Kieron Gillen's workblog

I present my Tracks of the Year list, which you may remember from previous Evanescence related amusements. It exists because – well – I like doing it, and at least once a year I think it’s important to write something sizeable for the blog that doesn’t exist for anything other than to amuse those who pass by. It’s kind of a thankyou.

It only works if you like reading my junk, of course, but… well, if you didn’t… well, fuck off, big-nose.

Odd year. But aren’t they all?

I’ll be hitting the important notes as I work my way through the list, but the lasting impression – for me, anyway – is one of my more indier years. That is, whiter. Haven’t spent much time listening, or searching, for new hip hop or garage, to chose a couple of genres I’ve conspicuously dabbled in the past, to a lesser or greater degree. I’ve been a dirty little Indie-kid for these twelve months or so.

So, like all of these charts, it’s a personal thing. If it turns out being a white-wash, it’s more because that’s where my head’s ended up in the last year. And to pretend otherwise, would be a whole different selection of white-wash.

Anyway – as tradition dictates (i.e. What I did last year), these are my Top 40 tracks of the year. That is, primarily singles (Because Singles Are The Best), but with any album tracks I desperately feel the need to work in.

Unbreakable rule: No more than one track by a single band or artist. This exists solely to encourage cheating by the list-writer.

Oh yes – and may go through this and fix some typos tomorrow. You’re having it raw and bleeding.

And Happy New Year.

WORKBLOG TRACKS OF THE YEAR 2004

40) Take me Out – Franz Ferdinand.
Oh, the temptation to do the Stalinist revisionism thing here, but I nobly resist. Since I was planning on writing this all year, I actually planned ahead – instead of doing what I did last time around, and making it all up at the last minute – and kept a document on my desktop I added titles to as and when something struck me as worth remembering. Take Me Out, at the birth of the year, was one of the first entries, hammered in with the tiny note “For the ballsy intro alone”. So here it is, for the aforementioned Ballsiness.

39) 17 Years – Ratatat
Is this Laptop Rock? Let’s hope so. I’ll look pretty stupid otherwise.

38) Bad Ass Stripper - Jentina
Nothing quite as glorious as a failed hype. Cynical like wars for oil and faked terrorist outrages, Jentina was ignored by the Kids On The Streets for the Franken-pop monster she clearly was. Oddly, however, adored by ageing games journalists in Bath, especially when they were feeling slutty. Which was, somewhat predictably, often.

37) Irish Blood, English Heart - Morrissey
Not racist, John.

36) 80s Matchbox B-line disaster – Rise of Eagles
Don’t think they’re ever going to hit the garage-stooge-cramps-kennedys thing as disgustingly as they did with Psychosis Safari, but this – and most of their second album, actually – is pretty vile, and recommended for any devotees of The Hard Fucking.

35) What U Call it? – Whiley
I call it “Brilliant”.

34) AK-47 – Weird War
Cheating, as was a single towards the close of last year, but I only got hold of it with their album. Wired Weird War with Ian still, in the age of US-military hegemony, believing in the power of AK-47. Also: being funky.

33) Diefenbach - "Make Your Mind":
Less a single, more a breath, captured.

32) Outkast “Roses”
Cheating again, as included Hey Ya as my Outkast representative last year, referencing it included everything else on the album. But since this was released as a single, it was more part of my psyche in the last twelve months, single-handedly leading to an eight-hour bout of insomnia when flying across the Atlantic. Thanks a fucking lot, Andre. In a song rife with glorious pop-moments, top-prize must be given to “Ihopeshe'sspeedingonthewaytothe club
TryingtohurryuptogettosomeBallerorsingerorsomebody
likethatAndtrytoputonher makeupinthemirrorandcrash! Crash! CRASH! ... INTO A DITCH!!!!

Just Playing!

Yeah, Andre. As if.

31) What Am I Waiting For? - Gwen Stefani
Good points include the general tone of hysteria, tick-tockisms, supa-hot-FEE-mahle and even the million dollar contract. Bad points include a vaguely patronising Occidental response, which comes across like some Edge fanboy extolling the virtue of something particularly rubbish that must be good because it’s only been released over there. Included because, ultimately, I still like her belly.

