2021: THE YEAR IN MUSIC!!!

Featuring The Legendary No Static At All Top 50!

And so, here we are then - 2 months into 2022 - and it's time once again for me to look back at last year and sift through the best, and worst, of what that strange twelve months had to offer. Now that the dust has settled and the plates have been put away, who came out on top? And who fell by the wayside as the year dragged on and the nights grew dim? Covid of course impacted the year just as much as 2020, with the live scene disrupted and almost decimated by the stringent restrictions put in place across the globe. Nothing happened in the gigular universe until the late summer when our esteemed leaders brought forth 'Freedom Day' and live venues all over the country opened their gates to all and sundry - albeit with Covid checks on the door and social distancing in place. This reopening couldn't come soon enough for a lot of smaller venues that, thanks to hardly any help from the powers that be, came close to shutting up shop for good. Gigs remained in place for most of the rest of the year before a new strain of Crazy Flu kicked in at Christmas and most overseas acts started to cancel or reschedule their tours. Luckily, I managed to fit in a fair few events before things got shaky again with some stellar gigs from early 90s indie-rock royalty in the shape of Teenage Fanclub, Cud and Scotland's finest noiseniks The Jesus And Mary Chain, who performed their classic 'Darklands' album in full up at The Roundhouse in Camden. There was also two storming nights of Northern grooves and bangin' beats with the biggest London gigs from Yorkshire's Working Men's Club and Manchester's magnificent W.H. Lung who turned The Scala in King's Cross into a seething mass of pulsing rave glory. Best of the lot though was my annual - apart from 2020 of course - trip down to Wales for the balmy Brecon Beacons-based bucolic bohemia of The Green Man Festival. My 8th jaunt to Crickhowell was one of the best with pretty decent weather, wondrous company, top scran, splendid grog, glorious vibes and excellent sets from the likes of Ghostpoet, Lump, Thundercat, Django Django, Nadine Shah, The Surfing Magazines, Richard Dawson, Black Midi, Goat Girl, Gruff Rhys, Pictish Trail, Fontaines DC, Working Men's Club - again! Teenage Fanclub - again! Snapped Ankles, Nubya Garcia, and two astonishing headline turns from the mighty Mogwai on the Saturday who regaled the faithful with a searing 90 minutes of windswept post-rock and chugging soundcsapes, and then there was Dan Snaith and his Caribou collective on the Friday night who had been waiting two years to perform and didn't disappoint. Undoubtedly one of the best performances I've seen at the Festival, Snaith and co had the 20,000 strong crowd in the palm of his hand with a gorgeous set of uptempo dance wonder and life-enriching synth-pop. Wonderful from soup to nuts. Roll on this summer and the festival's 20th Anniversary celebrations.

As for the music released in 2021, the never-ending lockdowns meant that as most bands and artists couldn't tour, extra studio sessions were booked and albums were released quicker than normal. As such, there was a pretty swift turnaround for many acts which meant more records for me to listen to. No bad thing! My review will - as normal - look at specific genres in turn before a quick peruse of the best reissues and compilations as well as the finest music books. There will be my annual farewell to the great and good of the rock and roll scene before the big noise of The No Static At All Top 50. So, without further ado, pull up a beanbag and pour yourself a flagon of foaming mead. Things are about to get funky. Possibly.

(To get you in the mood, click here for an aural accompaniment to what's on offer with my Very Best Of 2021 playlist: https://open.spotify.com/playlist/0O333tRg01RTFccxUOI0Q2 )

(Also, if visuals are more your bag - man - then dive into this YouTube selection: https://www.youtube.com/playlist?list=PLlijCVNDG1zmYSM8r6rnZBV8ieEcBkA1N )

ROCK/METAL/HEAVY STUFF

'Iron Maiden'

As per usual here at No Static Towers, we'll start with the loud stuff. Lots of heavy riffage and thrusting rock shapes abound as rock heroes old and new shared their wares. New Wave Of British Heavy Metal stalwarts Iron Maiden returned to the fray after 6 years with their Japanese-themed concept album 'Senjutsu' which garnered the band their finest critical hosannas in years. They were joined by other classic heritage rock acts Alice Cooper and Deep Purple as well as the likes of The Wildhearts, Weezer, Rob Zombie and Monster Magnet - none of whom would probably regard themselves as heritage acts but they've all been with us for thirty odd years now so that's where I'm putting them! There were decent stabs at former glories from previous million sellers Royal Blood, The Darkness and Biffy Clyro but all three failed to make much traction with their latest efforts. The US scene was well represented with Buckcherry, Deap Vally and Alter Bridge's Myles Kennedy all offering up solid sets whilst the late Eddie Van Halen's son Wolfgang released his excellent self-titled debut opus 'Mammoth WVH' which was certainly good enough to make his dad proud. A couple of Aussie combos made a big noise with the second album from Amyl And The Sniffers and the fourth opus from the Psychedelic Porn Crumpets both proving that the Australian rock scene is in very good health. Meanwhile, a whole bunch of bands who have all been solidly releasing decent records for a fair while all returned with superb new product as Bullet For My Valentine, Trivium, Gnod, Deafhaven, You Me At 6, Architects and Every Time I Die kept their fanbase very happy indeed. Two extraordinarily successful British acts - although I'm still none the wiser as to why - in the shape of Wolf Alice and Idles released fair to middling efforts, whereas there was far more exciting and interesting fare from raucous hardcore collective Turnstile and the experimental noise-scapes of Teethgrynder as well as the remarkable duo Divide And Dissolve. Finally, France may not be anyone's idea of a holiday destination at the moment thanks to Monsieur Macron's draconian new powers, but that country's finest musical export are still breaking boundaries sonically. The long-standing quartet Gojira returned after a lengthy lay-off with the supreme 'Fortitude' which saw them cement their place at the very top table of mind-melding prog rock. Magnifique!

However, there were five albums from this particular area that although excellent, weren't quite strong enough to make my final Top 50. They were as follows:

5: FOO FIGHTERS: MEDICINE AT MIDNIGHT

Feisty set of upbeat stadium-rock bangers from Dave Grohl and company that, if not particularly setting the world alight, maintained their momentum as one of the biggest rock bands on the planet. Trailed by Grohl as their version of Bowie's 'Let's Dance', it never really reached those heights but the likes of 'Shame Shame' and 'No Son Of Mine' were as good as anything the band have done.

4: KING GIZZARD & THE LIZARD WIZARD: L.W.

The quick-fire sequel to 2020's sprawling 'K.G.', this was the fuzz-encrusted Aussie psychonauts 19th album in less than a decade. Their prolific nature is too much for the casual listener certainly - and the amount of styles they veer between doesn't help - but when they hit the sweet spot they are one of the most exciting crews around. This one was more of the same fecund brew of all things holy when it comes to psych-rock, and all the better for it.

3: BLACKBERRY SMOKE: YOU HEAR GEORGIA

Another storming collection of  denim-clad Southern Rock boogie tunes from America's modern-day Lynyrd Skynyrd. Celebrating their 20th anniversary as a going concern, they weren't pulling up any trees with this 7th album but if you like your Country Rock with a bit of grit and the idea of standing in a sun-baked field wearing patchwork jeans and downing a cool bottle of cider is your idea of heaven, then this is the album for you.

2: GARBAGE: NO GODS NO MASTERS

Startling set of crunchy Goth-Rock from Shirley Manson and her boys - too long away - that saw the post-grunge veterans take aim at the leaders of the world in true 'no fucks given' style, and railing against racism, social injustice and all the bad shit that's out there in fantastically uncompromising style. Draping the album in swathes of crispy synth-pop - a la Nine Inch Nails and Depeche Mode - helped enormously too, making this the best Garbage album since their stellar debut back in 1995.

