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Favourite albums 2022

27/12/2022

 
Although the pandemic is still a live concern, the easing of restrictions earlier this year instigated a slew of new releases, with performers finally dropping and touring albums that had long been on the back-burner. Summer festival season resumed after the hiatus, Glastonbury 2022 starring a mix of headliners new and veteran - Bille Eilish, Kendrick Lamar, and Paul McCartney. Here's just a tip of the iceberg of fabulous music that has helped boost mental health after lockdown (not to mention tanking economies and Putin's tanks).
Covers of Mark Fleming's favourite albums 2022
Cover of Laurel Hell by Mitski
Mitski, Laurel Hell (Dead Oceans)
Named after beautiful but prickly bushes, the Japanese/American musician’s 6th album is a delight. From brooding tracks like the opener ‘Valentine, Texas’ through to the upbeat but wistful ‘That’s Our Lamp,’ the catchy synth pop captures many conflicting emotions.

Cover of Stumpwork by Dry Cleaning
Dry Cleaning, Stumpwork (4 AD)
“Things are shit but they’re gonna be OK,” goes the chorus on 2nd track, ‘Kwenchy Cups.’ Bittersweet and poignant, the South London post-punk band take the template of last year’s debut, New Long Leg then crank up the captivating guitar lines layered beneath Florence Shaw’s enigmatic spoken-word vocalising.

Cover of Cool It Down by the Yeah Yeah Yeahs
Yeah Yeah Yeahs, Cool It Down (Secretly Canadian)
The New York indie band’s 5th album received a ‘Best Alternative Album’ Grammy nomination. Musically expansive, joyous and intimate, nine years may have lapsed since 2013’s Mosquito but it has been worth the wait.

Picture
Harry Styles, Harry’s House (Colombia)
Harry Styles may have been introduced via X-Factor’s lottery, where 15 minutes’ fame tends to be far less transient than those fabled 900 seconds. But he has evolved into a bona fide popstar, delivering hit after hit, covering many bases, R&B, funk, electropop. His Mercury-nominated 3rd album is poppy and catchy and guaranteed to rile music snobs.

Cover of At the Hotspot by Warmduscher
Warmduscher, At The Hotspot (Bella Union)
The 4th album by the London band fronted by the enigmatic Massachusetts-born Clams Baker Jnr is a delicious slice of sleazy, funky, garage rock, cooked-to-perfection. Capturing the essence of their electric live shows, so many tracks do the 3D experience justice. ‘Twitchin’ in the Kitchen’ and ‘Fatso’ were regularly plugged by one Marc Riley.

Cover of Autofiction by Suede
Suede, Autofiction (BMG)
Their 9th album sees Suede consumed by all the passion that drove them to the forefront of British alt rock three decades ago. Anderson has stated, “Autofiction is our punk record. No whistles and bells.” If Richard Oakes’ guitar lines are in any way stripped back, Anderson’s emotions are palpable. In ‘She Still Leads Me On,’ he delivers a heartfelt paean to his late mother. “But I loved her with my last breath, and I loved her with a love that was strong as death.”

Cover of Polyawkward by English Teacher
English Teacher, Polyawkward (Nice Swan)
The five-track debut EP from the fresh-faced Leeds band is an arresting compilation. Lily Fontaine's lyrics are wryly observational. "She's longing for a fix in thе city. Looking for the swimming baths. Up there, thе people are pretty. But she's struggling with mental maths." The title track's dynamic blend of melodic keyboard lines and discordant breaks paves the way for potent songwriting.  

Cover of Polish the Machine by Helen Ganya
Helen Ganya, Polish The Machine (Bela Union)
The stunning debut album by Scottish-Thai songwriter presents haunting harmonies, shimmering keyboards washes, bold rhythms, and a soaring voice that invokes Liz Fraser, Kate Bush and Siouxsie Sioux.

Cover of Tableau by The Orielles
The Orielles, Tableau (Heavenly)
The Halifax band’s 2018 debut Silver Dollar Moment received rave reviews; four years and much airplay later (including sessions on new music torchbearer Marc Riley’s Radio 6 show), their 4th album is brimming with confidence and dreamy experimentation.

Cover of Pompeii by Cate Le Bon
Cate Le Bon, Pompeii (Mexican Summer).
The talented Welsh musician wrote and recorded much of her 6th album during lockdown, so the result is naturally introspective. But there’s also a bright and hopeful post-Covid vibe, with angular guitars, emphatic brass, and occasional nods to glam-era Bowie.

