Most of Jessica Winter’s childhood was spent alone in a hospital, alienated from other children and the usual growing-up experiences. As a result, she delved inward, cultivating a fantastic imagination and a strong creative drive.
Her Bandcamp bio states her influences as, “80s, trap, indie, chanteuse and unadulterated pop…” Winter’s voice is gorgeous, high and flexible, full of a trained vocalist’s effortless power. It’s a pleasure to hear her sing, not just for the clear, keening tonality of her voice, but for the way she flexes up and down the octaves with apparent ease and imbues lyrics with as much drama as a thespian. Her voice is an instrument she’s spent a lot of time mastering.
Winter’s physical presence matches her music: she appears to be equal parts dark glamour and otherworldly, ethereal sprite. A cascade of inky black hair frames her pale, fey, pointed face and her icy blue eyes are trimmed with feathery lashes. She looks quizzical, alert, and whip-smart. There’s a little bit of Bowie about her, and a lot of originality.
Besides her burgeoning career as a solo artist, Winter is one half of the band PREGOBLIN, alongside partner Alex Sebley (a former member and occasional lyricist for the original band of South London troublemakers, Fat White Family.)
Her first album, “Sad Music,” was released in May of this year. It features five tracks, among them the sensational “Play,” and the title track, “Sad Music.” Winter’s lyrics are a tonic for a life spent in and out of a continuous serious of lockdowns and quarantines. Uplifting and reassuring with a solemn nod to the feelings inherent with coming of age in a society on the verge of a breakdown.
“I’m feeling famous/I’m feeling international,” Winter sings on “Play.” “I’ve got my money on my body/A miracle/I’m everything I ever needed growing up/I’m a fuckup/And I’m ok.”
It’s what all of us need to hear. And hopefully, someday, we’ll listen to it on the radio.
Cary, North Carolina is home to just shy of 200,000 people, 6 of which happen to be part of up-and-coming boy band Weston Estate. Formed after a couple of jam sessions and a Google Hangouts call, these precocious teenagers quickly catapulted themselves onto 19 Spotify editorial playlists and into the spotlight.
The origin story behind how middle school pals Srikar Nanduri, Manas Panchavati, Ushno Chakraborty, Tanmay Joshi, Abhi Manhass, and Marco Gomez came together is well-documented from their numerous online interviews. Rather than examining how they came to be, it is far more worthwhile pondering what they will become. From the eclectic mix of offerings they have put out thus far, it is safe to say that their influence will extend far beyond the small-town neighbourhood from which their name was derived.
An article from The Daily Tar Heel reports that the very first beat that the band created was in the style of an Indian dance hall, though it is apparent that the track did not make the cut for their debut single. If you scroll to the bottom of their SoundCloud page, you will encounter “Time to Find”, a Rex Orange County-esque track just north of 3 minutes, delivered with scratchy coos and faltering falsettos, hallmarks of low production quality to which they themselves have attested.
However, by the time they released their breakout single “Cotton Candy”, any traces of weakness in production and vocal execution have been eradicated.
Over easy acoustic guitar strums and a midtempo trap beat, the boys limn a halcyon picture of “cotton candy chocolate streams” and “lemonade oceans at [their] feet” with caramelly vocals befitting an ode to the lover of their dreams. The imagery here is more developed than their first foray into the scene with “Time to Find”, pointing towards a steady maturation of the band’s songwriting approach. Five members had writing credits on “Cotton Candy”, and the remaining Manhass served as executive producer.
A necessary consequence of the band gaining traction was sonic evolution. The quaint, acoustic-driven small-town charm that their earliest listeners fell in love with could no longer be the sole fuel behind the well-oiled machine that Weston Estate was to become. The band’s response to this dilemma came in the form of “Hypnotized”, an alternative R&B and Lo-fi hybrid which further broadened the band’s horizons.
Assisted by Nick Nash and Cash Paradox, who are successful type beat producers in their own right, the band’s expansive Lo-fi aesthetic grew to embrace traditional R&B stylings in lyrical content and vocal production. If “Cotton Candy” was too saccharine for some, “Hypnotized” steps in readily as proof that the boys offer more than sweet talk, assuring complete devotion, “when you cry it’s bringing out your eyes, I’ve been so inclined to sympathise, swear to God you got me hypnotised”. In the background, ad-libs are executed in soaring falsetto with the ease of seasoned veterans.
The group’s latest single “Saturday Nights” is their most distinctively melancholic tune, which is apposite given the world’s current state. It is interesting to witness them return to their acoustic roots while subverting the joyful innocence that once characterised their music; there is no better growth marker than using old material to evoke an entirely new range of emotions.
Weston Estate has transcended the boundaries of both genre and North Carolina’s state lines. Only time will tell if they’ll become their hometown’s most extraordinary claim to fame, but from what we’ve heard so far, we can make a fairly good guess.
With a name that sounds like France’s most stylish first bank account for juniors, this band is a world away from a Parisian NatWest. Paris Youth Foundation, or PYF, catapulted onto the indie scene back in 2016 after releasing their first single ‘If You Wanna’ on SoundCloud. A debut at Reading and Leeds Fest shortly followed, and the band now find themselves a regular feature on BBC Radio Sounds and Spotify playlists following every new release.
The Liverpool born band is formed of singer and guitarist Kevin Potter, guitarists Tom Morris Jones and Jamie Hives, bassist Paul Bates and drummer Jonny Alderton. Self-proclaimed as ‘all your favourite indie bands rolled into one’ with inspiration from The Strokes and Wolf Alice, it’s unsurprising this band has seen such accelerated success with a laid back but perfectionist approach to music. The band pride themselves on their listeners’ genuine reaction and given Kevin’s clear heart-on-your-sleeve method of songwriting shows the raw emotion put into their songs. This can be dangerous territory for any band wishing to not make their songs too personal but has been Paris Youth Foundations signature, allowing them to connect with listeners on a deeper level. This careful balance between meaning and emotion, combined with the almost four years’ experience the band has together, could see further development in how the group projects their past experiences.
Following the release in 2016 and R&L debut, the PYF went on to perform with the likes of PEACE and the DMA’s at Liverpool’s sound city and other festivals like Bushstock and Y Not in 2018. The band then stepped down from supporting to lead their first headline tour in February 2020, playing at seven different venues across the UK. It seems like the only way is up for this emotive indie rock outfit.
Kevin’s effortless voice gives the band a natural and relaxed sound, backed up with energetic guitar riffs and complex but tasteful drum sections. The indie group has a near atmospheric presence. As a listener, you can almost detach yourself from life’s grind and take in the expressive melancholy lyrics. Following a string of tracks from 2017 and an EP in 2019, their single ‘Late Night Lost Love’ was well received by the world under the 2020 lockdown. Now, following a quiet six months for the band, their latest release of ‘The Back Seat’ will surely reinforce their place on our indie playlists, leading us to believe another EP (or even album!) must be on the way soon.
Multi-Instrumentalist Dan ‘The Man’ Haggis, best known as the drummer for indie sensations The Wombats, is no stranger to music outside of the award-winning band, with side project Sunship Balloon with fellow Wombats bassist Tord Øverland Knudsen over the last 2 years, working on new music and completing old Wombats demos that never made the final cut. But that’s not what I’m here to talk about. Haggis has had his fair share of solo music releases since 2012, but it’s 2017’s Circadian Circus that I want to share with you.