30) Your Cover’s Blown – B&S
Taut as B&S have ever got, with Stuart playing out his oblique-takes on Shaft fantasies in a Scottish bedsit.

29) Misread – King’s of Convenience
My favourite album cover of the year is the straight-out-of-Wallpaper cover of King’s Of Convenience’s second entirely-as-you’d-imagine-it album. It screams of affluence, comfort, desirability, of people happier, better looking, more sophisticated and smarter than you. Misread’s opening muted shuffle of a guitar and crisp piano confidence manages the same trick.

28) I Can Do Anything - Gene Serene and John Downfall
Arrived without fanfare from the every cheery Alec “Furious” Meer, and for an afternoon stole everyone’s hearts. May have come out this year. Could have come out five years back, but it’ll break my heart to check. As if Peaches decided to stop trying to insert the largest possible synthesiser inside her as possible, and instead decided to try hugging.

27) Float On - Modest Mouse
Pretty, fun, indie that moved like the title. The Killers for people who wouldn’t dream of touching something on a hyped debut album without building up the required critical critical-mass. That is, me.

26) Yeah (Crass Version) – LCD Soundsystem.
Even as writing this, don’t know which version I’m going to go for. Pretentious or Crass? Neu versus… oh, fuck it. Let’s go with the Crass version for its sheer dirtiness. There’s times for upwards mobility in pop-songs, and New Years Eve isn’t among them.

25) Call on Me – Eric Prydz
Cynical trance-dumbness which makes its manifesto for heterosexual orthodoxy tyranny actually sound like a good idea. Fascists always look good. Health Fascists, more so.

24) Stay Tonight – War Against Sleep
Lo-fi Bristolian Scott Walker-esque lust and cigarettes. Of all the tracks on this list, the one you’re least likely to have heard of. It’s worth the effort of locating.

23) Mono – Courtney Love
If it wasn’t Courtney, it wouldn’t come anywhere near the Top 40. But it /is/ Courtney, and Miss Love has earned the right to stand on a soap-box and discuss the state of Pop in 2004 whenever she wants. We should be thankful that there’s still people involved in pop who take it all seriously enough to actually do something as stupid as this. The tone of desperation, frustration and a chorus raging against the dying of the light is all her – despite of her vocal range of three notes, she’s never been anything less than a great singer – and it brings to mind a woman being dragged to the gallows kicking and screaming. God owed her one more song. This was it.

22) She Wants To Move – NERD
The second album was a complete muso-disaster zone, with more noodles than whatever casually racist metaphor you choose to throw at it. Conversely, the single entered my body at the base of the spine and made me want to fuck strangers strangely. Totally Wired.

21) Scissors Sisters – Comfortably Numb
Amusing to think that the Scissors started the year as one of the usual-internet’s suspects favourite things. I mildly despise Scissors Sisters now, if only because their 70s leant more towards X-rated Elton John than the glacial cloud-banks of disco they summon here. One of the songs that sounds better the latter at night you listen to. Since I’m rarely in bed before 4am, it turned Bath’s cold spring into melodrama.

20) Too Drunk To Fuck - Nouveau Vague
This ironic album of new-wave/early-eighties classics covered in an easy-listening style, most heard in all manner of TV advertisements on Channel 4, found its way into my heart. I don’t know why. Especially, this version of the Dead Kennedys, which giggled, simpered, fluttered its fake-eyelashes, fell down in the gutters in its replica of a designer dress and looked up at you in a way to let you know it was exactly drunk enough to fuck.

19) Terrible Angels - Cocorosie
Two voices. One with a range of two notes, both squeaky. One who sounds classically trained. With farmyard found-sound noises rearranged into a sound-scape full of clanks, given some structure by an insistent nagging circular riff. Early morning 21st century blues.

