Again, no particular order though Jenny Lewis would definitely be my album of the year and the Manics would probably be second. I ‘discovered’ the Rosanne Cash album due to her being interviewed on Radio 2 whilst I was having my haircut. Great times. Special shout-out for the King Creosote album, a project tied into the Commonwealth Games which I think does a better job of capturing the Scottish psyche than a million indy ref thinkpieces.
The Voyager – Jenny Lewis
The Hunger Games: Mockingjay Soundtrack – Various
Futurology – Manic Street Preachers
Take Me When You Go – Betty Who
Me. I Am Mariah…The Elusive Chanteuse – Mariah Carey
Xscape – Michael Jackson
No-One Is Lost – Stars
Popular Problems – Leonard Cohen
Stay Gold – First Aid Kit
Ghost Stories – Coldplay
High Hopes – Bruce Springsteen
The Take Off and Landing of Everything – Elbow
The Cautionary Tales of Mark Oliver Everett – Eels
Do It Again – Royksopp & Robyn
Are We There – Sharon Van Etten
Ruins – Grouper
PLECTRUMELECTRUM – Prince & 3RDEYEGIRL
From Scotland With Love – King Creosote
Live In Dublin – Leonard Cohen
Unrepentant Geraldines – Tori Amos
Tough Love – Jessie Ware
The River & the Thread – Rosanne Cash
Food – Kelis
Kiasmos – Kiasmos
Xen – Arca
And not on Spotify but definitely in my top 5 albums of the year:
I don’t think 1989 is as good as Red – it properly goes off the boil in its second half – but its high points are high enough for it to be included here. Particularly the bonus track New Romantics which, had it been released, would’ve been my single of the year. But Swift hates the internet so go illegally download it.
No particular order here though Ghost is easily my most played single released this year. My most played song is the demo of Rebel Heart by Madonna, which will shock precisely no-one. The Kira Isabella song was a great discovery – definitely an artist to get excited about. And it’s amazing to have a properly brilliant Smashing Pumpkins song again. If it was on Spotify I’d have had Morrissey’s Istanbul too.
Ghost – Ella Henderson
Take Me To Church – Hozier
Ghosttown – Madonna
Crying for No Reason – Katy B
Wrong Or Right – Kwabs
Seasons (Waiting On You) – Future Islands
Quarterback – Kira Isabella
Say Something – A Great Big World & Christina Aguilera
Dark Sunglasses – Chrissie Hynde
Uptown Funk – Mark Ronson feat. Bruno Mars
Love Never Felt So Good – Michael Jackson
High Society – Betty Who (from Worlds Apart EP)
Solo Dancing – Indiana
Yellow Flicker Beat – Lorde
Walk Me to the Bridge – Manic Street Preachers
Going Out – Dinner
If It Wasn’t True – Shamir
A Sky Full of Stars – Coldplay
Living – Adna
Being Beige – Smashing Pumpkins
Falling Short – Lapsley
B a noBody – SOAK
Queen – Perfume Genius
Disclosed – Call Me
Sue (Or In A Season Of Crime) – David Bowie
And not on Spotify, the first EP from Alphabetical Order Orchestra:
Photos and videos of Coldplay at the Royal Albert Hall last night are here.
I didn’t watch Channel 4’s ‘Crazy About One Direction’ last week. I didn’t watch it because I’m 33 years old and, ya know, One Direction. We’re apparently not supposed to say that these days. Instead we’re meant to encourage the notion that we’re really down with what pop kids like, that people enjoying something is reason enough for its existence, that the fandom you experience when you’re an adolescent is this pure, undiluted, beautiful fandom that becomes corrupted by the horrors of adulthood. It’s typical of that ‘cloying positivity’ which I’ve previously written about and is also tackled well here:
We all know the types; they’ve just discovered memes, they earnestly listen to shit pop music designed for children, they watch TV talents shows with a genuine excitement – they are people whose cultural interests are almost exclusively based in novelty. Everything is ‘amazing’ not because it’s exceptional or out of the ordinary, but because amazing is now the go-to word to describe most anything, ironically or otherwise.
It should be emphasised (because some will deliberately try and avoid it) that this is aimed at the overwhelmingly 25 year old and over ‘critics’ who write reams defending 1D fans and their ilk, not the 1D fans themselves. No-one is surprised when teenagers get hugely excited by pop music. Indeed, the 1D documentary was nothing new – in my time I’ve seen similar shows on obsessive fans of Britney Spears, Take That, Madonna. Interestingly enough, several of these previous shows featured many male fans, something which I gather was missing from the 1D documentary. This is important because the response to the 1D documentary has overwhelmingly rested on two things: a sentimental, banal appeal to feminism and Poptimism. Two things which, of course, are catnip for much of our modern media and certainly current music journalism.