Haggis stated around the time of the album’s conception and release that music is a coping mechanism, and that the passing of loved ones was part of what sparked the sudden creativity that led to this album. Circadian Circus goes into lots of different avenues, but mainly explores a lot of personal experience and mental health all wrapped in this ethereal aesthetic that helps shine a light on humanity, but despite being wrapped in this beautiful soundscape and visual paradigm to accompany it, Circadian Circus is actually a rather dark album. Themes of loss, depression and desperation, it’s a true testament to Haggis. In the leadup to the release of the album, I remember being incredibly hyped for it upon hearing lead single SomethingGood and telling all my friends to listen to it, and upon its release became such an identifiable release of 2017 that I still cherish now… You know, hence this article in case you’ve gotten to this point and you’re still wondering what’s going on, in which case Hi, welcome to Totally Wired Mag, we’re great, but you know what’s better? Circadian Circus.
Track 1, Get Out Of Jail Free is a brilliant opener that gives you a great impression of what this album sounds like, with an absolutely killer chorus. Bringing vibes of The Pogues, Metronomy and Sufjan Stevens, this splendid anthem is just something that does nothing but get stuck inside your head. Seriously you’ll be humming this to yourself for weeks. The production on this is also fantastic, Haggis REALLY showing off his skills, and how he absolutely knows what he’s doing here. Combining indie folk to synthy bedroom pop in a sound that’s familiar but thus far, I don’t think has really been replicated since.
Flowerpot Men (age check if you remember that classic Cebeebies show) brings an almost Beatlesy vibe into the mix, and the chorus is particularly Lennon-esk. Lyrically about the death of someone close which is something Haggis was having to go through during the writing process, but it made for some really humbling lyrics, for example, “They rehoused you on a star / the view must be great from where you are”. Losing someone is obviously something everyone has to go through at some point, but the humanisation of it here acts as such a resounding hand on your shoulder, in times where you’d otherwise feel out of your depth and alone. In addition with that repeated hook of “I’ll be pushing up the daisies, we’ll be flowerpot men”, it’s something that really sticks in your mind, but hauntingly so.
Waiting For Love is one of the more stripped back (but still musically full on) tracks on the album. Strings and pianos carry this track through, and really hone in that hopelessness feeling. But the outro becomes this triumphant escapade that really does leave a glisten in your eye at the prospect of things becoming better, eventually. It’s just a really beautiful song that shines through specifically. It sounds like something Elton John or Father John Misty could write, it’s absolutely majestic.
Something Good was the lead single, and definitely sums up the album’s entire message and musical theme. It invokes the utter desperation for wanting something positive in the abundance of letdowns and sadness, and that is the key element that makes Circadian Circus. I think we’ve all been at the point where we’ve craved something, anything to fix the hard times, and the hook of the track is just something so personally and relatedly versatile; “Give me something good, even if it’s a lie, if it’ll make me smile”. Haggis knows how to pen down some wonderfully written lyrics and Circadian Circus is a testament to it.
What can I say really, Circadian Circus is the perfect album to listen to when things are falling apart around you. Obviously, that’s a very bleak prospect, but what I mean by that is, this album personifies the darkest of times and emotions you can experience, but shines them in an optimistic outlook. Songs like Something Good and Not As Far As It Looks (Self Help Song) are perfect examples of taking the absolute worst your mind can go through, and reshaping them as motivational speeches through music. Musically this album goes almost everywhere, drawing and clashing inspiration from bands like New Order, The Beatles and even elements of Pink Floyd thrown in there. Honestly, Haggis’ talent writing songs from top to bottom is something I can only really compare to giants such as The Beatles which yeah I know that’s a bloody bold thing to say, but there’s a simplicity to pop music and writing with a rawer soundscape in mind that Haggis captures so magnificently here, wrapped in this blanket of modern production that just enhances every sound, it’s something genuinely beautiful and so polished to perfection it just has to be said.
For those who are deeply interested in more music from Haggis, you’ll be pleased to know that just earlier this month he dropped a brand new album entitledBrightly Coloured Creatures, which if you’ve likedwhat you’ve heard then you’ll definitely enjoy its follow up. I’ll let the new record mull over before doing a piece on it, but trust me it’s marvellous too. I definitely shall review that in due time, but until then, keep your ears open and thanks for reading.
Today marks the fifteenth anniversary of Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not, and the monumental bang it punches has certainly stood the test of time. It’s undeniable that this is one of their most defining records, and even the album art alone has become an icon in the UK music scene.
Being that I was just six years old when the album released (I know, I know….), I was a few years late to the party. I first found Arctic Monkeys when I was about eleven after randomly seeing their video for “Fluorescent Adolescent” pop up on YouTube. I was immediately hooked, and I absolutely needed to hear more; thus began my deep-dive into their discography of the time.
Now, don’t get me wrong—every record of theirs is nothing short of a masterpiece. There’s something special about WPSIATWIN, though, and I frequently find myself being pulled towards it the most and listening to it in full every time. With such a mint tracklist, how could you even think about pressing skip on any song?
The record opens up with fast-paced, intoxicating energy through “The View From The Afternoon.” It serves as an incredible introduction for the rest of the album and provides listeners with a good idea of what’s to come. It’s playful, it’s loud, and it’s boisterous, and that sort of vivacity definitely doesn’t end there as “I Bet You Look Good On The Dancefloor” follows it up. To this day, it remains one of my favourite Arctic Monkeys songs of all time, and I know I’m not alone when I say that this is a legendary one. I mean, have you seen the way crowds react when they hear this song? There is no way in hell you could ever sit still while it plays, and if you somehow can, I don’t think I can trust you. End of.
Next up is “Fake Tales Of San Francisco,” which happens to be one that gets stuck in my head quite easily, but I’m definitely not complaining. The catchy guitar riffs, the comedic lyrics, the explosion that erupts from the band after the lyric “So all that’s left / Is the proof that love’s not only blind but deaf…”
Brilliant. Absolutely brilliant.
The next three songs that follow are perfectly placed, in my opinion. You’ve got “Dancing Shoes,” which practically begs you to get up, stop paying any mind to what others may think or say, and just have fun. “You Probably Couldn’t See For The Lights But You Were Staring Straight At Me” is another personal favourite of mine (criminally underrated, might I add), and it’s such an addictive track. It does a fantastic job at keeping the energy high, which then leads into the snarky, boyish track “Still Take You Home” flawlessly.
Oh, “Riot Van,” how I love you so. It’s an absolute dream of a song; I love the story that is told within the lyrics, and the overall feel of the track is drastically more chilled out than the rest of the album. “Red Light Indicates Doors Are Secured” snaps listeners out of that trance, though, and my god, does it do an amazing job at getting people back up on their feet. Just below, you will find my favourite verse in that song; the delivery will never fail to give me chills.
Well calm down, temper, temper
You shouldn’t get so annoyed
Well, you’re acting like a silly little boy
And they wanted to be men
And do some fighting in the street
They said, “No surrender
No chance of retreat”
It goes without saying that “Mardy Bum” is a staple in Arctic Monkeys’ discography. Despite the lyrics describing a rather rocky relationship, it has such a youthful charm that can make anybody’s eyes light up just by hearing the first few chords. It’s the essence of perfection summed up in under three minutes. Need I say more?
Alright, my favourite, favourite song off of the record is up next. “Perhaps Vampires Is A Bit Strong But…” is an absolute mind-blower. I’ve loyally stood by this one as my personal top pick for ages now, and I definitely don’t see it changing anytime soon. I’m just genuinely in love with every single aspect of this song; I love the dirty tone of the guitars, the aggression within the lyrics, and the killer jam session that fills up the remainder of the track. Plus, who doesn’t love hearing Alex Turner shout, “All you people are vampires!” towards the end?
Like “I Bet You Look Good On The Dancefloor” and “Mardy Bum,” “When The Sun Goes Down” is another quintessential Arctic Monkeys song. I still haven’t been able to catch an Arctic Monkeys show, but whenever I do, I would be willing to make a deal with the devil to guarantee that this would be on the setlist. It is both a desperate want and need to hear this live, and in case you need any further evidence as to why that is, look no further.