1: JERRY CANTRELL: BRIGHTEN

Fantastic third solo album from the Alice In Chains frontman, that saw him marry his main band's acoustic-led grunge stylings with laid-back Americana and chiming melodic rock to wondrous effect. Featuring old chum Duff McKagan from Guns 'N' Roses on a few tracks, this was a glorious detour from Cantrell's day job that felt more relaxed than anything he's produced in a fair while. The title track being a case in point - all bouncy riffs with a killer chorus that bodes well for the next AIC opus.

'Jerry Cantrell'

INDIE/ALTERNATIVE

A veritable smörgåsbord of six-stringed drenched indie rock this year as No Static favourites from the past rubbed shoulders with up-and-comers in splendid fashion. Nineties legends Saint Etienne, Manic Street Preachers and Gruff Rhys from the Super Furry Animals all released sturdy offerings, along with Andy Bell from shoegaze veterans Ride who followed up his debut album from 2020 with a companion remix collection that expanded his sonic palette tremendously. There was also 'Love Drips And Gathers' which was the second release from modern-day indie supergroup Piroshka - otherwise known as Miki Berenyi from Lush, her husband Kevin McKillop from Moose and Justin Welch from Elastica. The album itself was a lovely suite of string-laden and ethereal dream-pop that worked very well on a Sunday morning. Jerky and discordant art-rock was the order of the day from the likes of Godspeed You Black Emperor and Black Midi, whilst there was some lovely jangle from Canadian combo Kiwi Jr who released their excellent second album 'Cooler Returns' early in the year to rave notices. South London's Shame also turned in their sophomore effort and although decent, didn't come close to the brilliance of their bracing debut from a few years ago. There were also solid efforts from long-standing faves Public Service Broadcasting, Modern Nature, Pond, The Surfing Magazines, Desperate Journalist and the always exciting Sleaford Mods. Finally, a whole bunch of extremely talented women showed that they were more than a match for the boys with the all-girl crews Goat Girl and La Luz offering up some glorious fuzzy rock tunes along with Lindsey Jordan - aka Snail Mail - who released a sparkling collection of anthemic indie-pop. There was also two albums of dreamy torch songs from the increasingly prolific Lana Del Rey. On top of all that, there was an astonishing one-off single from two of my favourite female singer/songwriters as Sharon Van Etten and Angel Olsen got together and delivered up the splendid ear candy that was 'Like I Used To' which was all crashing percussion, swelling strings and pin-sharp production and was one of the songs of the year.

'Sharon Van Etten & Angel Olsen'

Here's the best five albums from this genre that didn't make my final cut though:

5: FUR: WHEN YOU WALK AWAY

Lovely, tuneful indie rock from this Brighton quartet that sparkled from first note to last. Chugging rhythms, melodic jangle, harmony vocals - what's not to like? Worth it for the title track alone which was just utterly joyous.

4: WHITE FLOWERS: DAY BY DAY

Haunting collection of dreamy shoegaze and atmospheric soundscapes from the Preston duo that saw them expand on their earlier EPs with a more solid collection of tunes. Anchored by the gossamer vocals of Kate Drew, this album will thrill fans of Slowdive and the Cocteau Twins. Which is obviously why I love it.

3: BOBBY GILLESPIE & JEHNNY BETH: UTOPIAN ASHES

Outstanding collaboration here from the Primal Scream frontman and the lead singer of the now defunct Savages. Influenced no doubt by the early 70s pairing of Lee Hazlewood and Nancy Sinatra, this stirring set of country-rock ballads saw Gillespie and Beth act out relationship dramas and familial breakdown in hug-inducing fashion.

2: MUSH: LINES REDACTED

Absolutely fantastic set of feisty art-rock and jangle-tinged indie from this Leeds-based group who - since the release of their first album a few years ago - have sadly lost their guitarist to suicide. As such, this new release was drenched in melancholy but also aimed for light beyond the darkness. Imagine the likes of Television and the Modern Lovers jamming with Pavement and your halfway there with this one. 

1: PIP BLOM: WELCOME BREAK

Holland has produced some cracking indie troupes in recent years - Bettie Serveert and Daryll-Ann spring to mind for your faithful scribe - but this joyful little quartet may be the best of the bunch. Led by vocalist and guitarist Pip Blom herself, the band also features her brother Tender - named by their parents after the Blur track. This second album from the foursome fizzes with invention and verve and calls to mind the very best of early 90s alt-rock and proto Britpop. It's an absolute blast.

'Pip Blom'

    AMERICANA/COUNTRY/FOLK/BLUES

Another very strong year again in 2021 for all things countrified and folksome. Guitar based noodling and raw-throated troubadours were well-represented with excellent new albums from the likes of Steve Gunn, John Murry, Willy Mason, Villagers and especially Stephen Fretwell who returned after a decade away with the lovely 'Busy Guy'. There were some bracing new sets from laid-back country soul expert Matthew E. White, folk-tinged Newcastle duo Field Music and a quite brilliant second collaboration between UK folk maven Laura Marling and straggle-haired Tunng fulcrum Mike Lindsay who reconvened their Lump project to stupendous effect on 'Animal'. I also thoroughly enjoyed a brace of stirring blues albums from newcomers Ayron Jones and, especially, Buffalo Nichols who produced the blues album of the year with his self-titled opening gambit. Tremendous. The No Static stereo system also reverberated throughout the year to some wonderful folk sounds from the likes of James Yorkston, and Richard Dawson who paired up with Finnish metal crew Circle for a remarkable journey through avant-garde folk and driving, exploratory post-rock on the extraordinary 'Henki'. There was also some old-school freak-folk from Sunburned Hand Of Man and Devendra Banhart who released a drifting suite of esoteric ambient soundscapes in conjunction with his old mucker Noah Georgeson. More traditional Americana could be found with new releases from Jay Farrar and his Son Volt collective, Kacey Musgraves, Julien Baker as well as a couple of stirring sets from newcomers Cassandra Jenkins and Rosali. Finally, the return of some old favourites in the shape of Bill Callahan and Bonnie 'Prince' Billy who put together a lockdown-curated bunch of cover versions under the name of 'Blind Date Party' that featured a whole bunch of their cronies like Matt Sweeney, David Pajo, Ty Segall, Meg Baird and Ben Chasny trying their hand at tunes by Steely Dan, Silver Jews and - tremendously - Billie Eilish. And a quick word for 'J.T.' which was Steve Earle's tribute album to his late son Justin Townes. A tough listen most definitely, but richly rewarding.

'Justin Townes Earle & Steve Earle'

Here's the five that didn't make the final fifty:

5: RYLEY WALKER: COURSE IN FABLE

More dizzying jazz-inflected folk-rock from the never knowingly static Walker. Always changing, always searching, always shifting - you never know what he'll come up with next. This time out it was a prog-swaddled suite of thrilling guitar work and artsy time-signatures that veered all over the place but in a really good way.

4: STURGILL SIMPSON: THE BALLAD OF DOOD & JUANITA

The king of modern-day country returned with another volte-face - a full-blown concept album about a sharp-shooting cowboy valiantly searching the Old West for his kidnapped bride. Encompassing all kinds of old-time mountain music, stirring gospel tropes and high-kickin' C&W, this saw Simpson on outrageous form.

3: LUCY DACUS: HOME VIDEO

Third album of startling, literate indie-folk from the Virginia singer/songwriter - and one third, alongside Phoebe Bridgers and Julien Baker, of BoyGenius - that, as the title may suggest, focused her eye on her childhood and coming-of-age years in stunning fashion. Delicate harmonies, hushed acoustics, gut-punch emotion - it's all here.