Cover of Tresor by Gwenno
Gwenno, Tresor (Heavenly Recordings)
Tresor is treasure in Cornish, and the 3rd album of alluring psych pop by the Cardiff-based musician is indeed glittering. The 5th track from it to be released as a single is ‘N.Y.C.A.W.’ (Nid yw Cymru ar Werth), sung in Welsh, translating as “Wales is not for sale,” but Gwenno’s ethereal voice mostly sings in Cornish. The beautifully poetic indigenous language, marginalised by English for centuries, is wonderfully revived with layered instrumentation.

Related blog: Repression of indigenous British languages

Cover of Sound of the Morning by Katy J Pearson
Katy J Pearson, Sound Of The Morning (Heavenly)
The Gloucestershire alt pop chanteuse delivers her 2nd album, blending the title track's wistful folk with upbeat numbers – ‘Alligator’ and ‘Willow’s Song’ – and much more.

Cover of Dragon New Warm Mountain I Believe in You by Big Thief
Big Thief, Dragon New Warm Mountain I Believe In You (4AD)
Receiving a Best Alternative Grammy nomination, the Brooklyn band’s 5th album boasts big ideas and diverse sounds. With 20 songs and a running length of over 80 minutes, this double album is a sonic kaleidoscope. Previous outings have seen them crowbarred into a box entitled quirky/indie folk. The depth of musical delights on these American soundtracks is more like a Pandora’s Box of infinite possibilities being released.

Cover of Here is Everything by The Big Moon
The Big Moon, Here Is Everything (Fiction)
The London indie band’s 3rd album is as self-assured and supremely catchy as ever, but the emotive punch is even stronger, energised by songwriter and main vocalist Juliette Jackson’s motherhood. As the title says, here is everything, and the hope of a new life has inspired music overflowing with hooks, from the singles, ‘Wide Eyes,’ ‘Trouble,’ and ’This Love’ to glowing tracks like ‘Ladye Bay’ and ‘Daydreaming.’

Cover of North East Coastal Town by Life
Life, North East Coastal Town (Afghan Moon)
Album no 3 from the Hull post-punks, the pulsating opening track, ‘Friends Without Names’ signposts their evolving direction and growing confidence. Guitars ring and lyrics sparkle in an unashamedly colloquial ode to their East Yorkshire roots.

Cover of The Overload by Yard Act
Yard Act – The Overload (Island, ZEN FC)
BBC Radio 6 Music stalwart and longstanding indie cheerleader, Steve Lamacq, chose this fine debut album as his favourite release this year. To these ears, sometimes reminiscent of The Fall sung in a wonderfully deadpan Leeds rather than Salford accent, James Smith’s urban poetry is underpinned by a startling fusion of dark humour and exploratory guitar lines. The joy of finally being unleashed on the live circuit after Covid permeates their material, and, unlikely as it might seem, they have even collaborated with one particular fan, Elton John.

Cover of Dance Fever by Florence and the Machine
Florence and the Machine, Dance Fever (Polydor)
With Florence Welch describing her icons as Siouxsie Sioux, Kate Bush and Stevie Nicks, Florence and the Machine’s 2009 debut Lungs lodged in the UK Top 40 for over a year. Multiple awards, stadium headline spots later, not to mention being namedropped by Beyonce as an influence, their 5th album was inspired by choreomania (an epidemic of uncontrollable dancing that swept across 14th-17th century Europe). These spontaneous outbursts - affecting people of all ages who would dance until they collapsed of exhaustion – is the starting point for the lush, layered musical backdrop to Florence Welch’s soaring voice.

Cover of Ultra Truth by Daniel Avery
Daniel Avery, Ultra Truth (Bingo Records)
The Bournemouth-born musician may have been a young My Bloody Valentine fan, but he has made his name for creating flawless electronic soundscapes. His 11th album shows no sign of his innovation flagging, and features collaborations with Kelly Lee Owens, HAAi, and others.

Cover of Guitar Music by Courting
Courting, Guitar Music (PIAS)
The debut album by the post-punk Liverpudlians, this is indeed, guitar music, finely textured, and propelling sharply observed lyrics. On ‘Famous’:
​“All of my friends are getting work done
/ Fillers, facials, personal trainers/ Calvin Klein collaborators/ The American Dream/ Crashed into a petrol station/ Then crashed into car parks upon car parks and car parks.”