Now we’re down to the final two tracks: “From The Ritz To The Rubble” and “A Certain Romance.” What a way to draw the record to a close, huh? Both songs are exhilarating and successfully encapsulate the general feel of the entire album, and before you know it, you’re back to “The View From The Afternoon” to give it another well-deserved listen.
Can you tell I absolutely adore this record? Since I found it at such a young age, it’s safe to say that it played a massive role in shaping my taste in music. I hold it near and dear to my heart, and I’m confident that this will be an album people still talk about in decades to come. Happy 15th, you powerhouse, you.
Fall Out Boy’s seventh studio album MANIA dropped 3 years ago today! That’s crazy how the last few years have completely flown past. So as an album I really loved but was somewhat polarising to an already divided fanbase, I thought on its birthday it’d be a good idea to look back on the 2018 effort from the Chicago heartthrobs.
One of the leading names in the pop-punk scene of the early 2000s, Fall Out Boy have been through numerous sounds and sonic shake-ups. After their four year hiatus, their comeback album Save Rock and Roll was received tremendously well, and fans wouldn’t have to wait long for a follow up in the form of American Beauty / American Psycho. But something was missing, both great albums but stylistically very connected. AB/AP sounding like a more polished off version of Save Rock and Roll, just perhaps more anthemic. So after the non-stop tour cycle of the last two albums, work began on the next. Initially scheduled for September 2017, the album was pushed back by the band to January 2018, upon which the beast was finally laid out to the world.
I actually think the album starts off on a really high note, Stay Frosty Royal Milk Tea is a brilliant fast-paced in your face track that just fills you with adrenaline. Combining this heavy rock riff with electronica in something that sounds not terribly out of place amongst the likes of T2: Trainspotting the soundtrack. Leading straight into The Last Of The Real Ones, another fasted paced but piano-driven rock anthem. After the general new sound of the singles we were treated to in the first half of 2017, The Last Of The Real Ones showed fans that Fall Out Boy were still capable of that modern pop-punk style, but still showing off some of that new sound this album had to offer. An almost off-kilter psychedelic soundscape is present right the way through this album which for Fall Out Boy, is actually something the band hasn’t really explored before, and for me was a very welcome change, people laugh at me for saying this but it was almost like a sonic maturity bled through this record and I really dig it.
HOLD ME TIGHT OR DON’T fuses funk like ska influences to the typical pop-punk prowess but works really well. I think it’s this track that the main issue I hear people bring up about this album starts to show, which is the over-production. Now it’s all a stylistic thing, but in some tracks my god it really works to benefit them. Like I said StayFrosty is a blood-pumping powerhouse and I think the production really compliments the performance on that track really well. But with HOLD ME TIGHT, I think some of the guitars and even the bass get left behind especially in that first verse. But all of those problems are fixed in live performances, the bass is cranked up and the clean guitar parts are much more present. Which is the same to be said for Wilson (Expensive Mistakes). Interpolating Straight To Hell by The Clash, this was a song that was first heard live, but because of this, I think I got too attached to that rendition. The album version is great too, but I think this track in particular benefits with the rawer sound of the guitars, the bass and the drums. The pre-chorus especially just sounds absolutely majestic live but in the studio sounds like somethings holding the overall sound back which is a shame because it’s a really well-written song. A band like Fall Out Boy never really loses it’s ’emo’ identity of the era they thrived in and the line “I’ll stop wearing black when they make a darker colour” just screams out to the inner alternative you.
Church is just a really cool track, the bassline is absolutely monstrous, in fact, this album really allows the bass to shine a lot more than the last 2 albums which adds a new dimension to the tracks which I absolutely adore. And I mean who the hell gave Patrick Stump and crew a choir? And it works? Insane. And the breakdown makes you want to stop the world. It’s beefy and begs for your attention, and Stump’s vocals on this track are great, really showing off that soul voice of his.
Starting the second half of the album is Heaven’sGate, a pretty ballad with a kick. I think it’s probably one that gets some of the least attention given to, but really I think that’s generally how the second half of MANIA as a whole is lit. For one of the slower tracks on the record, it has some of the cooler drum fills drummer Andy Hurley has to offer, perhaps the softened tone of the verse allows for intricate drum parts to pop out more than they would in the mix of a more energy driven song like Stay Frosty. Champion swiftly comes in next and to be honest, I really like this album all the way through so I can really appreciate what the boys were going for, especially here with Champion but I also get why people weren’t so keen. It’s very clearly the Centuries of this LP, very radio-friendly. Although don’t shoot me but I think I prefer this over Centuries… I mean yes the lyrical content (choruses aside) isn’t as diverse as Centuries, but on a performance and songwriting side, I think it just pops out here better, and the vocals Stump lays down especially on that outro is just killer.
Up next is Sunshine Riptide which I think is a really interesting track musically. Combining psychedelic sounds with those of reggae and hip-hop especially in the way of the flow of Stump’s vocal performance accompanied by featuring artist Burna Boy, who’s verse really grooves with the tracks vibe so well, with the bassline in this track being especially delicious. But I think because it is so new to the scope of Fall Out Boy’s sound, it leaves it in the firing range of “this isn’t pop-punk, boo”. Which is perfectly valid, but I think for a band that’s been around for nearly 20 years, to still be able to experiment with sounds and explore other genres after being shoehorned into such a specific scene, is a testament to the guys. However speaking of experimentation next is Young and Menace, the lead or ‘first song we had finished so we put this one out’ single (which doesn’t have as good a ring to it).
The track starts with some really eerie verses, low register vocals, clean chorus drenched guitars heralding this nightmarish psychedelic vibe that perked my interest very quickly, building to an EDM chorus. Which yeah not the obvious musical transition, and was extremely polarising at the time. It grew on me between its release and the rest of the album following the year after, but I completely get why fans didn’t respond well to it. You take a formula of a sound and out of the blue do something so different that it is almost unrecognisable as the band who released Sugar, We’re Goin Down. The vocal chopped and pitched vocals in the chorus being very out of the ordinary for a band like Fall Out Boy, at least to this scale, but the band said they needed a palate cleanser, the emphasis on the colour purple and the entire shift in sound, it walked so the rest of MANIA could run. The left turn of a track like Young and Menace after the double success of their last two albums just solidified the presence that Fall Out Boy are able to do anything, and whilst not everyone’s cup of tea, it definitely solidified the start of a new era for the band.
The albums closer Bishop’s Knife Trick is genuinely one of my favourite tracks the band have ever put out. This really is taking the emotions of classic Fall Out Boy and transforming it into the modern world. Led by a piano and a jangly guitar swirling that psychedelic sound around your head before exploding into a hunk of a chorus, blowing you out into space. The darker tone of the lyrics really bringing out this darker and more mature sound this record tries to rub off on you within its half-hour playtime, it’s just fantastic. The chorus is just addictive and makes you long for the days of concerts where you could scream at the top of your lungs to the songs that got you through your teens. It’s music video being a direct parody of their decade-old song Thnks Fr Th Mmrs‘ video, which I sort of feel is a bit of a detribute to the song because of the abrupt tone of its interruptions, but maybe otherwise it would have come across ‘too deep’ or something who knows.
And that’s it, that’s the album, it’s not particularly long, but it does stick itself out as a solid staple in the band’s discography. Looking back on MANIA I still really like it, if anything over the years I’ve grown fonder of it. There’s a saying people come up with for things like this which is being “ahead of its time” which I’m not quite sure of my position on that, but I do think that MANIA was overshadowed by the high train of radio success Fall Out Boy had in their early days and in the first few years of their comeback. But the band said this was never meant to be a radio album, and how can you stay inspired by churning out the same stuff. People did treat Folie A Deux harshly at the time, but now a decade later it’s considered by many some of their best work. Hell MANIA was nominated for a Grammy, not that Grammy’s really mean anything nowadays, but I think MANIA deserved a better reception than the one it got.