2: FINK: IT IS'NT UNTIL IT IS

Wonderful collection of stripped-back and acoustic versions of some of the criminally underrated Fin Greenall's finest tunes from his last 15 years. Proving again what a masterful songwriter he is, these laid-back and blues-tinged tracks came across as aural balm for these troubled times - especially on the likes of the still mesmerising 'Yesterday Was Hard On All Of Us' and 'Looking Too Closely'. This guy should be massive.

1: NIGHT BEATS: OUTLAW R&B

Fourth album of psychedelic country, fuzz encrusted garage rock, cosmic beats and down-home grooves from the mysterious Danny Rajan Billingsley. Ostensibly a solo project, this current outing saw Billingsley expand his sonic palette even further, journeying outward into ever-more groove-inflected textures and foot-stomping rhythms. Feisty, fiery and fricking fantastic. 

'Night Beats'

 DANCE/ELECTRONICA/JAZZ/WORLD

Delving into the more niche areas of last year's music scene now with a splendid selection of beats, vibes and grooves from around the globe. Scotland's previously indie-pop indebted Django Django decided to up the ante on their fourth album 'Glowing In The Dark' which saw the quartet put on their dancing shoes and deliver up a funk-tinged set of solid bangers. It worked particularly well on the Friday night at last summer's Green Man Festival when they helped with the cathartic nature of a return to live music by turning the main arena into a full-blown rave-swaddled dance party. Immense. Also offering up some solid grooves were London's Jungle, Manchester's Lonelady and the first album in 7 years from Kevin Martin - aka The Bug - who thrilled in a major way with the techno/dancehall/dub mash-up that was 'Fire'. More urban vibes too from the UK with the excellent fourth album from Little Simz, the second effort from the London rapper Dave and a brilliant debut release from Greentea Peng, born and raised not far from No Static Towers here in SE London. It was a pretty fallow twelve months for Hip-Hop with only the new albums from Madlib and Tyler, The Creator making any headway for me, but it was another very strong year for jazz with fantastic releases from Portico Quartet, Makaya McRaven and the return of Canada's BadBadNotGood with their first album in five years - 'Talk Memory' - which was an absolute delight. I also enjoyed the offshore vibes of Turkey's experimental psych-folk troupe Altin Gün, as well as the latest from the legendary Femi Kuti. Finally, a quick shout-out to the Arizona duo Trees Speak, who followed up their excellent 2020 release 'Shadow Forms' with not one but two new collections of esoteric and experimental electronic soundscapes. The first - 'PostHuman' - was decent, but the second - the magnificently monikered 'Vertigo Of Flaws: Emancipation Of The Dissonance And Temperaments In Irrational Waveforms' - was quite remarkable.

'Trees Speak'

Heads up for the five that missed out though:

5: SONS OF KEMET: BLACK TO THE FUTURE

The annual state-of-the-nation address from London's premier saxophonist Shabaka Hutchings who returned with one third of his working roster - he gave The Comet Is Coming and Shabaka And The Ancestors the year off - and a phenomenal set of AfroBeat-tinged jazz mastery. Featuring the likes of Lianne La Havas and Kojey Radical on selected vocals, this was fearsome fare.

4: JOHN CARPENTER: LOST THEMES 3

Third album of instrumental pseudo movie scores from the legendary horror director. Now well into his eighth decade, he was joined by his son Cody for a haunting and atmospheric collection of synth-pop and thumping death-disco. Hopefully, with Covid retreating into the rear-view mirror, the great man will treat the UK to another of his astounding live shows. We can but hope.

3: GOAT: HEADSOUP

In lieu of a new album - lockdown kept the band apart for too long it seems - this was a compilation of odds, sods and lost tunes from the crazy mask-wearing nutjobs from Sweden. Covering all the band's famed tropes - searing psych, crunchy fuzz and tribal rhythms loud enough to shake the roof tiles - this bunch of wondrous tracks, including some searing new material, proved once again that there are very few bands on earth that sound anything like them.

2: FLOATING POINTS, PHAROAH SANDERS & THE LSO: PROMISES

Extraordinary collaboration here between the legendary jazz saxophonist Sanders and Mancunian electronica expert Sam Shepherd, otherwise known as Floating Points. Based around a recurring seven-note piano motif, both Sanders and Shepherd gave themselves full rein to ebb and flow around each other whilst the London Symphony Orchestra drenched the whole project in stunning strings. As much a soundtrack to meditative peace and calm as it was a solid jazz album, this was just stunning.

1: JON HOPKINS: MUSIC FOR PSYCHEDELIC THERAPY  

Doing exactly what it says on the tin, this latest opus from Kingston's very own Brian Eno saw him pull back on his previous thumping beats and sky-scraping electronica for a more relaxed hour of drifting ambience, mellifluous mind massage and cerebellum caressing communion. Featuring recordings from the legendary American spiritual guru Ram Dass on the glorious closing track 'Sit Around The Fire' this was undoubtedly the best value for money therapy on the market.

'Jon Hopkins'

HERITAGE/CLASSIC ROCK

Once again, 2021 saw a great many classic artists from years gone by return to the fray with new fare that - if not quite recapturing the verve of their youth - still came very close on a few occasions to matching up to their song-writing high points from back in the day. The 80s were particularly well-represented with solid if not spectacular albums from new romantic gods Duran Duran, synth-pop king Gary Numan, post-punk heroes The Stranglers, ska legends The Specials, The Modfather himself Paul Weller, and everyone's favourite yoga-loving tantric figurehead Sting who released the fairly decent 'The Bridge' to a pretty underwhelming response. Also trying to recapture former glories were three of the biggest bands of the noughties in Coldplay, The Killers and Kings Of Leon who all turned in albums of varying quality. Their commercial hey-day long behind them, 'Pressure Machine' by The Killers was a damp squib on arrival whilst 'When You See Yourself' by Kings Of Leon was actually fairly solid. Coldplay's cringe-inducing 'Music Of The Spheres' on the other hand was an absolute horror. All tinkling pop beats, ill-advised collaborations and saccharine lyrics, it was the band's nadir. And this comes from a long-term fan. Three perennial No Static favourites reappeared with very good releases as Mancunian indie legends James continued their recent purple patch with 'All The Colours Of You' and Depeche Mode vocalist Dave Gahan hooked up yet again with London producer Rich Machin and his Soulsavers collective for a dark and downbeat collection of cover versions on the striking 'Imposter'. And California's rootsy rockers Counting Crows returned after far too long away with an excellent EP called 'Butter Miracle Suite One' which was chock full of melodic, good time rock and roll and bodes well for the new album.

'Counting Crows'

The five that missed out on my Top 50 were:

5: PRINCE: WELCOME 2 AMERICA

More sparkling off-cuts from the seemingly bottomless pit that is the Paisley Park vault, this was actually the late, great Purple One's finest album in a very long time. Dripping in - but of course - filthy funk, gnarly guitars and slinky workouts, this only reminded the listener yet again what an extraordinary loss Prince was.

4: DAVID CROSBY: FOR FREE

Astonishingly, this was the fifth album in the last decade from the mighty Croz who - seemingly resigned to his health issues depriving him of many more years on the planet - has decided to go out fighting. As well as selling his back catalogue off for a princely sum (along with old muckers Neil Young, Bob Dylan and Paul Simon) the old warhorse found time to pen his best album since his 1971 masterpiece 'If I Could Only Remember My Name', which was also reissued on it's 50th anniversary. Dulcet harmonies, hushed acoustica, a Joni Mitchell cover and a duet with Steely Dan's Donald Fagen. For music lovers of a certain vintage - me, for example - this was manna.