18) Dreams – Dizzee Rascal
Okay, I’m cheating again. Dizzee’s finest track of the year was Imagine, from his second album Showtime, but I’m not including here as I’m seeekritly hoping that he throws it out as a single next year so I can ramble about it at length in next year’s poll. Oddly enough, it hits the same notes in terms of message as this deliberately, provocatively novelty hit, but with by its form leaves an entirely different impression. But this is about Dreams, which caused me to laugh more upon first hearing it, both at its humour – which is expansive, extensive and considerable – and its audacity – which is simply beyond anyone else in the poll. Sampling Happy Talk? Hilariously Off-key singing? And, best of all: Made an album! 100,000 people bought it! THANK YOU!

You can only sit back and gape, and hope that someone else manages similar disinterest in the collective consensus of cool.

17) Uptown Top Ranking – Scout Niblett
“Got no style/I’m simply roots” recontextualised to be the saddest thing in the world. Sounds like foot-shuffling, vagrancy and the last scant dregs of resilient defiance.

16) Under The Sun – Junior Boys
They said it was the Associates Go Two-Step. They were right, so I steal the line.
Last Exit was one of the albums of the year, and this was my favourite track. Propulsive, elegant, metronome bedroom-dance pop. Makes the walls of your flat lower to reveal motorway asphalt stretching in all directions, and nothing in the sky except a wall of smog and a ghostly whist of a vocal.

15) We Formed A Band – Art Brut
I think, with the proper consideration, that my best review of the year was the one in Plan B where I just wrote “ART BRUT! TOP OF THE POPS!” then repeated it a few dozen times. It was the best because it was both inspired, brave and almost impossibly stupid. Art Brut’s single did exactly the same trick. When they atonally yelp “LOOK AT US! WE FORMED A BAND!” they sound just as surprised as we are.

14) Who is it? – Bjork
It’s Bjork, stupid.

13) Empty Souls – Manic Street Preachers
Blogged about this at length earlier in the year, but I’m still surprised that I’ve kissed and made up with the Manics. They had to write me this love-letter to do so. Nu-80s-style Stadium Atmospherica from the waist up, Motown pulse below the hips and a sadness in the eyes that can cut you still.

12) Rachel Stevens “Some Girls”
Rubbish year for Pop. At the time of writing, don’t like the Annie stuff. Didn’t even like Toxic, if only for the simple fact that the cat whiiine reminds me of Lovecats, which is sure to aggravate. Destiny’s Child’s “Lose My Breath” is a brilliant song, but it’s a brilliant song that’s three seconds long. However, Richard X presses the right buttons here, through a blank enough filter to make the lyrics about blank-filters scream true. Doctoring The Tardis meets Pop Stars to the sound of donning of Zipper Boots and the best “Hey” of the year. As a devotional hymn to the God Pop go (literally), it’s as good as it gets.

11) 99 Problems – Grey album version
The “real” 99 problems was aces too, but I’m going for this one just to commemorate this cheerfully audacious mash between Jay Z and the Beatles. Less of a rhythm track, more of an opening of offensives against your speakers and, in its central verse about interactions with US traffic cops, a useful grounding in knowing your rights for the aforementioned avoidance of one of your problems being a bitch.

10) The Streets – Dry Your Eyes
Chav culture insults have quietly begun to bug me, especially when applied to the Streets. No-one seems willing to actually narrow it down to /what they mean/. Most seem satisfied to keep it as broad as “poor people”, which strikes me as missing the point somewhat (And isn’t a lot more acceptable to say “I hate chavs” than “I hate poor people”?). It’s kind of embarrassing for them that the most intelligent and articulate love lyric of the year came from The Streets, who somehow have been widely associated with the word (Inappropriately, really. Skinner’s not the lout most actually mean to decry by the word). Anyway – this effortlessly alternates between Skinners faltering, ignored monologue, analysis of the tiniest physical movements in the break-ups and the tragic, ironic chorus, and captures the ambience perfectly. Best Number One of the year, by a fucking mile.

Not bad. For Chav scum.

9) Common People – William Shatner
The End of History.

8) The Death Of All The Romance – The Dears
Second best over-wrought Indie-song of the year. And even better, a duet. Clearly a love song, but with the nagging sense of scale that it’s talking about something bigger than just the girl/boy thing.