I hope you enjoyed this look back regardless of your stand on the album, and with a lot of albums big birthdays happening this year (from Arctic Monkeys, Blur, The 1975 and many more), do expect more of these to come and let us know of any albums you think we should cover.
Well somehow we’re at the end of 2020 (yeah happy new year by the way) and what a rollercoaster it has been. Nobody’s year went to plan, and we’ve all been desperate for a better 2021. But looking back on the year, we were treated to a lot of pretty awesome music. So to recap on our favourites, the TWM team have come together to give you our collective record collection, of our favourite albums that 2020 had to offer us.
SONGS FOR THE GENERAL PUBLIC BY THE LEMON TWIGS
Kylie: Let’s dive into my favourite record of the year, shall we? Prior to the album’s release in August, I simply considered myself a casual fan of The Lemon Twigs. As I type this, however, there is a poster hung up high on my wall along with some merch tucked away in my closet. With that in mind, it’s safe to say I completely fell in love after listening to Songs For The General Public (because, well, it’s the truth!). I grew up being surrounded by the roars of the 1970s, so naturally, I have always held a slight preference for that decade of songwriting and musical craftsmanship as a whole. The Lemon Twigs flawlessly introduce that particular flare into the modern age, and they do so in a way that isn’t a copycat, cut-and-paste sound. It’s very distinctly them, and although their influences may shine through every now and then, it’s still The Lemon Twigs. Songs For The General Public is nothing short of brilliance; each and every track is a work of art. I still have trouble deciding my favourite song off of this record, but because I want every single person reading this to give it a full listen, here are three recommendations: Nobody Holds You (Closer Than The One You Haven’t Met), Fight, and Moon. Thank me later.
Liam: Somehow managing to channel Bowie’s ghost, Declan McKenna managed to drop one of the best albums I’ve heard in a long time, definitely my favourite record of the year. An album with no filler and some killer songwriting. If you thought What Do You Think About The Car? was good, your mind will be blown upon hearing track one of Zeros. Upon its release I could not stop listening to it, other albums popped up here and there but this album for me was an instant hit, Declan felt unstoppable. Pure indie pop production that made the hits POP out. Declan’s voice solidly grown since the last record, the voice cracks replaced with raspy belts and shouts that somehow envoke more anger and frustration from the social commentary of the last album somehow. Hit by a plague of a year, this album shone a light through the darkness for all to see.
K: And well if I were to sum up this record in just a few words, I’d probably say something along the lines of thrilling, electrifying, and powerful. Zeros is an absolute explosion of an album. As you make your way through the tracklist, you are thwarted deeper and deeper into the alternate universe Declan has created, though, you may eventually find that it isn’t too far off from our own. Using his music to cast a spotlight on important world issues, Declan isn’t a stranger to political music. His debut album, What Do You Think About The Car?, led to many labelling Declan as a political musician due to the album’s strong messages and ideas. Although he doesn’t want to trap himself in one box when it comes to songwriting, Zeros emphasizes the importance of a variety of issues in a more intricate, storytelling fashion. Focusing on environmental issues, abuse of power, and the ever-looming fear of the unknown, Declan McKenna’s sophomore album is certainly one to remember.
L: The Archer was a phenomenal album from Portland singer-songwriter Alexandra Savior. Completely rounding her sound previously crafted from her first LP Belladonna Of Sadness, but this time completely on her own without the help of Alex Turner. With the pressure of losing her record deal, manager and writing the entire album on her own, this almost gateway of freedom allowed Savior to explore her sound and the ways she could fine-tune it to become The Archer. Being finished all the way back in 2018, after the label struggles, her prowess was seen by 30th Century Records, and in January she dropped her most ambitious work to date. The Archer makes you feel as if your life is a movie, and God herself has decided to write the soundtrack. Alexandra Savior’s latest effort is the effect of slowing down time during an adrenaline rush, a complete pipe dream that blends to your skin.
Aimee: The moment I first listened to Belladonna Of Sadness I knew that Alexandra Savior was something special. She delivered such a well-executed record with real conviction, but as mentioned by Liam, her 2020 release The Archer truly hits the target. This time lighter and cloaked with a haze of mist, her second record is enough of a departure to keep things fresh but still contains that cinematic wonder we already loved her for. She really hones that trade-mark sound whilst using it to show a different side; where a greater sense of vulnerability is present (but still backed by that strong attitude and spirit rooted within). The Archer effortlessly sweeps you away on a journey as personal as creating it was to Savior. A perfect experience for entering a new year; the LP gives you what feels like endless time and space to reminisce and reflect on feelings that have washed over or hit hard and even dream about what is to come.
A:Ultra Mono was the first album that I wrote about for TWM and what an album it is; loud, gutsy and in your face (exactly what a record from Idles should be). It kicked off my journey here with a bang, their transitional tracks and brash beating sound a sure-fire way of supplying a bolt of energy to any listener. Sticking true to their guns, there’s no shying away from divisive topics with bold declarations; delivered via lyrics that paint a picture with each line. The Bristol band have proven their strength from the start but have definitely evolved record to record with this third being their most diverse yet. The LP is not only charged and weighty but also flexes their abilities to produce a softer sound at times (see: ‘A Hymn’), as well as having some fun with cheeky digs and quick-witted lines (‘Grounds’). Ultra Mono couldn’t have come at a better time; never shying away from harsh truths and providing a great dose of motivation, it was one hell of a record to help us through one of the strangest years imaginable. I’m sure it will see us through whatever is heading our way next too.
James: I think it’s very much true that punk is BACK IN and my god how good it feels to see a record like Ultra Mono become so adored by music lovers. As my dad asked me yesterday with a tear in his eye ‘your generation are listening to punk again?’ Yes, dad, Ultra Mono is certainly paving the way for a generation of new bands and a bit of kick-ass music is exactly what last year needed to see us through to the end. It’s the album which first brought IDLES to my attention and something tells me I’ll be buying their records for a long time to come now.
K: I can vividly remember what I was doing and where I was at when Kevin Parker announced last year that a new album was on the horizon. I swore that this was a sign that 2020 was about to be incredible; I mean, a new Tame album after five years? Pinch me.
Yikes.
Even though we are all well aware of the fact that the year turned out to be a giant catastrophe, The Slow Rush gave us one last treat before the world flipped upside down. I can confidently say that it was well worth the wait, and although I’m still mourning the fact that I was meant to catch a show this year, I’m even more confident that the live shows will be just as worth it. With tracks like “Lost in Yesterday,” “Instant Destiny,” and “Breathe Deeper,” it’d be criminal to not include this record on any “Best of 2020” list. Everything Tame Impala puts out is the musical manifestation of magic, and The Slow Rush is certainly no exception.
L: Exactly, five years after the release of Currents and Kevin Parker drops The Slow Rush? Damn. A record like Currents is hard to top, but Parker definitely gave us his all. This album for me was probably the most prevalent LP throughout the year. With some albums, you get lost in the hype and after 3 months of non-stop exposure to it, you suddenly find yourself distant from it, having moved onto the next big release. But The Slow Rush was different. Different tracks growing on me and becoming my next favourite off the album, right from it’s release in February, to only a couple weeks ago upon me grabbing a vinyl copy and hearing it again in a whole new light. 5 years worth of inspiration, experience and production has given us some of the most solid producing Parker has given us yet. The Slow Rush was a good summary for this year, and for me, really helped me get through this challenge. Hearing track 1, One More Year hits differently now, and I think this entire album will now for the rest of my life.
