JUNE AOTM: Daddy’s Home – St Vincent

St Vincent aka Annie Clark, has been a major part of my musical landscape for the last decade. I latched on to her first album, Marry Me, in 2007, and immediately loved its slightly wonky sensibilities wrapped up in brilliant songs, and it’s been a mostly highly rewarding experience seeing her career and her ambitions grow with every album. She’s now pretty close to being a bonafide star – certainly an indie star anyway – and I saw that first hand as she effortlessly and brilliantly headlined the End of the Road festival a couple of years back. My wife, Caroline, absolutely adores her too – maybe even more than me – so she’s an artist who has been played to death in our house over the years.

But I’ve long ago come to realise that she’s a Marmite artist. Many friends to whom I’ve recommended her have come back with a blank look on their faces – they don’t ‘get’ her at all. I do kind of understand it – her sound can be very angular and jagged, and she wields her incredible guitar playing (more on that later) like a weapon. She’s wilfully, unapologetically arty, and it can often feel like she’s hiding herself behind a series of different personas. She can make obtuse decisions – like starting an album as brilliant as Strange Mercy with a track as hard to listen to as Chloe in the Afternoon. She seems to delight in setting fire to her previous incarnation, and I can see that might feel frustrating to an artist you’re trying to invest. Me, I fucking love her. I love trying to find the real Annie hiding, sometimes in plain sight, in her songs. I love the way she paints a picture with a song. Just try and listen to Year of the Tiger (also on Strange Mercy). It’s like a little movie.

Funnily enough, me and Annie’s first real musical differences came on her biggest album to date, the behemoth that was Masseduction. Recorded with hot shot producer Jack Antonoff, he of Lorde, Lana Del Rey and Taylor Swift album fame, it was a radical departure to the angular, electronic indie rock of her previous work. It was unapologetically pop with a capital P, with more nods to Kylie and Robyn than her indie peers. It was a critical and sales hit, along with single Los Ageless, and opened her up to a new audience (and led to those festival headlining moments). Friends who don’t like Annie C have complained they find her a bit cold. I never felt that at all until Masseduction. It just didn’t connect with me. It felt a little calculated, and it was – well, just a lot less original than anything she’d done until that point. She was trampling on much more familiar territory and I just couldn’t get as excited.

So when I heard that Annie was channeling 70s rock and Bowie on the new album, then frankly, I was chomping at the bit. I wanted to hear something more organic, something more emotionally connected. And I wanted to hear that incredible guitar back up high in the mix. We should mention her guitar playing for a minute. If you haven’t seen her life, it’s hard to quite grasp how good she is. She’s Prince-level good. She’s UNBELIEVABLE. I think she’s probably the most talented guitar player of her generation.

Pay Your Way in Pain did nothing to dampen my excitement. What a fucking song it is. And what an opening track it is on the album. It’s a proper rock song, and it sets up that mixture of emotional pain and retro irony quite beautifully. And then the came the new look for the record. Blonde wig, leather jacket. All very playful, all very Annie Clark. But also this extraordinary backstory about her father’s incarceration (which by the way she has NEVER mentioned up until this point!). Daddy’s Home? Nudge nudge wink wink. And then came the 5 star reviews, and lots of them.

So what did I feel when I started to listen to the whole album. Initially, I was just so, so happy. I loved it almost immediately. It was exactly what I was hoping for. Perhaps more downbeat and slow than I was expecting, but it seemed to wear its heart on its sleeve as much as you could ever hope from a musician who’s often been careful to cover her tracks.

The big surprise was that this was also made with Jack Antonoff. Who’d have thought it? In fact, the two of them recorded quite a lot of the album between them. Did Antonoff allow Clark to find that musical voice she was looking for, did he just give her that freedom? Or was there still something a little bit calculated about it? That was the only nagging thing I had in my head now and again as I listened.

And then…the backlash started. I must say, in the interests of balance, that it’s hardly that much of a backlash – as of today, it still has a whopping 86 on Metacritic. But there were a couple of extraordinary reviews – one from Pitchfork that seemed to damn it with faint praise, as well a much more damning piece on Slate that argued that this was her worst album, comparing her unfavourably to fellow pop chameleons Prince and Bowie. Both of those articles contain some pretty unbelievable accusations (Pitchfork – it’s racially insensitive for St V to mention Nina Simone alongside white artists. Slate – she’s actually never been that good a lyricist. That latter one made me laugh out loud. ARE YOU FUCKING JOKING ME, MATE?).

The whiff of double standards on female musicians, particularly singular artists with their own vision, hangs heavy in the air. And I don’t think that for a second that Annie Clark is asking to be compared to Prince or Bowie. But let’s leave some of the stupidity of some of the worst comments, and ask the tricky question – have they got a point? Is this album the real deal, or is it a kind of well-executed pastiche of a kind of mythical musical past? I suspect that as a collective, we’re going to end up on different sides of that question. I can’t wait for the pod!

My own experience is this. There are a few obvious big, brilliant belters – Pay Your Way, Down, Melting of the Sun. Down might be my favourite song on the album. And some have called The Melting of the Sun a bit clunky. I think it’s utterly glorious – a straight down the line love letter to those who’ve paved the way for her. And the analogy of the patriarchy melting like the sun is delicious.