Saw the Dears live, and The Death Of All The Romance was almost painful. The girl, a pale wan blonde slip, with tears in her eyes even before she opened her mouth to utter the opening “I have never cried/In anybody’s arms/the way that I’ve often cried in yours”. The singer, a black skinny slip of a Canadian anglophile, with a voice that alters between the oft-referenced Morrisey and the less-oft-referenced Albarn cutting the song in two half-way through with extended baritone throb of the Anna-Karenina-esque “I shall avenge the death of all the romance”.

Queue tortured falsetto, weeping and a noise so big that it can only be an Orchestra.

The album’s called “No Cities Left”. By the time the song ends, you begin to understand why.

7) Milkshake – Kelis
The genius seconds in Milkshake are obvious, but it’s worth reiterating why it gets in here instead of the almost-as-awesome Millionaire.
1) The bell (CHING!)
2) “Their life is better than yours. Damn right: It’s better than yours.” (Their life is so much better than yours that she must reiterate it just in case you missed)
3) That dirty, squelch of an eastern synch (which sounds like some unnameable, mysterious orifice)
4) The most bored la-la-la in history. (La-fucking-la-fucking-la)
5) Milk, shaking. (Obv)

6) Crown of Love – The Arcade Fire
Moment at All Tomorrow’s Party. In our chalet, and someone puts “Crown of Love” on the stereo. The entire room yelps at once. Everyone knows and loves it. Two people in the room actually have /copies of the album on them/. It’s an album that hasn’t been even released in the UK yet, and they’ve stole it on Import. Yes, it’s been hyped to death by the usual American suspects but… still. It’s something.

Obvious statement: they’re going to be huge.

Crown of Love is cleverly structured. First listening it sounds dreary, like Brighteyes as his most lovelorn and lumpen, until the disco-chords crash in the end and it explodes. However, from the second listen onwards, since you know what’s coming at the end of the sad waltz of a rock song, the anticipation for the eventual explosion sharpens everything. Soon you come to realise that it’s actually a tender, beautiful and ferocious love song, perfectly overwrought and anguished. “They say it fades, if you let it…” is the saddest opening lyric of the year. “I carved your name across my eyelids” the most furious.

Oh, and those disco-chords…

5) Dead Dogs Two- cLOUDDEAD
Ballard’s Crash reinvented as a comedy.

4) Girl Anachronism – Dresden Dolls

And now the rules start to hurt. While the next band down the list have more actual entrants for this chart, they’re often of a similar calibre and tone. They hit similar emotional notes, so is relatively easy to take one as a champion of the group. The Dresden Dolls’ two standouts on the album – Girl Anachronism and Coin Operated boy – are completely different things. Two songs enter, one song leaves.

(And if the chart was slightly longer, both Missed Me and Bad Habit from the album would have been arguing for a place)

I’m going with Girl Anachronism, despite the fact that when live it was distinctly the lesser song, with all the focused bile diffused while Coin-operated Boy’s bridge was probably the closest I’ve come to God in the last twelve months. Maybe it’s because as I’m writing this list I’m feeling angry rather than tragic. If I rewrite it tomorrow, it could be the other way around.

Girl Anachronism is a melodramatic , footstomping, hard-laughing (You can imagine a spat “HAH!” at the end of the wittier selection of lines) frenzy of a pop song, walking a line between the camp and the sociopathic like a tightrope artist with a human-bomb harness. It’s propelled at seemingly ever-increasing velocities by a mass of lyrics (Amanda comes across less like a song-writer at times here, and more like a monologist), a twitching piano that sounds as if it’s being dragged off to be committed and drums which organise the sound into something coherent, like a bad-influence friend egging on a girl with a bad side.

Sounds like trouble. Definitely not the carefulest of girls.

3) Power Is On – The Go! Team

Oh God. Five candidates – Huddle Formation, Power Is On, Junior Kickstart, Bottle Rocket and B-side The Ice Storm – and all virtually equally lustworthy. Thunder Lightning Strike sounds like a greatest hits album already, and they haven’t /had/ any. In terms of albums of the year, only political reasons lift Bobby Conn’s The Homeland above it in my affections. If the world wasn’t in real danger of ending due to Shitheads, it’d be number one.

