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21 Lists

A list in which the descriptions match the wrong entries.

A list in which the order is determined drunk and the descriptions are written sober.

A list in which the order is determined sober and the descriptions are written drunk.

A list in which the reader’s task is to guess what is being ranked.

A ranked, definitive and fully justified list in which the contents have been selected by lot.

A list in which the descriptions are written by ex-lovers of the voters.

Making Your Mind Up: How Eurovision Caused Brexit

FAKE NEWS! But REAL POP! In April I went to Seattle and talked about Eurovision and Brexit, and now thanks to the miracle of YouTube and Bruce from my work’s Graphics Department you too can experience my presentation. It isn’t quite the same as being there (lots of people laughed! honest!) but it’ll have to do.

I hope you enjoy this piece of multimedia content, I certainly enjoyed making and presenting it – we will be back to the written word (and to Popular) before long, I promise.

Unheard Album Project: April 2017

The fourth instalment of my project to listen to a new (to me) album every day for a year: one track from each of the LPs I listened to in April. I’m pleased with this one – though this is a playlist of two halves, and those wishing to avoid a prog/electronic/odyssey should skip to Joe Goddard and start there. Full tracklist below the cut.

They Ask Me What The Use Is: Pop Conference 2017

Last year’s Seattle Pop Conference, on Voice, was an epiphanic experience for me, reviving a part of me that had become burnt out since I stopped writing regularly about current music. Like most epiphanies it was almost traumatic – I staggered around for a while afterwards trying to reconcile the critical self PopCon spoke to and the reality of the rest of my life and career. The critic’s life, these days, is often grim and precarious – Pop Conference overturns that, offering an opportunity to celebrate and indulge everything you might want it to be. As someone who’d stepped away from that life in a professional sense, I feel a little like a guilty interloper going there, at the same time as the event energises me and makes me feel so welcome and at home.

Of course I was going back, though. And you can’t have the same epiphany twice – this year I realised what Pop Conference reminded me of was Glastonbury. OK, a Glastonbury where all you have to brave is jetlag, not rivers of mud and piss, and stumbling on the best DJ in the world in the healing fields at 4AM is replaced by catching a presentation about a drag king One Direction tribute act in the quiet of Sunday morning. But something just as surprising and nourishing, if a bit kinder to my mid-40s constitution.

Unheard Album Project: March 2017

The (much delayed) third playlist for this project, covering the 31 records I listened to for the first time in March. Delayed partly because it was a lot harder to get some of these songs to play well with others! Full list under the cut.

2017 Albums I Like Part 1

Thanks to the Unheard Album Project (March mix on its way!) I am finally in a position where I can ACTUALLY DO a list of the records I’ve enjoyed most in “Q1”. (Note that at no point in my career as a ‘music journalist’ did I listen to enough new music for this to be possible!)

All of these need further listening to ‘settle down’ into a coherent list but here’s what I’ve dug this far.

1. SPOON – Hot Thoughts (Indie rock vets in lascivious mood)
2. T Q D – UKG (“Bass supergroup” brings the wub wub)
3. SACRED PAWS – Strike A Match (Sunny highlife-inflected indiepop)
4. IBIBIO SOUND MACHINE – Uyai (Afrobeats old and new plus lazer noises)
5. GOLDLINK – At What Cost (Catchy go-go influenced DC hip-hop)
6. SERGE BEYNAUD – Accelerate (Tuneful coupe-decale from Cote D’Ivoire)
7. VALERIE JUNE – The Order Of Time (Oak-aged Americana with cawing vocals)
8. CHARLI XCX – Number 1 Angel (Hyperreal pop plus surprisingly good guest spots)
9. KEHLANI – SweetSexySavage (Slinky, opulent R&B)
10. DUTCH UNCLES – Big Balloon (Herky-jerk nerd pop from Manchester)

Datapanik In The Year Sheero

Ed Sheeran’s absurd dominance of the singles chart is great news for him, his fans, Asylum records, and Paul Gambaccini’s agent, but it’s hard to argue it’s good news for the chart itself. It demonstrates the utter weakness of the post-streaming Top 40 as a separate entity from the Album chart (since the release of any big new LP can swamp it) and frankly as a separate entity from the Spotify UK Top 50 playlist, which at least has the decency to update a few times a day.

If the problem were just “too many Ed Sheeran songs in the Top 40” then it’s easily fixable – just cap the number of tracks which can chart from any individual LP. But that’s not really the problem. (If you like Ed, it’s not even *a* problem). It’s of a piece with the sclerosis of the chart, that deathly slow turnover of new hits which started in the download era and has been accelerated by the dominance of streaming. And Ed or no Ed, there’s no real sense that the singles chart has a role to play any more.

Unheard Album Project: February 2017

These are 27 of the 28 albums I listened to for the first time in February as part of this project. (The 28th, Joanna Newsom’s Divers, is not on Spotify: it would have been represented by “Time, As A Symptom”). The pleasure for me in the project is discovery: the pleasure for me in the playlist is sequencing, and hopefully this mix makes a kind of sense.

Unheard Album Project: January 2017

One of my resolutions this year was to listen to a record I’d never heard before, new or old, every day. I’ve kept it up for all of January and here’s a list of what I’ve heard (below the cut), and a playlist taking a track from each. Since there’s no guarantee I’ll like a record I can’t pretend that everything on the playlist is solid gold but I had fun sequencing it and attempting to give it some kind of coherence.

Popular Crystal Ball: 2016 – The Year Pop Broke

Shout Out To My Eggs

Well, that was a year. It’s not what 2016 will be remembered for, but this was the year that streaming broke the charts – or fundamentally changed what they reflect. The structural impact is obvious – TEN records got to number one, meaning we’re back to the 50s as far as turnover goes. The aesthetic impact is more obscure – is the torpor I sense a function of a moody wave in current pop, or the sluggishness of the countdown, or my own elderly disengagement, or all of the above?

Best to worst, as usual. I liked very few of these very much, and even the higher placings don’t reflect much enthusiasm.