3: LINDSEY BUCKINGHAM: LINDSEY BUCKINGHAM

First solo album in over ten years from the former Fleetwood Mac lynchpin which was somewhat overshadowed by the still lingering rancour over his ousting from the Mac a few years ago. Fully recovered now after throat surgery that almost cost him his voice, this lockdown recorded opus saw Buckingham turn his eye on the breakdown of his marriage and his hopes and worries for the future in self-lacerating style.

2: DAMON ALBARN: THE NEARER THE FOUNTAIN...

....More Pure The Stream Flows' - to give it it's full title - was the second proper solo album from the head honcho of Britpop legends Blur, and saw Albarn construct a relaxed and reflective ode to home confinement and middle-aged happiness. All set to the backdrop of melancholic piano and downbeat grooves, this was as far removed from 'Parklife' as it's possible to get.

1: MATTHEW SWEET: CATSPAW

Fabulous re-emergence from the wilderness from the great lost power-pop scion of the 90s. The architect of one of my favourite albums of all time - the peerless 'Girlfriend' from 1992 - Sweet should have been far more of a success than he was but, due to a major fear of flying and a reluctance to play the music business game, he disappeared into the margins long ago. This excellent 14th album - not counting his series of cover version collections with Susanna Hoffs - was possibly his best since the mid-90s, oozing with crunchy riffs, sparkling jangle and choruses you can hang your hat on. Mighty stuff.

'Matthew Sweet'

Whilst we're here, a quick nod of the head and tip of the hat to some true friends of this here blog of mine, who have all been hard at work at the musical coal-face and producing some stellar sounds. 

From the eerie environs of the South East London suburbs I point you in the direction of Benomaly who has been squirreling away in his home studio to pour forth a fulsome feast of ambient soundscapes and elbow-jerking electronica. Dive in and check out his work here: https://soundcloud.com/benomaly and here: https://open.spotify.com/artist/0ZLrtVA3P8fs3yczKQggql  and here: https://benomaly.bandcamp.com/

Over on the other side of the capital's satellite suburbs, down in South West London, you'll find the countrified good-time blues grooves of the Spongers collective. All fuzzy vibes and acid-fried glory, take a peek at their ever-expanding catalogue here: https://soundcloud.com/spongers  and here: https://www.soundclick.com/artist/default.cfm?bandID=1137190 

Meanwhile, spewing forth from the depths of Maidstone in Kent with all the fire and fury they possess, is the terrifyingly youthful death metal trio Convulsion who have just released their debut offering - the excoriating noise of  'Everything will be ok'  which is straining at the leash with ear-shredding hardcore and retina-peeling noise. Absolutely tremendous. Check them out here: https://open.spotify.com/artist/4U7MzdWK0SYPfbO2lDutAb and also here: https://convulsiongxc.bandcamp.com/releases

REST IN POWER

As has become sadly the norm in recent years, 2021 was filled with far too many sad and tragic losses from all across the musical landscape. From true rock heroes of fifty years standing, to reggae legends, country queens, 80s pop stars and funk pioneers - the world is a poorer place without them all. Raise a glass and wish them fare thee well.

CHARLIE WATTS: Rolling Stones drummer, sharp-dressed man and all round ace gent.

DUSTY HILL: Bassist, vocalist and one third of the self-styled 'Best Little Boogie Band In Texas', ZZ Top.

NANCI GRIFFITH: Queen of Americana and songwriter extraordinaire.

MARK KEDS: Frontman with 90s indie rockers Senseless Things.

LEE 'SCRATCH' PERRY: Jamaican music legend, world renowned producer and slightly bonkers Professor Of Dub.

Gerry Marsden (Gerry And The Pacemakers); Hilton Valentine (The Animals); Les McKeown (Bay City Rollers); DMX (Hip-Hop legend); Shock G (Digital Underground); Bunny Wailer (The Wailers); U-Roy (Reggae maestro); Chick Corea (Jazz hero); Alexi Laiho (Children Of Bodom); Anita Lane (Australian singer/songwriter); Dan Sartain (rock and roll guitar hero); B.B. Dickerson (bassist with War); Mary Wilson (The Supremes); Joey Jordison (Slipknot/Murderdolls); Sylvain Sylvain (New York Dolls); Steve Bronski (Bronski Beat); Mike Nesmith (The Monkees/First National Band); Phil Spector (legendary record producer); Malcolm Dome (rock journalist); Andy Barker (808 State); Mick Rock (photographer to the stars including David Bowie and Lou Reed); John Miles (UK singer/songwriter); Jim Steinman (magnificently OTT producer and composer and the man behind 'Bat Out Of Hell'); Michael Chapman (UK folk guitarist); Richard H. Kirk (one half of Cabaret Voltaire); Pee Wee Ellis (saxophonist for James Brown and The J.B.s); Stephen Sondheim (musical theatre fulcrum); Fritz McIntyre (Simply Red keyboardist); Brian Travers (saxophonist with UB40); Astro (singer and toaster with UB40); Graeme Edge (The Moody Blues); Don Everly (one half of The Everly Brothers); Alan Lancaster (Status Quo); Paddy Moloney (The Chieftans); Greg Gilbert (vocalist with noughties indie crew The Delays); Pat Fish (otherwise known as The Jazz Butcher); Deon Estus (bass player with Wham and perennial session musician throughout the 80s).

Next up, we dive deep into the solid thorax of the best of 2021. We'll start with the finest music books released last year, all of which should fill those winter evenings with screeds of stupendous stories and tablets of tremendous tales. Turn the page, why not?

TOP TEN BOOKS OF THE YEAR

10: YOU ARE BEAUTIFUL AND YOU ARE ALONE: THE BIOGRAPHY OF NICO (Jennifer Otter Bickerdike)

9: FROM MANCHESTER WITH LOVE: THE LIFE AND OPINIONS OF TONY WILSON (Paul Morley)

8: BEESWING (Richard Thompson)

7: LAST CHANCE TEXACO (Rickie Lee Jones)

6: REMEMBERINGS (Sinead O'Connor)

5: BUNNYMAN (Will Sergeant)

4: NINA SIMONE'S GUM (Warren Ellis)

3: THE STORYTELLER (Dave Grohl)

2: TENEMENT KID (Bobby Gillespie)

1: DEVIL IN A COMA (Mark Lanegan)

Second chart-topping memoir in a row on this here blog for the gravel-voiced Lanegan - the so-called Grizzled Godfather Of Grunge - that recounts, in harrowing detail, his close call with Covid-19 early last year that left him in and out of a coma for months not long after departing his US homeland and putting down roots in Ireland with his wife, Shellie. Sadly, the recovery from the bug that he touches on in the latter half of the book was to be short-lived. Literally days before posting this piece, Lanegan succumbed to his physical demons at the age of 57. A true hero of mine cut down far too soon. A full and thorough tribute will be forthcoming. 

Next up, it's the very best of the countless re-releases, re-issues and compilation albums that took up space not only on the No Static stereo but also on my ever-straining shelving units. Indulge, please.

