, it sounds like that. If you don’t, then I think soulful blues-rock is a fair summation.
The most unlucky release is the glistening majesty in musical form that is ‘Gathering Dust‘ by Welsh folk charmer Huw M. You may remember that his last offering, ‘Os Mewn Sŵn’, appeared in my 2010 list after I chanced upon it during a visit to Spillers Records. This latest offering takes everything that made that album so special and develops it a little further. Whether its the gently swaying ‘Brechdannau Sgwar‘ or the wonderfully simple opener ‘The Perfect Silence‘, ‘Gathering Dust’ is blessed with both melody and absolutely stunning instrumentation. Featuring mandolin, cello, sitar, French horn, melodica and a good old Hammond organ, this is clearly not a balls-out rock record, but it is one of the most delightful folk albums of 2011, and would likely have been in my top ten had it come out in October. It bothers me that it’s not in there. It shouldn’t, but that’s list anxiety for you. Still, it’s a good way to use any Christmas money/gift vouchers/rent money you might have left after the big day. The aforementioned Welsh palace of glittering musical delights will be able to assist you with that and the debut. Honestly, if ‘For While I Wait For You To Sleep’ doesn’t get the hairs up on the back of your neck then your beauty regime is too intensive for us to ever be friends.
If you’ll forgive the phrasing, I think I’m almost done mopping up. The ‘Fame Studios Story’ boxset on Kent Records is a match for the sublime ‘Take Me To The River‘ set which they issued a few years back and the For Folk’s Sake Christmas album just nudged out Emmy The Great and Tim Wheeler‘s stonking ‘This Is Christmas’ effort for festive release of 2011. Say hi to the multiple remaindered copies of the She & Him record in Fopp in February for me.
The full list is still available for your perusal and I continue to invite your lists ahead of the December 31st deadline, when I will pick one lucky poster and send them a Low Anthem rarities 10”, a copy of the The National‘s double A-sided 7” and assorted other promo gubbins. It’ll be my pleasure. Thank you for reading this year, and for sticking around during the drought. This isn’t me entirely done for the year, but Merry Christmas to you and yours. Have fun!