Cover of The Last Laugh by The Nightingales
The Nightingales, The Last Laugh (Tiny Global Productions)
John Peel reputedly caught a previous incarnation of Robert Lloyd’s band, The Prefects, in 1977, with one song, ‘VD,’ lasting seven seconds. The night before he had attended a Genesis concert where few songs seemed to clock in at under half an hour. Cue the third most Peel sessions for any band bar The Fall and Half Man Half Biscuit. Forty-five years and a 1986-2004 hiatus later, The Nightingales released album no 12. Championed by longstanding fan, BBC6 Music and former Fall guitarist Marc Riley, who remarked on them bucking the traditional rock ‘n’ roll trend by just getting better and better with age, this is an exhilarating collection of 11 songs. Included is ‘Frances Sokolov,’ a heartwarming tribute to Lloyd’s mentor, the late, great Vi Subversa of Poison Girls.

Cover of Green Dream in F# by The Bug Club
The Bug Club, Green Dream in F# (Bingo Records)
The South Wales-based band’s 2nd album is a defiantly lo-fi but supremely confident rock ‘n’ roll record. Great hooks, warm lyrics, and receiving adulation on BBC Radio 6.

Cover of Speed of Life by Port Sulphur
Port Sulphur, Speed of Life (Last Night from Glasgow/Creeping Bent Records)
Nostalchia, a 1983 Soviet-Italian film directed by Andrei Tarkovsky (Cannes Festival Best Director award winner) might seem an unlikely inspiration, but this album is a richly layered reimagining of that film's soundtrack. The second album produced by an audio collective directed by Sexual Objects guitarist Douglas MacIntyre, these guitar-driven instrumentals are dynamic and emotive. According to the sleeve notes: "Speed Of Life features 10 tracks, all of which were cut live before being reconstructed by editing, in much the same way that Can and Harmonia shaped their music."

Cover of Heart Under by Just Mustard
Just Mustard, Heart Under (Partisan)
Broadly falling into the catchall if somewhat lazy category of shoegaze, the Dundalk five-piece's 2nd album is a collection of mesmerising and sometimes unsettling mood music. Katie Ball's otherwordly vocals drift in and out of a dark but finely textured soundscape; tracks like 'Seed' and 'Blue Chalk' would have made for just as unnerving a backdrop to the killer's lair in Silence of the Lambs as The Fall's 'Hip Priest.'  Devoid of traditional verse/chorus/break structures, the overall effect is consistently arresting. A truly original rock album for 2022. 

Cover of A Light for Attracting Attention by The Smile
The Smile, A Light for Attracting Attention (XL Recordings)
Of all the bands emerging from early 90s British alt rock, whether they went on to languish under titles like Britpop, shoegaze, grunge or whatever, one band went on to consistently plough a solitary furrow, unfettered by any desire to be ‘on trend’ or be seen schmoozing with Britprimeministers. Radiohead. This debut album from Thom Yorke and Jonny Greenwood’s side project, The Smile, alongside Sons of Kemet drummer Tom Skinner, often sounds like out-takes of Yorke and Greenwood's  parent band. But it’s also its own wonderful, idiosyncratic inspirational source, probing new sonic dimensions. ‘Thin Thing’ doesn’t sound too much like the R word at all, its meld of scratchy lo-fi guitar and Yorke's flighty voice drawing the listener into a hypnotic core. 'The Same' is a surreal post-punk gem that would satisfy fans of '2+2=5' from 2003's Hail to the Thief, its uplifting melodies swirling around flowing chord progressions. ‘Open Floodgates’ takes us into more introspective, piano-driven territory, bringing Yorke’s melancholic voice to the fore above interweaving woodwind and keyboards. Ditto the atmospheric 'Free in the Knowledge.’ No two songs sound remotely similar, and the cocktail of prog, Afrobeat, post-punk and ambience does, indeed, conjure a wide, appreciative smile.

Related blog: Favourite albums of 2021

Keith Levene: post-punk trailblazer

11/11/2022

 
Keith Levene, post punk guitarist, who died today, November 11 2022
Keith Levene, 18 July 1957 – 11 November 2022

In the early 1970s, 15-year-old prog fan Keith Levene was blown away after watching Yes play five consecutive shows at his local arena, the Rainbow in Finsbury Park. So much so that he decided not to go home at the end of their stint, instead blagging a job as a roadie. But Levene was to seal his place in rock 'n' roll's history books later that decade, not for polishing Alan White's cymbals, but co-founding not one but two of the most influential bands that emerged during the punk revolution of the later 1970s: The Clash and Public Image Limited.