TOP 30 RE-ISSUES AND COMPILATIONS

30: BELLY: BEES (B-SIDES & RARITIES)

29: PRIMAL SCREAM: DEMODELICA (SCREAMADELICA DEMOS)

28: MUDHONEY: EVERY GOOD BY DESERVES FUDGE 30th ANNIVERSARY

27: POP PSYCHEDELIQUE: THE BEST OF FRENCH PSYCH/POP 1964- 2019

26: NOEL GALLAGHER'S HIGH FLYING BIRDS: BACK THE WAY WE CAME VOLUME 1

25: TOM PETTY: ANGEL DREAM (SHE'S THE ONE DEMOS)

24: SPIRITUALIZED: EARLY RE-ISSUES

23: KAREN BLACK: DREAMING OF YOU (1971-76)

22: THE CHARLATANS: A HEAD FULL OF IDEAS BOXSET

21: DAVID CROSBY: IF I COULD ONLY REMEMBER MY NAME 50th ANNIVERSARY

20: NICK CAVE & THE BAD SEEDS: B-SIDES VOL. 1/2

19: CAN: LIVE IN BRIGHTON/LIVE IN STUTTGART

18: ARTHUR BAKER PRESENTS SHEP PETTIBONE: THE MASTER MIXES

17: METALLICA: THE BLACK ALBUM 30th ANNIVERSARY

16: STEELY DAN/DONALD FAGEN: NORTHEAST CORRIDOR LIVE/THE NIGHTFLY LIVE

15: RADIOHEAD: KID A MNESIA 20th ANNIVERSARY

14: NIRVANA: NEVERMIND 30th ANNIVERSARY BOXSET

13: THE BEATLES/JOHN LENNON/GEORGE HARRISON: LET IT BE/IMAGINE/ALL THINGS MUST PASS 50th ANNIVERSARY EDITIONS

12: BOB MOULD: DISTORTION 1989-2019

11: WHIPPING BOY: HEARTWORM 25th ANNIVERSARY

10: JAPAN: QUIET LIFE BOXSET

9: THE BLACK CROWES: SHAKE YOUR MONEYMAKER 30th ANNIVERSARY

8: CHRIS CORNELL: NO ONE SINGS LIKE YOU ANYMORE VOL. 1

7: NEIL YOUNG: WAY DOWN IN THE RUST BUCKET/YOUNG SHAKESPEARE/CARNEGIE HALL 1970 (LIVE CONCERT SERIES)

6: L7: WARGASM - THE SLASH YEARS 1992-1997

5: THE THE: THE COMEBACK SPECIAL LIVE AT THE ALBERT HALL

4: I'LL BE YOUR MIRROR: A TRIBUTE TO THE VELVET UNDERGROUND

3: COME: DON'T ASK, DON'T TELL (REMASTER)

2: THE BEACH BOYS: FEEL FLOWS (THE SUNFLOWER AND SURF'S UP SESSIONS 1969-1971)

1: R.E.M. : NEW ADVENTURES IN HI-FI 25th ANNIVERSARY

It's that band again. My favourite group of all time continue their extensive re-issue campaign with this quarter-century celebrating, bells and whistles bedecked deep-dive into their last truly magnificent album. First released in October 1996 during the middle of the seemingly never-ending world tour that almost killed them, this extraordinary collection of on-the-road written songs took in haunting Americana on the astonishing 'E-Bow The Letter', discordant art-rock on 'Leave' and 'How The West Was Won' as well as the jangle-infused indie smarts the band were renowned for on the likes of  'Bittersweet Me' and 'New Test Leper'. Throw in some spiky stadium rockers, delicate piano ballads and the odd quirky instrumental piece, and you're looking at one of the finest albums that Michael Stipe, Peter Buck, Mike Mills and Bill Berry ever produced. With Berry leaving soon after, and the remaining trio easing into middle age, they were never really the same again.

And finally - we arrive at the main course. The No Static At All Top 50 of 2021. In previous years, the chart has been topped by the likes of Angel Olsen, LCD Soundsystem, Rolling Blackouts Coastal Fever, W.H. Lung and Working Men's Club. Who will be added to that list? Eyes down and find out my friends....

THE TOP 50 ALBUMS OF 2021

50: GARY LOURIS: JUMP FOR JOY

Lovely second solo album from the head honcho of Americana legends The Jayhawks. Moving away from his band's usual fare, this focused more on sparkly jangle, Beatles pop smarts and up-tempo tunes of the highest stripe.

49: JOSÉ GONZÁLEZ: LOCAL VALLEY

Thoroughly welcome return from the Swedish troubadour that, if not veering too far away from his previous albums, was still a gorgeous collection of acoustic-led folksome ditties. With tracks sung in Swedish, Spanish as well as English, this was a real globe-embracing affair.

48: ROSE CITY BAND: EARTH TRIP

Third release under the RCB banner for California's fulsomely bearded Ripley Johnson - leader of psych heroes Wooden Shjips and Moon Duo - which saw the main man marry the blissed out grooves of those other bands with swoonsome country rock and hazy Americana.

47: TORI AMOS: OCEAN TO OCEAN

Lockdown-produced 14th set from the flame-haired Queen Of Kook which - after scrapping the original recordings - found Amos penning a wonderful suite of songs that, having lost her mother to cancer recently, focused on the distance between loved ones during the last two years. With - but of course - her piano to the fore, this was some her strongest material in years. 

46: SUFJAN STEVENS & ANGELO De AUGUSTINE: A BEGINNER'S MIND

Stunning collection of hushed folk ballads from the always brilliant Stevens - this time joined by his old mate De Augustine - that found the duo taking inspiration from their lockdown movie nights and putting together songs based on the films that they watched. If you ever fancied listening to a bunch of dulcet acoustic tunes inspired by Buffalo Bill's killing spree in 'Silence Of The Lambs' then look no further. 

45: MODEST MOUSE: THE GOLDEN CASKET

First album in over 7 years from Isaac Brock and his crew of spiky art-rockers who have been Arcade Firing it since before that latter band had mud on their boots. Hugely underrated and seemingly unknown outside of America, this was yet another feisty set of jerky, funk-tinged psych-pop that threw pretty much everything into the mix to see what would stick. Spoiler alert: It all did.

44: ELBOW: FLYING DREAM 1

Another lockdown produced album here which saw everyone's favourite cuddly Northern uncle Guy Garvey and his cohorts sit back, relax and tinker away on a far more delicate album than usual. Stripped-back and piano-led ballads rubbed shoulders with dreamy acoustic anthems and shoulder caressing strings. Seemingly more than happy to leave their big commercial success far behind them, this was Elbow doing what they love in splendid style.

43: SLEATER-KINNEY: PATH OF WELLNESS

A tentative return to their strident indie-rock roots here for Carrie Brownstein and Corin Tucker after the less than successful detour into glossy synth-pop on their last album. Drummer Janet Weiss also hasn't returned to the fold so a duo they remain. Crunchy guitar riffs, stonking choruses and those fantastic harmony vocals are all present and correct though.

42: BILLY F. GIBBONS: HARDWARE

Third solo album from the ZZ Top fulcrum - released just before the passing of his partner in crime Dusty Hill - and this was a tour de force of balls to the wall blues rockers that gave Gibbons full rein to pummel away at his guitar and let the grooves do the talking. A brace of late-night Tex-Mex ballads shifted things around and there was sterling work on drums from former Guns 'N' Roses/The Cult sticksman Matt Sorum. Have mercy!

41: MOBY: REPRISE

Wondrous re-imagining of some of the balding techno boffins finest tracks here as the now fifty-something Mr Melville joined forces with the Budapest Art Orchestra to beef up the likes of 'Natural Blues', 'Go' and 'Why Does My Heart Feel So Bad?' with the full gamut of sweeping strings and ambient synths. Also featuring stellar guest vocal turns from Gregory Porter, Jim James, Skylar Grey and - on the impossibly moving 'The Lonely Night' - the astonishing pairing of  country music icon Kris Kristofferson and the recently departed Mark Lanegan. Spine-tingling.