(Had the odd moment at ATP where James, Jude and I were sitting on the sofa hand-jiving to The Go! Team or similar and Ste wandered in and informed us that “None of us will even remember who they are in six months time”. I still can’t believe Ste of all people actually posed the “Historical importance” argument… and he’s still wrong. Even if he isn’t, the Go Team! Hit the mayfly pop spot right on. Who cares what they’ll sound like tomorrow? Today they sound like imaginary 70s children TV shows staring giant robots. That’s all that matters)

Huddle Formation actually hits their modus operandi cleanest – that is Sonic Youth versus Betty Boo, produced by the Avalanches in a shed. Bottle Rocket has the honour of being the only one with a lyric I actually know (HEY EVERYBODY! LET’S ROCK THIS BREAK!), as singing along with the Go Team! generally ends up with me shouting joyous glossolalia. Extra marks for the Ski-Sunday opening rip too. Junior Kickstart reimagines a worldwhere instead of parping the top-kids bike show kicked off like a cop-show featuring moustachioed men and cars with lewdly sized back ends. Ice Storm… well, it’s the only song which made me write a piece of emo-esque comics work.

However, I’m going with the Power Is On, because it was the first song by them which I actively loved. It hits hardest from the off - the hand claps and the vocals sound like a skipping-rhyme militarised, like something you’d expect kids to be changing in a warzone as tanks scroll past. Best of all, I literally can’t make out a single lyric.

2) We Come In Peace – Bobby Conn
The album felt hilarious and triumphant at the opening of the year. At its close, it feels like dark prophecy.

I always described Steps as what pop music would sound like if Nazis had actually conquered the world. That is, Abba with the Aryan purity chemically induced. It’s not necessarily a bad thing per se – but certainly a thing. Where Bobby Conn works is by taking what would be the most accepted form of Rock to the Republican majority – that is, 70s stadium AOR with a tiny hard edge, and then inversing it. It’s here which it gains its power, and We Come In Peace specifically.

While other songs play this more as open sarcastically, We Come In Peace is more thrilling because a particularly dense neo-con could take it without any irony whatsoever.

“We have no fear of your disgust/You only hate us because you’re jealous of success/God’s on our side/We know we’re right/Step into the light”

This song makes me want to kill people. Better, it makes me think that I could.

1) You Are The Generation Who Bought More Shoes And You Get What You Deserve - Johnny Boy

Despite the loathing of the last– and right now, having rediscovered the blank puritan fury of The Holy Bible thanks to the just-released tenth anniversary edition, loathing is very much my thing – I can’t end the year with a defeatist note.

I’ve written a lot about Johnny Boy’s single this year, and thought about it even more. I don’t think if I wrote this a month ago it’d have been number one – while the song was memorably described in a review as “All Crescendo”, it slackens off in the last four or five seconds, which leaves you feeling deflated.

Except maybe that’s the point – it’s not a song with a happy ending that leaves you running in the street. It’s a song that doesn’t quite resolve, so stops it just becoming a party anthem for those with a taste for bedroom epics.

"Generation" is an odd mixture of triumphant and defeatist, and it gains its strength from the conflict. It’s a song that sounds entirely in love with the possibility of things being different – the Yeah! Yeahs! aren't the song’s real hook, but their presence speaks volumes – while understanding that things are probably doomed. It exists in the space between the knowledge that we deserve no better than what we’re going to get, but the hope against hope that somehow it might all turn alright. And – by the existence of creations like “You Are The Generation…” it shows that there’s still hope. Its content attacks the world in which it finds itself, and in its form reminds us that there’s still the possibility of majesty.

The final line of Se7en comes to mind: “Ernest Hemingway once wrote, "The world is a fine place and worth fighting for." I agree with the second part.”

I think Johnny Boy would concur.

Kieron - 12/31/2004 07:24:00 PM

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