L: Donald Glover’s fourth studio album 3.15.20 came out of nowhere, but then seemed to slip under the radar a smidge too. Being released just days before the first national lockdown here in the UK, perhaps people’s minds were far too spaced out to fully notice and appreciate it. Which is a massive shame because it’s actually a really good record. If you’re expecting Because The Internet 2.0 or Awaken My Love the sequel then you’ll be disappointed, but if you’ve been liking the latest ventures from Childish Gambino like This Is America and Feels Like Summer you’ll be in for a treat, especially with Feels Like Summer making the cut onto the record. With features from Ariana Grande to 21 Savage and more, the album flows completely seamlessly, with each track transitioning into the next. Each track apart from 2 exceptions are unnamed, each entitled with the timestamp that each respective track starts during the LP. What this does though, is in a modern world where the consumption of singles has almost completely thrashed the album playthrough out of the park, it makes you listen to this whole album through and through, and appreciate all 57 minutes of it from start to finish. And with it being a bit of a hidden gem at the minute, you can bet you’ll find some tracks you wish you’d have known sooner.
K: Bliss. Pure, bona fide bliss. Katy J Pearson is an absolute gift of a musician, and her debut album as a solo artist, Return, marks the beginning of a luminescent new chapter for the young singer. This record is a peaceful spring afternoon, swinging in a hammock, book in hand…
Alright, alright I’m back; I got a bit lost in my own metaphor. Words cannot accurately express my love for this record enough. I am completely infatuated with every single aspect of it, and as soon as I heard it for the first time, I texted just about everyone I know about this beautiful songstress. I even wrote a piece on her, which you can check out here (wink, wink). This record quickly became a top pick for me before I even finished it in its entirety, and I genuinely cannot wait to see what else is in store. Do yourselves a favour, stop what you’re doing, and give Katy J Pearson a listen—you will not regret it.
L: Thundercat’s fourth studio album It Is What It Is was a smash in the ballpark for the Californian singer and bassist. Smooth soul-infused funk to serenade you through whatever your day may bring you. There’s no denying the talent within this man, the things he plays and sings over at the same time were always complex and beautiful, but his 2020 effort surpassed expectations. Featuring artists such as Steve Lacy, Childish Gambino, Louis Cole and Steve Arrington, the album certainly knows how to catch your ears and dig in deep to your soul. This record goes through a lot of emotions but in typical Thundercat fashion, it’s humorous, and that little element of realism helps ground this artistically wonderful collection of music, to the real world. It’s heaven don’t get me wrong, but it’s heaven with a sign with your name on it.
J: Just when you thought Fontaines D.C. couldn’t top their debut album Dogrel (2019), in 2020, they came through with perhaps the most anticipated and most incredible follow-up album since Joy Division’s Closer. I’ve said it before, and I’ll say it again, Fontaines D.C. will likely be remembered as one of the best underground post-punk bands of their generation. They may not have been able to tour the album extensively this year, however, but it’s by no means hindered the response from fans. We can’t wait to see them put on a show with the songs from their second LP once venues reopen. Instead of touring, the band have been hard at work on the excellent live sessions which premiered on their YouTube channel. The sessions are truly the closest I’ve felt to the excitement and atmosphere of a live gig all year.
L: Yeah I mean I’ll be honest when this album dropped I didn’t really think it had much of a lasting impression on me. But over the weeks I noticed myself coming back to it, over and over. Tracks such as I Don’t Belong and the title track A Hero’s Death completely dominating my months’ playlists at times. After thoroughly enjoying Dogrel, it was 2020s A Hero’s Death that solidified me as a fan of Fontaines D.C.
L: The wild ride of The 1975s fourth album was not an easy one, for fans or the band. After having to delay the album multiple times, and then a global pandemic cancelling the entire tour beyond rescheduling. Notes On A Condition Form was a long, coherently messy (if that’s a term we can all get behind) album, and that’s not to knock it, I love how diverse the album is. I know I said this about The Slow Rush but I think within the context of 2020 and isolation, this album really did feel connected to my soul when it was released. Somehow encapsulating almost every anxiety and pleasure that you could go through during this heartache of a year. Lyrically perhaps some of Matty’s most personal delves into his mind, but so intrusively relevant into mine as well. It’s one of those records that listening back to, you’ll never really separate it’s universe to the year it happened to collide with, but in the years to come, perhaps that’s something good. A retrospective of the worst, and a reminder that even in the darkest of times, we can pull through anything.
K: Alright, I may be a bit biased here considering The 1975 is my favourite modern band, but this is without a doubt one of my top records of the year. NOACF is new territory for the band, experimenting with different sounds, styles, and genres, and the end result is otherworldly. I listened to the entire album as soon as it dropped at midnight, and I was on the phone with my friend since we couldn’t be together to hear it. It was truly such a magical, unforgettable experience; it was a few months into the madness of the pandemic, and although we were separated, this album helped us feel connected again. Without trying to get too sappy here, this album has undeniably been a rock for me throughout the year. I absolutely adore every single song on NOACF, and I have my fingers crossed that I’ll be able to hear them live sooner than expected.
L: Nothing But Thieves latest outing certainly packs a punch. The typical RnB inspired rockers have gone at it again, this time with an emphasis on electronic music that really nails a new sound for the band, whilst staying true to their roots. It’s this kind of innovation that’s saving rock and roll. Moral Panic is an album written before Covid times but somehow completely gets the struggles and issues we’ve faced this year. I don’t know if that’s supposed to be comforting or not as a social commentary. But whatever the case, it makes for an integral listen for those who’ve simply had enough of the nightmare that has been 2020. Moral Panic is setting in, and Nothing But Thieves are not gonna let that slide. This is a rock record where the guitars are amped up to groove with you. If rock decided to start up a disco, this is what they’d play first. Another album that rounds up those 2020 vibes but in a way that you can dance your cares away in your living room.
J: In a year which felt like the world was falling apart and had everyone shaking their head at the thought of four more years of Trump, Run The Jewels sucker-punched the world with their highly anticipated fourth album. Like each of their albums before this, the record is a frustration driven rave in your pocket from beginning to end. The angst of a generation poured into one great record. In response to some of the year’s events which woke up the world; the killing of George Floyd and the Black Lives Matter protests which followed, RTJ4 makes good on the promise of keeping that flame alive with an important collaboration of phenomenal hip-hop artists. Along with Pharrell Williams, DJ Premier, desert rock legend Josh Homme and many more, RTJ4 is a library of fight songs to take the momentum built this year into the next.
L: Speaking of Mr Homme as a big fan of his work, upon hearing he co-produced the album I just had to listen to it, and I was pleasantly surprised that the album sounded nothing like any of his typical work. I wouldn’t have known he had anything to do with the album had it not been for the beauty of Wikipedia and word of mouth. But Homme aside, all that meant was I discovered RTJ4 and really dug the grooves this record had on offer. With pulling the pin being my personal highlight, the entire album was just such a wonderful avert of my expectations going into it completely blind, which was such a blissful feeling because nowadays it’s damn near impossible to do that. But the payoff was well worth it and discovering Run The Jewels was something brilliant.
L: Mura Masa’s second album was a change of tone from their first musical venture. R.Y.C becomes this millennial outcry. Being young in the 21st century is no easy feat, but R.Y.C is an album that encapsulates all the rage of being a young adult in 2020. Being this more guitar-driven, sugar-coated, slacker, indie/folk/pop combine harvest, there’s little here to not relate to. Alexander Crossan’s vocals really hit home here, completely humanizing the angst and fear of modernity. But he’s got help all over the album, with features from Clairo, Slowthai, Ellie Rowsell of Wolf Alice, Georgia and many more. All within that young adult bracket, so the roots of this record dig really deep into every performance. Going from the blissful calmic a meeting at an oak tree Featuring Ned Green to the angry demoralisation of Deal Wiv It Featuring Slowthai, possibly the highlight of the whole album, talking about the harsh reality of gentrification and the changes of the modern world that sticks out like an upright nail in a game of heads down thumbs up. A shout for attention that’s completely and utterly deserved. This entire album goes through the ropes as the soundtrack of a coming of age film for the modern sadboi, but trust me, it’s completely worth the experience of listening all the way through.