40: NICK CAVE & WARREN ELLIS: CARNAGE

Hunkered down together during the first lockdown, the mighty Nick Cave and his go-to man for all kinds of experimental exploration - the heroically bearded Warren Ellis - carried on where they had left off on 2019's haunting 'Ghosteen'. Bubbling electronica, atmospheric textures and ethereal synths were the order of the day whilst all the while, Cave raged and railed at the horrors of the world - taking on grief, pain, religion and death. All the good stuff. As the great man says: "Whatever doesn't kill you, only makes you crazier."

39: STÖNER: STONERS RULE

As close to a full-blown Kyuss reunion as we're ever going to get these days as one half of that hugely influential alt-rock crew - singer and guitarist Brant Bjork and bassist Nick Oliveri - hooked up with old drumming pal Ryan Gut for a monolithic slab of gnarly riffs, crunching grooves and dust-covered desert blues. Monumental.

38: THE BESNARD LAKES: ARE THE LAST OF THE GREAT THUNDERSTORM WARNINGS

Sixth album of epic, windswept indie rock from the Canadian husband and wife team of Jase Lasek and Olga Goreas and their cohorts that melded together elements of psych, prog, dream-pop and atmospheric post-rock into one gloriously cohesive whole. Outstanding fare.

37: ST. VINCENT: DADDY'S HOME

The esteemed Annie Clark returned after a few years away with another massive departure in sound, this time veering away from the austere synth-rock of 2017's 'Masseducation' into easy listening 70s West Coast rock territory as she celebrated her father's release from prison by delving into his record collection for a dreamy collection of Steely Dan and Fleetwood Mac influenced bohemian grooves. 

36: NEIL YOUNG & CRAZY HORSE: BARN

Everybody's favourite ornery old coot returned to new music after a couple of years of curating his archive releases, and this time he got the old gang back together. Less meandering rock jams from the Horse this time though, as Old Neil focused more on the passing of time and lost loved ones with a far more reflective and laid-back affair than usual.

 

35: MASTODON: HUSHED & GRIM

Metal album of the year by some distance this, as the magnificent Atlanta foursome - all tangled beards and facial tattoos - paid tribute to their manager, and unofficial fifth member, Nick John who succumbed to cancer in 2019. Dripping with emotion and sorrow, this hefty double album saw the band reinvent prog-metal once again with endlessly inventive riffing, thrilling time signatures, a three-pronged vocal chorus hewn from Valhalla itself and tunes aplenty. Hard, heavy, intense and in your face but also reflective and beautiful too. And, with the spellbinding 'Gigantium', they may have written the song of their lives.

34: JOHN GRANT: BOY FROM MICHIGAN

The return to the musical frontline of the honey-voiced crooner Grant is always cause for celebration within No Static Towers, and this fifth album of wry, literate torch-pop was another signpost to greatness. Autobiographical tales of his childhood and early sexual awakenings were married to lush, synth-drenched arrangements overseen by Welsh indie maven Cate Le Bon. Quite lovely.  

33: BONNIE 'PRINCE' BILLY & MATT SWEENEY: SUPERWOLVES

A long-delayed follow-up to 2005's magnificent 'Superwolf' here from Will Oldham and his pal Sweeney that ended up being Oldham's finest set of songs in a very long time. Delicate ballads and goth-tinged blues tunes were the order of the day, with Oldham reflecting on fatherhood and family life whilst Sweeney underpinned the whole affair in some sparkling guitar lines. Also featuring a rousing duet with African guitar hero Mdou Moctar, this was all fabulous. 

32: THE CORAL: CORAL ISLAND

Tremendously ambitious double concept album from the ramshackle Liverpudlians that paid off handsomely. Depicting the dying days of a dilapidated theme park, this glorious melange of psychedelic whimsy, baggy skiffle, harmony-laden jangle and Kinks-ian pop glory was a joyous return to form for the Wirral crew. Having frontman James Skelly's grandfather on narrative duty throughout was just the icing on the cake.

31: COURTNEY BARNETT: THINGS TAKE TIME, TAKE TIME

Locked down back home in Australia for what must have seemed like forever for her, this third full-length album from the queen of laid-back indie rock was put together using a bunch of second-hand drum machines and keyboards in her front room with Zoom-laden assistance from Warpaint drummer Stella Mozgawa. Loose, organic and home-baked to a perfect temperature, these wonderful songs were as good as Barnett has ever been. 

30: ISRAEL NASH: TOPAZ

Texan cosmic country warrior Nash swept back into consciousness with another superb foray into mind-expanding acid-rock and acoustic-backed Americana that, in an ideal world and with a prevailing wind, would be selling bucketloads. A rich and hearty stew of sultry soul, groovy gospel, floating folk and pastoral psychedelia, this was Nash at the peak of his powers.  

 

29: JANE WEAVER: FLOCK

Extraordinary eleventh entry into the canon of the increasingly brilliant Liverpudlian's career. This time out, the dulcet-voiced Weaver blended her usual esoteric kosmiche grooves with summery synth-pop textures and ambient stylings that brought to mind Stereolab and Goldfrapp chowing down together over a hearty Sunday roast. Throw in some glitchy funk and mirrorball disco and we were really cooking with gas. 

28: THE ANTLERS: GREEN TO GOLD

Utterly delightful sixth album from the Brooklyn-based indie veterans - and their first for 7 years. During that lengthy hiatus, singer Peter Silberman suffered an acute bout of hearing loss and feared he may never sing again. Thankfully fully recovered, this latest release is - perhaps understandably - a far more stripped back affair than their previous widescreen indie. Gorgeous acoustic ballads and delicate piano anthems were very much the order of the day which worked perfectly for these troubled times. Fantastic to have them back. 

27: DINOSAUR JR. : SWEEP IT INTO SPACE

When Boston indie-rock legends J Mascis, Lou Barlow and Murph reconvene every three or four years to deliver a new album you know exactly what you're going to get. There's no chance that Mascis and co will push the envelope and try something different but that's fine. Sometimes, familiarity doesn't breed contempt. So, as usual, here we find a supremely solid set of driving indie tunes, all underpinned by the searing and slightly off-kilter guitar solos from Mascis - as well as his magnificently Marmite vocal delivery. Same as it ever was? Suits me. 

26: SAULT: NINE

Not, as the title may suggest, their ninth album but actually the fifth release from the mysterious London-based soul collective. Seemingly helmed by the increasingly in-demand producer Inflo (famed for his work with Little Simz and Michael Kiwanuka) this stupendous mix of R&B, hip-hop, dance and funk proved yet again that - along with the double-whammy of 2020's 'Rise' and 'Black Is' - this terrifically thrilling collective are the future of British black music.

 

25: LOW: HEY WHAT

Husband and wife duo Alan Sparhawk and Mimi Parker returned with their thirteenth journey into explorative modern-day cosmica and solidified their place as one of the best American bands around. Maintaining the distortion-infused soundscapes of  2018's coruscating 'Double Negative', this time out they eased up a little on the static overload, pushing those joyful harmony vocals further up in the mix for a heroic, hymn-like marriage of old and new Low.

24: HOWLIN' RAIN: THE DHARMA WHEEL

The bountifully bearded Ethan Miller - also a member of Comets On Fire, Feral Ohms and Heron Oblivion - reconnected with his Howlin' Rain compadres for a gargantuan suite of space-age psych-rock and mind-melding guitar frenzy that came across like the all-night soundtrack to a particularly hazy night out in Haight-Ashbury circa 1968. Epic jams, driving choogle, sky-scraping sonica and dusty ragas - usually all in one song. Far out, man. 