Let’s look at the Poptimism first. Of course we’ve had the ‘oh people are making fun of these fans because it’s pop music’ response and corresponding attack on people who obsess over guitars, ‘authenticity’ blah blah blah oh God not this again. We won’t dwell on the fact that this ‘Rockist’ attitude is so ridiculed and unfashionable that anyone sincerely making it (and more often than not you don’t actually find many people making it, it’s just this floating spectre) may as well be standing up and saying ‘I’M A PAEDOPHILE’. Instead we’ll take it at face value and agree – of course loving pop is no less valid than loving rock or indie or whatever. Great. What this argument always does however is to conflate all pop music and all pop fans. You may love Taylor Swift and Rihanna but as soon as you say that you think One Direction are pretty terrible, you become this snobbish archetype. Indeed, even on the fans’ ‘side’ there’s no recognition that pop fans love a myriad of different acts (pop and otherwise) and that loads of 1D fans think The Wanted are shit, and vice-versa, and wider still. No, rock music is not inherently superior to pop music. Running with this to the point where we refuse to acknowledge that some rock is better than some pop (and of course the reverse is true) or more importantly, that there is a lot of dreadful pop music out there is absurd and doesn’t suggest that anyone making the argument takes pop music all that seriously themselves. Current pop music journalism does seem built on this extremely shaky bedrock, a cheapness which elevates dreck and kitsch as celebratory and refuses to sincerely consider pop in any social/political/cultural terms as an important art form. We can see this right now in the response to Lady Gaga’s ‘ArtPop’ project where she is very loudly and ostentatiously banging on about bringing ‘art’ and ‘pop’ together. I’ve yet to see a single pop writer say, ‘hold on – pop already is art and we don’t need these very obvious signifiers taken from the ‘art world’ to tell us otherwise’. If you constantly treat pop music as some big cheap joke where no-one can make any critical judgements without being ‘the enemy’, you cannot turn around and complain that other people then think of it as cheap.
Of course, the ‘pop’ we’re discussing here is very much of a type. Spend any length of time on a British pop music site and you’ll find sneering references to artists like Jake Bugg, Mumford & Sons, Coldplay. Matt Cardle was torn apart on these sites when he won X Factor, seemingly because he played guitar and didn’t want to make dance-pop. It doesn’t matter that these acts may have legions of teenage (female) fans – they’re acceptable targets and no-one is going to devote any time to writing columns defending them. If the documentary last week had been called ‘Crazy About Coldplay’ the Twittersphere would have been united in its derision. This may seem a rather trite point but it’s an important one. The photo at the top of this depicts some ‘crazy’ fans of The Beatles. The impulse now is to slot One Direction and their fans alongside this yet there is a clear demarcation in how obsessive fans of The Beatles, Elvis, the Rolling Stones, Madonna, Michael Jackson are viewed as compared to obsessive fans of pop acts which pretty much no-one expects to be around in 3 years’ time. The former could all easily be labelled ‘pop acts’ but that instantly makes the Poptimist defence of 1D look very silly indeed.
The feminist arguments being wheeled out are also fascinating, suggesting that there is a nasty strain of misogyny infecting the ridicule which these extreme examples of 1D fans are subjected to. They’re particularly fascinating coming so soon after the ‘internet troll’ hysteria which gripped the media during the fallow Summer months. When (it seems overwhelmingly) young men have been seen to send abuse and threats on Twitter, there has been a mass outcry. There have been hand-wringing debates about ‘the crisis of masculinity’. There have even been arrests. When One Direction fans sent abuse and death threats, however, many leapt to their defence. I previously wrote about a similar response re: Paris Brown’s tweets. In short, young men sending abuse online are pathologised and even criminalised. When young women do it, however, there is a significant movement to at least understand their actions, at most actually excuse them and present them as the victims. Why the double-standards?! Especially when the vast majority of One Direction fans are clearly not going to be people who send death threats and virulently defending those that do makes no such distinction. It’s also notable that, as mentioned, previous comparable documentaries have featured obsessive male fans. It’s curious that when some of the largely young, male fanbase of Lady Gaga took to attacking Adele’s weight no-one was making any effort to excuse them. Yet the peculiar blend of Poptimism and an uncritical strand of feminism meant that when Lady Gaga turned her own weight into a cause célèbre, this behaviour was erased and Gaga became the victim of horrid men online.
It’s no big shakes that teenagers in the throes of adolescence may act rather…strangely over things. Most of us have been there. What’s different now is that we have social media and so behaviour which previously might have been confined to our bedrooms is easily transmitted around the world for all to see. There are also studies tentatively suggesting that social media is making people more narcissistic and less able to empathise with others. This is toxic when added to a stage of life where you already have an entire universe exploding inside your head. What shouldn’t have changed, though, is the realisation (and expectation) that it’s a period of life which you grow out of. I’ve seen so much written in the past week presenting obsessive teenage fandom as some idealised state of being that I’ve wondered if I’m going a bit ‘crazy’ myself. At 14 you’re not living through some magical period of ‘real’ emotion. You’re growing up. It’s a formative time, certainly, and a lot of great stuff happens but it’s not being horrific for the older people writing about this to acknowledge that yeah, your personality, intellect and emotional state mature and you look back at when you wanted nothing more than to touch a pop star with a mixture of fondness, confusion and embarrassment. Suggesting that it’s somehow a good thing to hold onto that state is idiotic and even harmful. It’s another thing we’re apparently not supposed to say. We’re not supposed to acknowledge that adolescence play a huge part in phenomenon like One Direction – we’re being ‘patronising’ if we do. I rather think that if you’re not a teenage fan yourself, you’re being patronising in pretending that things don’t change, that your relationship with music and its creators develops and that fandom can endure and develop alongside that.