And so here we are at the end of our collection. Out of all the albums we loved throughout the year, there was just one that we all loved and felt like it deserved the spotlight.
Before we get onto why we love this album so much, all of us at TWM would like to thank you for your support over our magazine. We absolutely love sharing new music with you, and we’ve got a lot more in store for this new year.
So if you only take just one record from this list, we can all safely say this is a safe bet to go with.
WORKING MEN’S CLUB BY WORKING MEN’S CLUB
K: Stumbling upon this group felt like unearthing pure gold. Working Men’s Club is absolutely hypnotic, and at times, it’s hard to believe this record isn’t a hidden gem from the 80s or 90s. As we all know, 2020 was the year of distance and isolation, but this record massively helps with making you feel like you’re on a night out despite staying at home in your pyjamas while desperately trying to figure out what day of the week it is. Aside from the mesmerizing, addictive beats, the songwriting is just as brilliant (“Cook a Coffee,” anyone?). There is an abundance of genius within this album, and considering the fact that this is just their debut, Working Men’s Club are well on their way to becoming something incredibly special.
L: I remember when Aimee’s article on them went live and just being in awe and genuine hype upon hearing Valleys. All that craving for 80s New Wave, Dance and Electronica soundscape that I genuinely don’t think I’ve heard since the likes of New Order. I love it when bands today hark back to the days of the Hacienda, but no band I think has ever managed to dissect the core of that music, translate it into the modern-day so perfectly but still remaining so presently 80s. It’s nostalgic and futuristic at the same time. For a bands debut album, you really can’t get much better than this.
A: Nothing’s ever held me in more of a trance than when I first experienced Working Men’s Club’s eponymous debut record. Growing up in Manchester, grey, drizzly days spent wandering around the city would heavily feature daydreams of imagining what it was like back in the 80s and 90s. This album is as if somebody read my mind and wrote a soundtrack to accompany them. I was so excited to find something individual and new that simultaneously felt familiar in the best of ways; it felt like the record I could only ever wish for. Ever since that came true, I’ve spent a lot of time with it on repeat and my love hasn’t once wavered. Whether I talk to someone who was also lucky enough to stumble upon the LP like myself or insisted that family and friends listen, everyone who hears is in undeniable agreement on just how good it is. You can’t help but feel psyched up and ready to rave which is exactly what we needed to get through 2020 and will surely help us kick start the new year and look forward to a future with more music from Working Men’s Club.
J: Too right about being transported back to 80s Manchester, you don’t need to have grown up in the golden era to crave dancing in a sweaty nightclub while listening to any of their brilliant songs. Watching this music video makes me miss those late nights with friends, in music terms, it’s about as close to an antidote for the boredom 2020 brought as we could get. These are songs not just for the younger generation, but something about the Working Men’s Club sound seems to entice almost anyone who listens. If you played this at Christmas I guarantee your nan would be up on her feet too. For Working Men’s Club, this is only just the beginning… 2021 awaits. If there’s anything you take away from this list, get yourself a copy of this album.
Stumbling upon Malcolm.’s music was by pure chance, thanks to the ever-elusive ways of the Instagram algorithm. As soon as I heard the preview for his latest release, “Nobody,” I instantly wanted to put a spotlight on this up-and-coming artist. For fans of indie and surf rock, this one’s for you.
To start things off, how would you describe yourself and your music to a new audience?
Describing myself is definitely weird, but I guess I’m what happens when someone bases their personality on sitcom characters. I’m pretty introverted, I self deprecate a lot, I’m gifted at avoiding drama, and I’m in a constant state of confusion. My music is a little easier to explain. It’s mostly a blend of rock and R&B. I use mostly real instruments, and I usually put groove first. It’s pretty much modern soft rock.
You recently put out a song called “Nobody” (which is an absolute tune, might I add). What do you want your listeners to take away from the track?
“Nobody” is a song that’s all about contemplating being single. If fans can take anything away from it, it’s to not worry if you don’t have anyone, and don’t force yourself into anything if you’re not ready.
You also released your debut album Vibey Rock. back in May—congratulations! What was the overall process like, and what helped inspire each track?
Vibey Rock. was a long time coming. I had the idea for it after I released my first EP, Khaki, in 2017. That’s when I started morphing my sound into a more 70s style, using a lot of warm and bright sounds as well as a more organic approach. The first track that kind of pushed me in that direction was “Far Away,” and although it’s not actually on the album, it really showed me the type of vibe it could be.
“ADHD” was written after finally being diagnosed. It started mostly as a joke song, but it’s also just a good introduction to who I am. “Slow Motion” is a feel-good track about a crush, and also one of the best basslines I’ve made. The collaborator, RUSUR, is a guy I met online around five years ago after entering a remix contest for one of his tracks, back when he still went by Johnny Gr4ves. “Sorry Girl” was literally just me wondering if I could make a filler track, and “Manly Man” was what happened when I decided to try to make an early-60s sounding track; it’s all about making fun of my lack of traditional masculinity.
“Same Mistakes” was written after I sent a drunk text to a girl and instantly regretted it. Luckily, she was in another country and it didn’t actually go through! “Leave Me Alone” is just an introvert anthem; if you’ve ever had your social battery run out at a party, you know the feeling. Next, “Lonely Sun” came after hearing Vampire Weekend’s “Sunflower.” I was just amazed by the complexity of it without it taking away from the overall feel-good vibe of it. Lastly, “Ride Again” is my favourite song I’ve made; it’s kind of a finale for songs about the girl most of my lyrics have been about. Writing this track helped me accept that we may never get back together, and it’s okay.
As we make these first few steps into the new year, it’s safe to say that it’s a relief to leave 2020 behind. As a musician, how did the year affect you?
Honestly, I got lucky this 2020. I rarely played shows before 2020, and I got a lot of time to spend making new music. Yes, not everything went well for me, but compared to other artists, I didn’t suffer many losses.
Livestream concerts became the norm last year as well. Do you have any plans of doing your own in the coming months?
I don’t think I’ll be doing any livestream concerts in the near future. I’m not against them, but I’d rather just wait until the world opens up again and, in the meantime, push my energy into making as much music as possible. The thrill of performing isn’t really there without a live audience.
Steering away from the super fun topic of COVID, I absolutely adore your sound. How did you develop it, and are there any musicians that helped inspire it?
I’m glad you like it! My sound choice is very inspired by classic rock and soul, while my songwriting mostly comes from alternative R&B. The artists that have had the biggest impact on my sound are definitely more modern ones, like Anderson .Paak, Childish Gambino, Harry Styles, Asher Roth, Rex Orange County, Leon Bridges, and Dominic Fike.
“ANTIGLOW” is a really incredible track, and I read on your Instagram page that you wrote it as a follow-up to an older song of yours called “Glow.” What drove you to write this newer track?
“ANTIGLOW” and “Glow” are set in the same environment, yet have totally different perspectives. When I wrote “Glow,” I made it with one of my best friends. We would go to a lot of local dances, and being the few kids that were good at dancing, we always killed it. Now, I’ve lost interest; it just doesn’t feel the same anymore. I don’t like showing off as much, I’m not big on hitting on strangers, and I suck at drinking.