23: THE WEATHER STATION: IGNORANCE

The sparse, stripped-back solo recordings on the self-titled 2017 album from Tamara Lindeman - actually her fourth release - were a wonderful calling card, but this latest collection of songs were a different beast entirely. Augmenting her sound with a full band has done wonders for Lindeman, as this delve into post-relationship depression touched on jazz, folk-rock and orchestral pop in wondrous fashion.

22: DEAN WAREHAM: I HAVE NOTHING TO SAY TO THE MAYOR OF L.A.

Outstanding third solo album from the Luna frontman - and, long ago, one third of the mighty Galaxie 500 - that found Wareham on spiky form, addressing the vagaries of our age in a wry and sarcastic manner, while all the while plugging into some groove-infused indie rock and laid-back dream-pop that just made me wish he'd do this kind of thing more often. Worth the admission price alone for the hilarious 'Robin And Richard'. 

21: BICEP: ISLES

The Scottish dance duo return with more hands in the air techno bangers that, if not quite reaching the peaks of their self-titled debut from four years ago, still managed to make this grizzled fifty-something feel that a night standing in a field throwing shapes might be one of the greatest experiences known to man. Drenched in beats, rhythms and vibes, this was a record made for headlining late-night festival sets - which, hopefully, they'll be able to do this summer.

20: MOGWAI: AS THE LOVE CONTINUES

A storming 2021 for the Scottish post-rock legends. Their first Number One album, their first Mercury Prize nomination, an astounding Saturday night headline slot at last summer's Green Man Festival and effusive reviews across the board for this tenth exercise in brain-frazzling atmosphere and epic instrumental soundscapes. There was even a vocal track as main man Stuart Braithwaite stepped forward on the driving alt-rock of 'Richie Sacramento'. A triumph.

19: THE BLACK KEYS: DELTA KREAM

Their huge, stadium-filling commercial hey-day long behind them, the last few years has seen the Ohio blues-rock duo return to what they enjoyed about music in the first place. With drummer Pat Carney helping out on sessions with friends, vocalist Dan Auerbach has seen his producer credits increase year on year. Reuniting back home and focusing on the blues that they grew up with, this fabulous album saw the band teaming up with veterans from the Deep South scene and covering classic tunes with aplomb. Swampy, earthy grooves and sterling guitar licks from Auerbach made this the best Keys album for over a decade.

18: BIG RED MACHINE: HOW LONG DO YOU THINK IT'S GONNA LAST?

Second glorious collaboration between The National's Aaron Dessner and Justin Vernon from Bon Iver that saw the duo hook up with friends old and new in the shape of Anais Mitchell, Sharon Van Etten and - tremendously - Taylor Swift for a beguiling mix of synth-laden alt-rock, delicate folk and emotive indie. Extra marks too for the track 'Phoenix' which saw one of my long-held musical dreams come true as Vernon duetted with the equally spectral-voiced Robin Pecknold of Fleet Foxes. Gorgeous.

17: ARAB STRAP: AS DAYS GET DARK

Long-awaited return to the musical coalface from Scotland's dour and downbeat lords of louche that saw Aidan Moffatt and Matthew Middleton continue their journey into the dark underbelly of modern life in typically hilarious fashion. Against a backdrop of grubby post-rock, the duo's sordid and squalid tales of life on the road, masculine despair and morning-after guilt made this their best-ever album. And titfers aloft for the finest lyrical couplet of the year too on the stupendous 'Compersion': "My Pollyanna loves poetry, she thinks my heaven is hell. I come on strong with a limerick, she knocks me back with a villanelle. She has only one confidante, a psychosexual shrink. I think she's wasting her money, I think we just need a drink."

16: KINGS OF CONVENIENCE: PEACE OR LOVE

Another return after far too long away here as Norway's finest acoustic folk duo - a less niche market than you think I reckon - reappear with their first album since 2009. Erlend Øye and Eirik Glambek Bøe never stray too far from their particular wheelhouse - beautifully strummed guitars, jazz-tinged grooves and those delightful harmony vocals - but they've been doing it so brilliantly for so long that it never fails to hit home for me. Old chum Leslie Feist turns up on a couple of tunes too.

 

15: MY MORNING JACKET: MY MORNING JACKET

First 'proper' album in six years for the gnarly choogle-meisters from Kentucky - 2020's 'Waterfall 2' was a collection of offcuts - that found Jim James and his hirsute hombres delivering up another solid set of big-hearted classic rock and soul-tinged Americana that few bands can match. Chunky riffs, life-enriching grooves and spirit-lifting choruses were all present and correct.

14: FOR THOSE I LOVE: FOR THOSE I LOVE

Well, this was quite something. Magisterial debut release from Dublin born songwriter and producer David Balfe that was a heartrending musical tribute to his best friend Paul Curran who passed away a few years ago. Balfe's songs are grief-stricken spoken-word street poems, backed by euphoric electronica and sound collages of phone messages, video tapes and sound samples - mostly featuring his lost pal. It's a beautiful tribute to love, friendship, communion and familial history that brings to mind Mike Skinner, Burial, Bicep and Arab Strap but is a beast all it's own, encompassing joy, despair, hope and redemption in an extraordinary 45 minutes. "I have a love, and it never fades!" 

13: ROBERT PLANT & ALISON KRAUSS: RAISE THE ROOF

Surprise - but thoroughly welcome - reunion for Lord Percy of the Zeppelin Parish and bluegrass chanteuse Krauss that carried on wonderfully from where 2007's stratospherically successful 'Raising Sand' left off. Another joyful foray into country-blues and spectral folk that found the two old friends still in divine vocal form and trying their hand at a disparate bunch of covers from the likes of Jimmy Reed, Merle Haggard, The Everly Brothers and - magnificently - Tex-Mex Americana heroes Calexico.

 

12: MDOU MOCTAR: AFRIQUE VICTIME

Oh yeah - there's a riot going on here, alright. Excoriating desert blues from the new king of African guitar wig-outs as 'The Hendrix Of The Sahara' pushed the African rock sound into thrilling new areas of invention. Pulsing rhythms, driving beats and foot-stomping odysseys of a hugely exciting hue, all tied together by Moctar's riffs that were some of the most brain-frazzling of the year. Move over Rover, let Mdou take over.

11: BLACK COUNTRY, NEW ROAD: FOR THE FIRST TIME

Incredibly impressive debut offering from the Cambridge septet that took in all kinds of jazz-tinged post-punk, arty indie smarts and epic alt-rock across seven tracks of tonal gear-shifts and free-form musical vistas that reminded this writer of the likes of Slint and Talking Heads jamming in a wind tunnel. With main man Isaac Wood's surreal lyrical worldview to the fore and saxophones and violins swirling around behind him, this was left-field modern rock of the finest stripe. A second album has just been released too, but Wood has since left the band due to mental health issues so the future is uncertain. 

10: PARQUET COURTS: SYMPATHY FOR LIFE

Fifth album of jumpy, jerky art-funk from this increasingly brilliant Brooklyn-based mob that just gets better and better with each listen. A mix of classic late 70's NYC post-punk, modern-day indie-rock and slinky grooves that you can't fail to cut a rug too, lead singer Austin Brown based his songs on the experience of taking acid whilst at his local gym. As such, there's a psychedelic edge to the record that brings to mind Primal Scream's first mix of rock and dance back in the early 90's. The band will finally return to the UK to perform live this summer and these new songs will sound utterly fantastic under a low sun at a hazy festival. 