Before the former had played any gigs, Levene and fellow guitarist Mick Jones were hanging around London venues on the lookout for potential bandmates. Catching pub rockers the 101ers at the Nashville Room in April 1976, supported by fledgling 'punk' band The Sex Pistols, they weren't taken by the band's set of rockabilly-tinged R&B. But they were by the 101ers charismatic frontman, Joe Strummer. Joe himself had been mightily impressed by the support band, recognising a brash new musical style that made his own group sound dated. Later, Keith invited Joe to spearhead his and Mick's new venture. The rest, as the cliche goes, is history.

Levene performed at The Clash's inaugural shows and co-wrote 'What's My Name,' eventually included on their first album. Although he recognised their potential, commenting in his autobiography, I WaS a TeeN GuiTariST 4 the CLaSH!, "Everyone knew the Clash would make it," he departed before the groundbreaking long player was released. Two years later, The Sex Pistols had imploded and John Lydon was eager to pursue his next musical project, Public Image Limited. Keith Levene became their first guitarist, his unique style signposting a radical change in direction from punk's raw power chords to something much more dynamic.

As he said, "Once I got good enough to know the rules, I didn’t want to be like any other guitarist. I didn’t go out of my way to be different. I just had an ear for what was wrong. So if I did something that was wrong, i.e. made a mistake or did something that wasn’t in key, I was open-minded enough to listen to it again.”

PiL's stellar debut single, the eponymous 'Public Image,' released in October 1978, was driven by the killer delivery of Leven
e's arpeggio guitar, John Lydon's sardonic vocals, and Jay Wobble's thundering open E-stringed bassline. The album that followed, Public Image: First Issue, similarly showcased that riveting combination of Levene's chiming fretwork over Wobble's dub-heavy rhythms. The follow-up album, Metal Box consolidated the innovative sound, with Levene exploring even more otherworldly sound effects.
Although he left PiL, he went on to produce music and released several solo albums. When he passed away on 11 November, aged 65, close friend and author Adam Hammond tweeted: "Our thoughts and love go out to his partner Kate, sister Jill, and all of Keith’s family and friends. The world is a darker place without his genius. Mine will be darker without my mate."

I share my birthday, 18 July, with Keith Levene. If I also shared a modicum of his guitar-playing brilliance, I'd be happy.

Related blogs:
37 years ago today, I listened to the future (about being mesmerised by Keith Levene during PiL's first live UK television performance).
The Clash: the legendary debut: the 40th anniversary of their first album.
Paul Research, formerly of Scars, tweeting about Keith Levene's passing

Changing Room; transforming lives

18/10/2022

 
Instigated by the Scottish Association for Mental Health, The Changing Room piloted at Hibernian FC in 2018 with one aim: to promote men's mental health and wellbeing through the power of the beautiful game. Statistically, it has been revealed that males feel less comfortable opening up about mental health issues present and past. The Changing Room - a 12-week programme using football as the common passion - is intended to provide an environment where fans of various clubs, with unique but common histories, can feel encouraged to open up about what they have been through.

At Easter Road Stadium the 12-week course has included a 'walk and talk' around the pitch perimeter, a walking football match, a guest speaker (former Hibs player/manager Yogi Hughes), and weekly get-togethers fuelled by coffee and refreshments in the ground's Famous Five stand. Similar sessions were rolled out by SAMH at Heart of Midlothian on the other side of the city, and subsequently, senior clubs across Scotland.

On October 25th, the inaugural 'Alumni' event was hosted at Hampden Stadium in Glasgow. Representatives of Changing Room programmes from Hibs, Hearts, Kilmarnock, Rangers, Aberdeen, Dundee United, Greenock Morton, Montrose, St Mirren, and many more clubs, convened to celebrate having completed the 12-week course. Speakers included SAMH and club coaches, and former Hearts, Rangers and Wigan Athletic centre-half, Andy Webster.