The main connection between the songs is a callback line to “Glow.” The first line of it is, “It’s feeling like a disco,” so in “Antiglow,” I put, “It’s no longer feeling like a disco,” kind of as an easter egg for some of my older fans. It was actually my roommate Brody Larson that came up with the title idea, though! He’s also a musician and is obsessed with unique titles.
Another song of yours, “Jim & Pam (Goddamn),” has raked in over 70k listens on Spotify, and it was released just a couple of months ago in August. It goes without saying that this is an amazing accomplishment; did you ever expect it to receive as much attention as it has so quickly?
I’m super grateful that “Jim and Pam (Goddamn)” is getting the love it is. I kind of knew when I wrote the hook that it would be one of my more popular songs. So, I put more money into the ads for it than usual, and I guess the Spotify algorithm gods rewarded me for it. You can never tell how well a song will do, so I always hope for the best and expect the worst. Sometimes, it works out!
What can we expect coming up? Any more new songs on the horizon?
For new music, I’m releasing one single a month for as long as I can keep it going. I started doing that with “Jim & Pam” and have been keeping it going since. My next song, titled “Friends,” is going to come out on the 25th of January. I also plan on releasing two remakes of some older songs of mine that haven’t aged too well, those being “Pretty Please” and “Betty White.”
To wrap up, what would be your absolute dream gig?
That’s definitely a cool thing to think about; I think a big outdoor show would be super fun! Having it somewhere warm like Australia or Hawaii would make it even better. I don’t think anything else would suit my music better.
Goodness is it Christmas already? Christ (no pun intended) but I haven’t even done all my Christmas shopping. Oh well, it’s that time of year again. I know I say this every year but it feels it were only yesterday we were celebrating Christmas, but blimey 2020 has been a bit of a mad one hasn’t it? Christmas, being a time of giving and celebration motivated me to think of the different festive tracks that help bring us all together, filled with nostalgia and the smell of spice in the air. So join me as I go through my top 15 Christmas Songs.
15. Stop The Calvary – Jona Lewie
It’s one of those songs that just makes Christmas. From the synths that carry the song, the brass section’s hook to the bells. Although never intended as a Christmas song, Lewie stating it was meant as a protest song, and in some regions, it was released in Springtime as opposed to the festive season here in the UK. But the timing, the what we’d now call Christmas sounding instrumentation and of course the classic line “Wish I could be home for Christmas”, has inadvertently made Lewie’s song a Christmas classic.
14. Christmas Time (Don’t Let The Bells End) – The Darkness
I think The Darkness get a bit of a bad rep of being that strange cheesy 00’s band that Liam Gallagher dissed a bit. But all the same, I think they’re a lot of people’s guilty pleasures, and the tunes people like? People sure as hell love. The comedic tone, Justin Hawkin’s famous falsettos and just being an overall feel-good song for the festive season, makes it one that maybe not everyone needs to have on their playlists this time of year, but it’s one that has a special place in my heart for just being utterly ridiculous, but bangs nevertheless.
13. Peace On Earth / The Little Drummer Boy – Bing Crosby and David Bowie
Taking things a bit slower this time around, this tune was debuted on Crosby’s television special, ‘Bing Crosby’s Merrie Olde Christmas’. The colliding worlds of Crosby and Bowie at this time was something of a shock to people. At the time, Bowie was trying to ‘normalise’ his career, and actively stated he hated The Little Drummer Boy song, which led to him asking if he could sing something else leading to the now surreal collaboration and iconic Christmas song. And I mean come on, combining the undeniable Christmas aura of Crosby with the Man who fell to Earth himself, just screams out its magnificence.
Keeping with the slower mood here, Driving Home For Christmas is a song most people adore for that moment with the family when the drinks are starting to run low and the energy needs a little break, that we all take a breather to sway our heads. It’s like if Christmas suddenly became an elevator, this is the song that would play inside it. It’s quite poignant today with the hard times we’re all faced with. A lot of people who were looking forward to driving home for Christmas can’t anymore. So for now, join me in listening to this, with a glass in hand. Here’s to a future where we can all get together and celebrate with each other, for the best Christmases yet to come.
11. Christmas Time Is Here – Vince Guaraldi Trio (From A Charlie Brown Christmas)
Yeah, this is a very unconventional one to have on the list I know. But Charlie Brown has been very present since my childhood. My mum was a big advocate of ‘get your kids into the same stuff you were into as a kid’. Big vibe tho. This song, despite sounding very melancholy, it feels so warm. It makes you want to cosy up by the fireside for the favourite time of year. Christmas to me has two sides. The crazy go all-out party filled with joy and love, and the softer watch the snowfall out the window, with this song emoting the latter. It’s not one to dance to, but not every festive tune needs to be. Sometimes in the abundance of commercialization, something more genuine that helps appreciate what Christmas time is really all about.
Kicking a bit of life back into the tunes. I mean you can never go wrong with Elton, can you? The flamboyant ecstasy of his music, the way his range swings up and down evoking this addictive danceable hit that you just end up craving more and more every time you hear it. Sometimes feeling a little goofy, but fun and wonderful all the same. Something remarkable to note about the song is that it was written intended as a thank you to fans due to the success Elton had gained in 1972. Written on a Sunday morning and recorded that very evening! That’s pretty good, even for our lad Elton, so cheers Rocket Man.
A classic. We all know it, we all know what it’s for, the impact it had and the legacy it carries. It’s never been topped by its anniversary versions, but that’s why the original is such a corker. It was never the immediate catchy pop hook to give your brain a high and then leave you alone till next year, but it feels like part of that was the intention. When writing a song about the Ethiopian famine crisis of the time, getting a message across is important. Do They Know It’s Christmas? is the kind of song where upon first listen, it begs you to start wondering, just what on earth is all this about? Which is how even after the efforts of Band Aid, and after that fateful Christmas in 1984. Do They Know It’s Christmas? remains a classic, all years round.
Now, not the most conventional Christmas song on the list no, but in my house, Christmas time wouldn’t be complete without hearing this. Something about the trumpets at the start taking you back to Doctor Who Christmas specials. The emotive joy of Christmas colliding with the indie rock of the late 00s Wombats sound feels so nostalgic yet fresh, it’s a vibe that I don’t think can be really described, listen to the song yourself and see. Even if it’s not a classic from wherever you are, for me, it deserves a top spot in the best Christmas songs around. It’s unbelievably addictive and brings me so much joy.
7. I Wish It Could Be Christmas Everyday – Wizzard
Just try and be a Scrooge when this song is playing, I dare you. It’s one of those o’ so nostalgic tracks that does completely make you feel like a kid again. That innocence of the world and all the joys it can bring. You know when there isn’t a global pandemic going on… But you know, forget all that, this song is just brilliant. It’s one of the most danceable ones and for that, it makes for a perfect song to put on at every Christmas party and festive sing-a-long.
Yeah alright I know, I know. Not really a Christmas song, not even the go-to song if you’re even thinking about the Beach Boys. But for me, this has become an absolute Christmas classic. Ever since hearing it in the festive film Love Actually, the complete and utter association with the Christmas period has made it and Christmas, fantastically inseparable. Although originally a B-Side, there’s just something about this song that makes it such a cute and wholesome track to hear regardless of the lyrical content, the instrumentation matches the words in a peculiar way and it’s just so lovely. It also happens to be one of Paul McCartney’s favourite songs, and if a Beatle says your song is their favourite, you’ve clearly written something gold.
And well speaking of McCartney, I mean you knew it had to be on this list somewhere right? It’s just such a feel-good festive bop. The delayed synths, the choirs, the ding dong ding dongs, everything about this song screams get up and dance like it’s the best Christmas party in town and I LOVE IT. There is also something incredibly nostalgic about this one especially, perhaps just hearing Paul McCartney’s voice is what does it, but whatever it really is, it makes for one of the catchiest Christmas tunes around, and one that definitely isn’t going anywhere, asides from in our ears.
