
Just as the tools of on-line collaboration have brought long lasting changes to the working dynamic that are still working their way through into permanence (regardless of the ridiculous flailing of the commercial real estate establishment, and their arm twisting support efforts by politicians of every colour, but that is a blog on its own) the same tools have engendered collaboration, cooperation and creation musically regardless of location. Musicians have swapped files for ages on thumb drives, CDRs and even tape, broadband has allowed fully detailed files of massive size to be bounced back between people working together. The video-tools have allowed on-line equivalents of jamming in person to riff on ideas. The confinement itself brought the conscious forming of bubbles for band mates, ‘woodshedding’ of the old school type. On line releases of videos or tracks through everything from Spotify or Fortnight through to Bandcamp or YouTube brought a much needed spontaneity and immediate feedback. Lana Del Ray shelved a complete album after pretty dour feedback on the three tracks trailed, that may be career saving as artists can now avoid the label-induced rushed release that manages to completely miss the zeitgeist.
There is a lot of talk in the various Best Of lists in December about how the confinements, whether enforced or voluntary, have brought forth a veritable outpouring of creative output.
The other thing that is happening is the destruction of music industry categories that help A&R and marketing folks to sell artists to radio stations, immediate and unfiltered access means that cool songs can be shared on social media regardless of ‘genre’ or label. Lots of the 2021 Best Of lists were remarkable for their diversity of talent and music, even if I did not really like Taylor Swift, Turnstile, Tyler the Creator or Mdou Moctar’s records the fact that they appear in many lists, together, is great.
The commercial success in terms of sales does not depend on critical approval, which is both depressing but unsurprising and it would be worrying if the tastes of a 60-year-old white dude living in rural France had any relevance on what sells. For interest here is the Apple Music top 20 for December by sales:
- Encanto (OST- Disney)
- 30 – Adele ( Pop)
- Sing 2 (OST)
- Magic – Nas (Rap)
- An Evening With Silk Sonic – Bruno Mars, Anderson Paak & Silk Sonic ( R&B/Pop)
- Dangerous – Morgan Whallen (Country)
- Sour – Olivia Rodrigo (Pop)
- The Contract – GTA Online (Game soundtrack – Hip Hop/Rap)
- Red (Taylor’s Vrsion) – Taylor Swift (Pop)
- RWBY, Vol 8 -Various Artists (Game soundtrack)
The first thing that is obvious with this is that Apple’s sales are dominated by its sales in the US and this represents a snap shot of main stream ‘Merica. More interesting is what gets streamed by Spotify although, thanks to their annoying habit of placing songs into people’s streams that record companies pay them to insert, there are limits. These are the 10 top streamed songs:
- Butter – BTS
- good 4 u – Olivia Rodrigo
- Levitating – Dua Lipa, DaBaby
- Kiss Me More – Doja Cat, SZA
- Montero – Lil Nas
- Bad Habits – Ed Sheeren
- Leave the Door Open – Bruno Mars, Anderson Paak & Silk Sonic
- Peaches – Justin Bieber
- Save Your Tears – The Weeknd, Ariana Grande
- déjà vu – Olivia Rodrigo
I think this gives a much broader snapshot of what young people are listening to in more than just the US. More urban, more dance driven and other than Ed Sheeren and the Beeb, very diverse as in not a bunch of skinny young white guys. The Apple list seemed to be what the average middle American Mom and Dad have been listening to while driving the family mini-van, the Spotify most streamed is more fun if not necessarily what I would listen to, Korean boy bands are definitely not my bag, baby and in the top 100 streamed songs for last year not only did none of my choices for ‘best of’ make an appearance I can honestly say that only two – Glass Animals and Big Red Machine would be found in my music collection so I am reassuringly out of touch and not down with the kids.
Anyway, for what its worth I thought 2021 did deliver some really cool music of many stripes and so here is my selection. There is a playlist on Spotify here but for the purist the links by the album are to Bandcamp.
Self-Esteem – Prioritise Pleasure – fun pop music with an indy attitude and a self deprecating sense of humour dealing with all the issues a 30 year old woman juggles with in a Britain that has been run by the Tories since 2011. I love the harmonies but my daughter dismissed them as a bit too musical theater. This is the link to all the sources, including Tidal, which will please Pete Martin.