This get-together was hugely successful, with speakers and participants unanimous about The Changing Room being cathartic and inspirational: open discussion and sharing stories is a key aspect of recovery and continual wellbeing, and the general destigmatisation of mental health. Individuals who have lived through diverse challenges, covering a range of psychiatric/psychological issues, can gain confidence through empathy and understanding. The 12-week programmes have also provided participants with access to a community of new friends and confidantes that can be tapped into on an ongoing basis.
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Gary Alikivi: film, photos, North East culture and Punishment of Luxury

23/8/2022

 
Gary Alikivi, filmmaker, photographer, and North East England culture and social commentary
I sometimes tweet clippings from my Sounds magazine archives, and recently posted a piece from 13/5/78 featuring “the woefully under-rated Newcastle post-punk band, Punishment of Luxury.” At the time, I loved Punilux and their unique, idiosyncratic quirkiness. Their imaginative soundscape melded punk with elements of proggier rock, underpinned by wonderful lyrical imagery, delivered in a manic performance style alluding to their origins in English fringe theatre. A semi-autobiographical novel I wrote in 2009, featuring my personal experiences of psych wards and the post-punk music that coaxed me back towards stable mental health, was entitled ‘BrainBomb’ (after a frenetic Punilux B-side).
Screenshot from Twitter account of @markfleming62 about Punishment of Luxury
Screenshot of clipping from Sounds magazine about Punishment of Luxury, 13/5/78
This led to various exchanges on Twitter, not least getting introduced to Gary Alikivi, a North East English filmmaker/photographer. After explaining about the influence of Punilux on my writing, Gary was kind enough to share some links to his excellent website. The many eclectic projects documented include captivating photo archives documenting life on South Tyneside and interviews with authors like John Orton, whose 2022 novel He Wears a Blue Bonnet, set after Cromwell’s victory over a Scottish army at the Battle of Dunbar, gives insight into how POWs were treated in 1650 (many were sent to the New World colonies but 40 survived the notorious Death March over the border, arriving in ‘South Sheels’ to work in the salt panns).
 
Another interview was with artist Peter Dixon and writer/poet Keith Armstrong, who co-founded Northern Voices Community Projects in 1986 “to give people who are denied a voice a platform to express their views and experiences of living in the North East.” Keith has been a prolific writer celebrating everyday life in Northumbria, while Peter’s striking work caught my eye because he is the graphic designer behind some of Punilux’s seminal single and album covers. Peter got involved with the band after designing background scenery for The Mad Bongo Theatre Company led to singer Brian Bond making contact. He went on to meet Neville Luxury (guitar, vocals) and drummer Red Helmet. Their debut single ‘Puppet Life’ (Small Wonder 1978) was reviewed in Sounds by none other than Bowie and Marc Bolan’s producer Tony Visconti, who described Peter’s sleeve as sick (in that adjective’s original rather than contemporary context!)
Punishment of Luxury single sleeves designed by Peter Dixon
‘Puppet Life’ was reviewed in Sounds by none other than Bowie and Bolan’s producer Tony Visconti, who described Peter Dixon’s sleeve as sick (in that adjective’s original rather than contemporary context!)
Gary’s website covers and extensive range of articles he has blogged about the film, music, culture and social history of North East England. He waxes lyrical about potency of music for uplifting spirit (a theme running through my own work like the legend inside a stick of Blackpool or Spanish City rock). “The adrenalin rush of the thunderclap from Icelandic football fans. The guitar intro to Alternative Ulster by Stiff Little Fingers. Kurt Cobain’s anger on the Nirvana anthem Smells Like Teen Spirit.”
 
Particularly impressive is his photography. Included is an archive of nearly 2,000 photos displayed on the South Tyneside History website, including Haven Point, Mill Dam, The Word, Seafront, Holborn, Market, North Marine Park, and many more. These arresting images highlight the ever-evolving face of South Tyneside over the decade from 2010-2020. You can easily lose yourself for a while as you head down a mesmerising rabbit hole of everything from ancient shipwrecks and the North Sea churning off Sandhaven to more prosaic shots of architectural renovations. This site is well worth bookmarking.
LINKS
 
Keith Armstrong website: http://keithyboyarmstrong.blogspot.com/
Peter Dixon website: https://www.peterdixonart.com/
Gary Alikivi website: https://garyalikivi.com/
YouTube Channel: https://www.youtube.com/channel/UCkW7F_6t-GNVMCYLT4BNHfg
Interview with Peter and Keith: 
https://garyalikivi.com/2019/05/15/pressing-issues-with-peter-dixon-keith-armstrong/
The power of music: https://garyalikivi.com/2018/10/25/sounds-alive-and-the-power-of-music/​

The Lovely Eggs: never get too old to listen to something new

16/8/2022

 
I came across a recent Twitter post by Marc Riley, formerly of The Fall. He’d retweeted a link to a Guardian article by Daniel Dylan Wray, entitled Bring that beat back: why are people in their 30s giving up on music?, questioning why so many of his friends preferred wallowing in nostalgia to listening to new music.