4. Happy Xmas (War Is Over) – John Lennon and Yoko Ono
This was hard to put forward more than McCartney’s Christmas outing, but I think people generally would say this is a genuine classic, and the depth of the lyrics also make for a somewhat reflective and loving perspective when listening. And because of that, it’s one of the few Christmas songs that actually get the real heartwarming message of Christmas through. Not thinking about the presents or the gigantic meals we all decide we’ll consume on one day of the year, but about the people around you, family, friends and the people all around the world. As perhaps THE pioneer of peace and love, it’s no surprise that John Lennon was able to write one of the best Christmas songs, that stays relevant almost 50 years later.
Before I do go onto my top 3 I would like to give a shout out to a few honorable mentions. Partly because I love some and I just couldn’t add them to an already big list, and partly because if I don’t mention them now, I really will get absolutely slandered by everyone. But very quickly let’s not forget;
What’s This? – Danny Elfman (From The Nightmare Before Christmas), Winter Wonderland – Bing Crosby, Proper Crimbo – Bo Selecta, Walking In The Air – Peter Auty (From The Snowman), Yule Shoot Your Eye Out – Fall Out Boy, Merry Christmas Everyone – Shakin’ Stevens, Don’t Shoot Me Santa – The Killers, White Christmas – Bing Crosby, All I Want For Christmas Is You – Mariah Carey
But now, onto the Top Three.
3, Merry Xmas Everybody – Slade
Who doesn’t like Slade’s slapper of a song? Whether you’re nostalgic for the days of old, where Christmas was slightly less commercialised, or from it being almost the only song guaranteed to be in Doctor Who Christmas specials. I think this was possibly the first Christmas song I ever actually enjoyed, makes me sound like a real young Scrooge, but this was a Christmas song that ROCKED, and 6 year old me couldn’t get enough of that. Arguably one of the catchiest and memorable songs for the festive period, it always gets stuck in my head when I hear it, making me go back to listen to it more, which as marketing tactics go, it works a treat.
Fairytale of New York is a song that sounds magical. And Irish. Very very Irish. But it’s that combination that makes it a resounding classic. From the controversy of the lyrics to the belter of a sing-a-long chorus, the fairytale instrumentation clashed with the brutally harsh lyrics force this track to stand out like a sore thumb amongst the Christmas catalogue, but it does wonderous favours for it. Everyone I know seems to agree this is one of the best Christmas songs and it’s abundantly evident why.
Well, let’s be honest, if by the time we hit number 2 and you didn’t see Wham! coming, then you clearly don’t know Christmas well enough. Maybe that’s bold to say… But I’m sticking with it. I mean it’s the perfect song. Catchy, not overly Christmas sounding meaning if you find yourself listening to it in the middle of summer you don’t feel too guilty and can listen to the whole song. Last Christmas is just THE definitive Christmas song to me, it sounds magical, it sounds 80s, but all the same, it sounds completely timeless. And not to mention the absolute incredible restoration of the original film to make a 4K remaster of the music video.
Well there we have it, all 15 of my favourite Christmas songs. But what did you think? Let us know what YOUR favourite Christmas songs are. But above all, in the hard times that we’re all in, whatever you’re celebrating, have a wonderful festive period and a fantastic new year. Here’s to 2021, and a future of togetherness.
Sinead O’Brien is the Irish ‘punk poet’ that thrives on the edge; denying herself of anything cosy or familiar and instead opting for a ‘heavy heavy, busy busy life’ consisting of travel and new adventures.
Always doing things differently, her spontaneous attitude and lifestyle result in a lot to be grateful for; helping her to deliver marvellous songs, exploring the beauty in darkness, that we can’t help but love and believe that you will too.
Born in Dublin and raised in Limerick, the singer has never felt much of an attachment to a particular place but has always sensed a calling from further afield. This free spirit and ability to adapt to new ways and places feed their way into her consistently evolving songs. Using expansive language and sounds that vary from punk and folk to a hint of soul and funk, she expertly provides tracks that take you on a journey where, just like her, you’re kept on your toes every step of the way.
Despite her desire for re-location though, there’s absolutely no denying O’Brien’s Irish roots. The moment that she opens her mouth, she has you hostage; her divine accent delivering mesmerising words with equal parts grit and beauty. Painting a picture with every line, including desolate wonders like ”I feel like the daytime chasing the night” to relatable longings for motivation with “Days like this are the wildest way, to tame the flames, to get the head to higher…” she always leaves you longing for more.
O’Brien is currently living (but most definitely not ‘settled’) in London; the city where her real musical journey began. Upon her move, she fully embraced her desire for fresh experiences by taking a page out of Jim Carrey’s book and simply saying ‘yes’ to any opportunities that arose. Fortunately, for music fans, that included attending a spoken word night in Brixton where she first performed her poems up on stage. Subsequently, the natural lyricist joined forces with current bandmates Julian Hanson and Oscar Robertson and began to put her words to equally grand music; turning dreams and expressive thoughts into songs.
Her talent in doing so was undeniable right off the bat which led to Chess Club Records; the same label as fellow alternative rockers Wolf Alice, signing O’Brien up. She then began to release her hypnotising tracks with them, before stepping up a level from South London pubs when king of the punk poetry game John Cooper Clarke invited her on tour. The two immediately hit it off (which is no surprise when you listen to each of their gutsy works), and, thanks to JCC O’Brien was introduced to Mark E. Smith who she describes as one of her “most valuable references ever”.
As well as meeting one inspiration (who showed her the work of another), the tour with Cooper Clarke was also an opportunity to try a stint of something different once again, as like him she performed solo. After doing so she was told by a gig-goer that they could still “hear the music in it” which both she and myself completely agree with. Even without physical music present, you’re always touched by its essence thanks to her rhythm and heart, which is testament to the skill she has for her craft; consistently turning words into something so much more.
Her gifts don’t just stop there either, describing herself as incredibly determined from a young age, she pushed herself to excel in a range of areas both academic and creative- which even resulted in her moving to Paris to work for Dior. Just like her Irish upbringing, this motivation and affinity for style are also evident in her music; producing ambitious tracks that are sleek and well-tailored with a real artistic edge.
A sparse feeling is present in Sinead O’Brien’s songs, similar to that heard on Unknown Pleasures where space is intentional and meaningful; a bold move that not many even attempt to pull off. Each track contains an aura of magic, whisking you away on a different experience, that can vary from a trip to the dance floor on the snappy rhythmed ‘Taking on Time’ to dark dreams thanks to the strutting guitar and twinkle of keys on ‘A List of Normal Sins’. In doing so, she has laid the foundations to progress in any direction she wishes and seamlessly built her way up to releasing recent EP ‘Drowning In Blessings’; which to listen to feels like exactly that.
O’Brien’s intense voice cuts straight through the musical foundations of Drowning In Blessings’ tracks, her strong delivery inducing chills and making every word hit. Exploring the cynical side of modern culture in the likes of single ‘Most Modern Painting’ she generates such existential excitement with her observations on this and ‘Roman Ruins’ that you can’t help but feel riled up and ready to rock. She perfectly balances this edge and gloom with slightly more gentle elements though; resurfacing distant childhood memories of lullabies and carousels on ‘Fall With Me’ and closing with ‘Strangers in Danger’, her packed song on relationships between people and life- a perfect opportunity for reflection after the journey.
Filled to the brim with talent and creating songs jammed with ideas that are not only personal to her but can also touch each listener, O’Brien creates worlds within her work, and I firmly believe that it’s about time you’re swept away into them.