 

9: CROWDED HOUSE: DREAMERS ARE WAITING

Back in 1993 - just after the release of their magnum opus 'Together Alone' - things looked set fair for New Zealand's Crowded House to become one of the most successful groups in the world. Main man Neil Finn had other ideas though, splitting the band not long after and embarking on a solo career. He's reconvened the House on a few occasions since - most recently in 2010 - but has focused mainly on his own work, as well as collaborating with his eldest son Liam who has also released a feast of excellent records in recent years. However, perhaps it was written in the stars that the Crowded House name would ring out again and, wonderfully, here they are. Neil and Liam are joined this time out by fellow Finn family member Elroy on drums along with long-standing House bassist Nick Seymour and studio wizard and multi-instrumentalist Mitchell Froom who - in a glorious slice of serendipity - was the producer of 'Together Alone' all those years ago. To the new album then and, just in case anyone was concerned, it's a magnificent return to former glories. Drenched in those life-affirming Finn melodies and catchy as man-flu choruses, this collection was as good as anything the band produced in their first flush of fame 35 years ago. Just fantastic to have them back. 

8: THE LIMIÑANAS & LAURENT GARNIER: DE PELÍCULA

A Gallic gourmet of groove-based gravy here as Perpignan's finest musical export - the surf-noir garage-rock husband and wife duo of Lionel and Marie Liminana - join forces with fellow countryman and electronica legend Laurent Garnier for a fantastically funky melange of driving beats, shimmering guitar riffs and dirty dance rhythms that was one of the most gloriously exciting musical experiences of the year. Outrageously good.

7: ENDLESS BOOGIE: ADMONITIONS

Once again doing exactly what it says on the tin, this epic fifth studio release from Paul 'Top Dollar' Major and his grizzled cabal of blues-friendly compadres was more evidence that The Boog are possibly the most thrilling rock crew on the planet. Dominated by two hulking slabs of elephantine riffing and titanic grooves that both clock in at twenty minutes or so, this latest missive from the rock and roll hinterland was oozing with colossal guitar vibes and throbbing Krautrock that - once locked in - would more than happily bubble away for hours if it wasn't for the fact that a CD only lasts for 80 minutes.  

6: STRAND OF OAKS: IN HEAVEN

Cosmic Americana legend Timothy Showalter returned to active duty last year and followed up his astonishing 'Eraserland' from 2019 with more heart-swelling paeans to life, love, the universe and everything. Backed, once again, by members of My Morning Jacket and embracing widescreen rock and roll, full-throated country and stunning acoustic-drenched ballads, this was Showalter on glorious form. The epic centrepiece 'Galacticana' was up there with his very finest songs, whilst the likes of 'Carbon' and 'Somewhere In Chicago' show where he might travel to next. Now fully clean and sober after years of hard living, Showalter seems happier than he's ever been as these very special odes to salvation prove.

5: SQUID: BRIGHT GREEN FIELD

Outstanding opening gambit here from the raucous Brighton crew that pushed the boundaries when it came to feisty post-punk and dystopian prog grooves. Led by the ranting cries of lead singer and drummer Ollie Judge, this immense first salvo of tunes - that didn't contain anything from their early EP's - was chock-full of shuddering dance-punk, crazed jazz textures and a swirling vortex of astonishing noise. As close as we'll ever get to a modern-day Can, this was remarkable stuff. All together now: "Pamphlets through my door and pamphlets ON MY FLOOR!!!"

4: TEENAGE FANCLUB: ENDLESS ARCADE

Ah, Teenage Fanclub. How much do I love thee? Let me count the ways. Thirty years at the indie-rock coalface, eleven albums of sparkling jangle and good-time tunes, three part harmony vocals to die for and the band I've seen live the most in all my years of gigular activity. That'll do for now. This time round though, things were slightly different. With founding member Gerry Love leaving under somewhat of a cloud a few years ago - the first sign I can remember of inter-band strife - the songs on this latest album were now split equally between Norman Blake and Raymond McGinley. So, instead of four brilliant songs each for the original three singer/songwriters, we now had six apiece for the remaining two. Could they up the ante and keep the levels up? Of course they could. With the addition of Euros Childs from fellow kindred spirits Gorky's Zygotic Mynci on keyboards, Blake and McGinley mined middle-age reflection, the passing of time, joy in the face of catastrophe and - in the case of Blake's marriage break-up - a quiet stoicism as the world collapsed around him. All the usual musical tropes were there of course - luscious melodies, sparkling vocals and jangle by the bucketload - and in the case of the ambrosial 'Back In The Day', a contender for Greatest Teenage Fanclub Song Ever.

3: THE WAR ON DRUGS: I DON'T LIVE HERE ANYMORE

Philadelphia's finest classic rock enthusiast Adam Granduciel returned with the fifth album under his The War On Drugs moniker and it was another sublime journey into the US heartland that embraced his love for the drivetime rock and roll of his youth - Springsteen, Petty and Dylan - with a high-gloss eighties Big Music sheen last seen when the likes of Simple Minds were straddling stadiums. Those previously mined motorik rhythms of earlier albums were not so prevalent this time out but still made an appearance on the glorious 'Harmonia's Dream' whilst a more reflective, acoustic-tinged reverie underpinned tracks like 'Living Proof' and 'Rings Around My Father's Eyes'. But it was the majestic title track - all synth-tinged grooves and multi-tracked female backing vocals - that showed the way forward, coming across like Don Henley's 'Boys Of Summer' strapped on a rocket to the moon. No bad thing, obviously.

2: DRY CLEANING: NEW LONG LEG

Debut album of the year here by some considerable margin as this astonishingly assured quartet from London threw their hat into the ring with a talent and self-belief that belies their two-year history. A spellbinding mix of grimy post-punk and death-disco guitar lines married to the hilarious spoken-word kitchen-sink prose of vocalist Florence Shaw. I'll be the first to admit - it's an acquired taste, but if you do acquire it, prepare to be floored. The music is fantastic - The Cure meets Joy Division meets The Smiths - whilst Shaw's lyrical worldview is just wonderful, her deadpan non sequiturs spewing forth a veritable conveyor belt of 21st century life: oven chips, platform shoes, knitting circles, Antiques Roadshow, out of date mayonnaise, the big Sainsbury's, scabby heads and all kinds of living on the breadline ephemera. I fell in love with this album on first listen last February and I haven't been able to dislodge it from my head ever since. It would have nailed the top spot if it wasn't for a certain Mancunian mob....

1: W.H. LUNG: VANITIES

So, we reach the pinnacle of this year's chart and - just like in 2019 - Manchester's greatest modern purveyors of slinky, dance-tinged indie-pop grab the crown with both hands and don't let go. Beefing up not only their sound since last time out but also their number - two new members have joined the ranks in the last year - luminous frontman Joe Evans and his crew of joy-inducing musical mavericks have nailed it with this second album. Celebratory electronica, punchy beats, LCD Soundsystem meets New Order vibes, arms-in-the-air tunes, hug-inducing rave-tastic spirituals - it's all here and then some. A more dance-friendly album than 'Incidental Music', new songs like 'Gd Tym', 'Somebody Like' and the phenomenally electrifying 'Calm Down' should get even the most rusty of old-school clubbers reaching for the Voltarol and getting busy on the floor - just like yours truly when the band put on a thrilling show at The Scala in London last November.  Meanwhile, if there was a more exhilarating and intoxicating opening brace of singles anywhere in the universe last year than 'Pearl In The Palm' and the truly breath-taking 'Showstopper' then I'll eat my slippers. Rip-roaringly sensational stuff. 

"Jump from the balcony, get bitchin' on the street. All I see is real for me..."