Kissed Her Little Sister – sleeping giant – electronic folk pop – Jeff Morisano has been making personal pop music for over 10 years, generally under the radar. This last album has the same pop hooks but inspired by the successful recovery from a difficult birth of his son it is consistently upbeat and a good soundtrack to looking outwards after 2 years of locking down.
Jane Weaver – Flock – indie synth driven with some overtones of prog and Stereolab rolling melodies. Jane has been around a few years on the edge of getting recognition and this album building on 2017’s Modern Kosmology’s positive vibe got her that wider acclaim. Ignore the fact that Coldplay sampled her, nothing much in common.
Matthew E. White – K.Bay – southern rock – big bold songs with band and lots of swaggering arrangements. It still is southern rock but more swampy Nawlins, more Dr John than Skinnerd. Works out of Virginia with a bunch of longstanding sidemen and another one to have been around a few years but this is very cool.
Hayden Thorpe – Moondust For My Kingdom – synth pop. Since the sad demise of Wild Beasts the two prior vocalists Thorpe and Tom Fleming have released solo stuff, Fleming under One True Pairing which took a more rock approach. Thorpe’s stuff has been lighter and poppier and synth driven but still that interesting melody and rhythm mix that made the Wild Beasts so compelling.
Liars – The Apple Drop – Electronic – Now Liars is just Angus Andrew and he has moved back to Australia from Brooklyn they are technically an Aussie band. They have never made two albums sounding the same, relentlessly experimental, slightly crazy, he is a great example of confinement being anything but confining.
Lump – Animal – Electronic Folk- Laura Marling has obviously got bored with singer-songwriter/folk stylistic limitations and this, the second album with Mike Lindsay, the former Tunng creative force playing all manner of keyboards is a further step to more interesting ground. She uses her voice like a soundscape as well as just writing and singing the lyrics. If you have seen her play live you know she hates the tropes, encores and all that so collaborating with someone has produced good results.
Squid – Bright Green Field – Shouty post-rock – They use the term punk with this type of music which is a misnomer for those of us old enough to have lived through punk, as in the original noise fest that was 1976-78 and not GreenDay or any of the pop pretending to be punk that came after. These are bright young men wearing their learning on their arty sleeves and the music delivers large chunks of angst and excitement, Brighton meets The Beasties, some harks back to XTC or Talking Heads. Interesting mix of instrumentation includes brass and keyboards, funky meets post-rock in that quiet, quiet, loud, bop, loud, quiet way. Odd connection is that Martha Skye Murphy, aka daughter of Karl Hyde of national art institution Underworld does vocals on one track.
Black Country, New Road – For The First Time– Jazz-noise – I keep getting people trying to persuade me that Jazz is worth listening to again and arguably the attention from diverse musicians it is getting has attracted new younger talents to a genre that did everything it could to live up to Zappa’s eternal put down “Jazz isn’t dead, it just smells funny”. These guys are groovy, loud and manic, its is definitely not the art of the cool.
Sault – Untitled (Rise) – Soul? This is a gorgeous collection of soul funk songs with a mix of jazz, grime and hip-hop influences. Sault is a collective of London based musicians shepherded by the producer Inflo, I am not a massive Little Simz fan but his stuff with Michael Kiwanuku I loved. Great live drum sound and just a solid groove throughout, a very upbeat happy journey which considering all the collective crap we have been through in the last 2 years is very welcome. They released two albums in 2021 and Untitled (Black) is just as rewarding, incredible creative output showing how collaboration can really keep energy levels high.
Dry Cleaning – New Long Leg – Alt-Rock? Guitar, bass and drums making a good hard racket with spoken word vocals, not everyone’s cup of tea normally but the unusual, acerbic at times, sparkling takes on modern life of Florence Shaw make it a compelling listen. I have a soft spot for ‘Sprechgesang‘ and love the stuff done by the Canadian Myra Davies with Gudrun Gut as well as Tenesha The Wordsmith.
A veritable smorgasbord of songs that will hopefully strike a chord, if not with all maybe a selection and perhaps it will introduce someone to you that may otherwise have slipped off the radar of Spotify’s suggestions and prompts into musical oblivion. 2021 had lots of issues but it certainly delivered some amazing music. I am sure 2022 will also build upon this as stuff that has been worked on in studios and bedrooms gets to be toured and played in front of actual people at last. Get out there, buy some product, see some live music, get the t-shirt!