Marc is one of my favourite R6 DJs because he so effortlessly balances playing classics (everything from Bowie to Beefheart) to championing new acts. Earlier this year, his show’s opening tracks featured Iggy Pop and The Stooges seminal proto-punk anthem ‘TV Eye’ from 1970’s Funhouse segueing into 2021 psychedelic punk gem ‘I, Moron,’ by The Lovely Eggs from Lancaster, on which Iggy provides backing vocals. As R6 DJ and fellow Man City fan Mark Radcliffe once stated: “Never get too old to listen to something new!”
Screenshot from Twitter account of Mark Fleming, mental health writer @markfleming62
Wire, who were playing post-punk music long before most of their contemporaries were even punk bands, have released 17 studio albums in 45 years, the most recent Mind/Hive, being released on their PinkFlag label in 2020. Throughout their eclectic career they have steadfastly refused to rely on past glories. If you want to hear them play '12XU' you'll have to dig out their first album, the B-side of their debut single 'Mannequin,' or the compilation album, The Roxy London WC2.

Noel Gallagher has castigated Radiohead for experimenting with 'difficult' electronic soundscapes rather than playing variations of 'Creep,' and Harry Styles for releasing songs without writing middle eights for them. UK Subs, 999, Chelsea, Stiff Little Fingers, The Stranglers, and many other names recognisable to anyone who bought Sounds magazine in the late 1970s are still drawing crowds at 'punk festivals' in the 2020s. Roxy Music are embarking on their 50th anniversary tour later this year. And can you imagine a world where The Rolling Stones stop touring? The potency of nostalgia is a constant.

But surely one of the most incredible aspects of music is whether based on Western music's octaves of eight, seven-note scales (typical of Middle Eastern music) or pentatonic scales of five (traditional Chinese music), there are finite notes available. Yet this source material has allowed the creation of everything from Beethoven to The Beatles to Bowie to whatever song is currently bobbing around someone's head at this precise moment prior to being jammed, fine-tuned, then recorded at some point in the future.


Another post-punk legend, Mark E Smith, once put it to a heckler on The Fall's seminal live album Totale's Turns (Rough Trade, 1980): "Are you doing what you did two years ago? Yeah? Well, don't make a career out of it." So many performers have achieved career longevity by doing just that.

There will always be a place for nostalgia, but it's moving on
and exploring the possibilities that ensure music remains so vital to the human spirit. What I love about BBC Radio 6, whether you're listening to Marc Riley, Mary Anne Hobbs, Steve Lamacq, Lauren Laverne, Iggy Pop, Tom Robinson, Craig Charles, Guy Garvey, The Blessed Madonna, Stuart Maconie et al, is that you are just as likely to hear something you've never heard before, but which might just blow your mind, as a track you're hearing for the Nth time. (Although listening to Captain Sensible's incendiary bassline introing 'Neat Neat Neat' on Craig Charles' 'trunk of punk' will always lift the spirits, Nth time or not.)

Difficult or catchy; rock or dance, here's just a snippet of the many acts I've been introduced to by this essential radio station:

Warmduscher, White Denim, Fat White Family, David Holmes, Floating Points, Crows, Life, Shame, Wesley Gonzalez, Ghost Power, Tame Impala, Father John Misty, Arlo Parks, Cat Power, Mattiel, Lucy Dacus, The Big Moon, Big Thief, Flossing, Courting, Simian Mobile Disco, Japanese Television, Unknown Mortal Orchestra, M83, B.C. Camplight, Broken Social Scene, Working Men's Club, NewDad, Anna Calvi, Anna B Savage, Anna Phoebe, Kelly Lee Owens, Thundercat, Porij, Porridge Radio, St. Vincent, Teleman, Jane Weaver, unloved, The Lipschitz, Bessie Turner, The Bug Club, Yot Club, Jon Hopkins, Katy J Pearson, Pale Blue Eyes, The Oh Sees, Animal Collective, LoneLady, Max Cooper, Mitski, Yard Act, Wet Leg, English Teacher, Dry Cleaning, Penelope Isles, Sharon Van Etten, Sports Team, Metronomy, Port Sulphur ...

Music is the most subjective artform of all, and musicians will always be compelled to consider fresh 
ways to express themselves, through innovative variations of those stock eight(ish) notes. That list in the previous paragraph. As the late, great Mark Hollis of Talk Talk sang in 'It's My Life' ... It Never Ends ...
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