But actually, on repeat listening, it’s not the 70s pastiche, or the sitar playing (though I LOVE the sitar playing!) or the Bowie schtick that’s sticking with me. It’s the songwriting. And it’s the smaller songs that have come to be amongst my favourites. Down and Out Downtown is just beautiful, At The Holiday Party is sad and compassionate, Somebody Like Me feels like Annie reckoning with herself and her personas in a really moving way. And right in the centre, the extraordinary Live in the Dream. Yes, it owes a hell of debt to Pink Floyd, and also to Bowie’s Diamond Dogs in lyrical theme, but I just can’t get enough of it. I’ve listened to that one track to death and I find it genuinely moving.

There are odd things about the album that jar a little. I think the sequencing is odd – I’d have put Live in the Dream later in the album, maybe pulled Down further up. For me, the title track, Daddy’s Home, is the album’s weak spot, and it’s a shame it’s sequenced as Track 3. I think this the one time that the nudge-nudge sexy/existential pain 70s vibe just doesn’t quite work. She’s hiding behind the song and it’s not telling us anything about the real story of her father’s incarceration. It feels a little cheap to use that as a sell. That’s a shame.

But the rest of the album? I’m not seeing a persona. I’m seeing a real human being singing about real human things – disappointment, love, dead-end careers, loneliness, the death of a friend. The things that Annie Clark’s detractors accuse her of – being angular, being difficult, hiding behind a persona – I honestly don’t think that’s true of this album, title track aside. In the end, the songs speak loud and clear. And if you’ll excuse me now, I’m just going to play it again…

Róisín goes Crooked….

We all love Róisín. Who doesn’t love Róisín? (We won’t get on). And we all loved Róisín Machine. But there was never just one version of each track, so there’s another entirely different version of the album out there.

The amazing DJ Parrot, aka Crooked Man, Murphy’s long-time collaborator, has now released a new version of the whole thing, a sort of bastard after-party of Róisín Machine. And MY GOD, IT IS GOOD. If it was a month ago, I’d have been tempted to AOTM it… This is just one of the amazing tracks, a swirling rework of Kingdom Of Ends. ♥️♥️♥️♥️

Some albums I’ve been loving …

Rhye – 'Home' review: The disco dancefloor calls, but will Rhye pick up? |  The Forty-Five
Michael Milosh, aka Rhye.

A short but functional post today. We only get to review one Album of the Month but of course listen to so much more. I thought I’d share a few of the new albums that have been a big part of my life in the last month or two;

Unfortunately, it’s all too easy to guess what albums are going to feature in the end of year round ups, even as early as January. ‘Home’ by Rhye probably won’t be troubling too many of these lists. It’s too nice. It’s too gentle. It’s nowhere near cool enough. But I love it and everyone that I have recommended it to has loved it too, regardless of their usual musical tastes. Listen without prejudice and enjoy.

Next is ‘Deacon’ by serpentwithfeet which is an ambient R&B celebration of big gay love and sex. I am not sure there’s much more to be said. It’s a beautiful, perfectly crafted selection of 11 tracks. Each has something to say on their own but also as part of the wider story. Pull the lyrics up when you listen, revel in the frankness of the stories told.

Finally, is ‘Menneskekollektivet’ by Lost Girls a collaboration between 2 Norwegian artists; Jenny Hval and Havard Volden. Here you’ll find 5 tracks, 46 minutes worth of surprisingly accessible, experimental electronica textured with spoken word, vocal melody and harmony, guitars and at time chuggy beats. Sometimes odd, always fascinating. I know Guy is enjoying this one and he may also post on this album too. I think this album is very much worth investing some time into.

Podcast: Secret Santa Track Selection for Guy

Listeners to the This Is Not Happening Podcast will be familiar with our standard format. The 1st half of each Pod is dedicated to an ‘Album of the Month’ (AOTM), the 2nd half of each Pod is dedicated to ‘Tracks of the Month’ (TOTM). Each pod we have a different theme for TOTM. We’ve had ‘new tracks’ and ‘favourite disco track’ but in Episode 10 (coming soon) we chose a new approach. We would draw straws, Secret Santa style, to find a new track for a specific member of the This Is Not Happening crew.

The track that we were selecting could be literally anything. An old classic. A hidden gem. Something brand-spanking-new that they’d never heard. Just in case we selected something that they already new we agreed to create a 4 track playlist so that we had a few back-ups. I was drawn to play Secret Santa to Guy. At first I thought this was a good thing and that my job would be relatively easy. And then i didn’t sleep for 2 weeks worrying about this selection.

Ahead of the podcast being released into the wild. I thought I’d share the long list from which I carved out my 4 track long list and my track selection.

You’ll find a pretty broad range of track selections here. Some of them I could have selected for Nolan, a couple I could have selected for David but I had good reason to believe that many, if not all, fitted into the overlap in the Venn Diagram of Guy and Joseph. The 2x 12 minute tracks were strictly for Guy!

I hope you enjoy my musical gift to Guy. I am sure he won’t mind you borrowing it.

Episode 9 new tracks playlist

Alongside Arlo Parks in March, we also chose new tracks to bring to the table in Episode 9. While we talked through one each on the episode, we had a shortlist of 4 from all the music we’d come across from the turn of the year.

There are some brilliant records from Tunnelvisions, Tom Trago, Nubiyan Twist, Virginia Wing, Sofia Kourtesis, Raveena, Field Music, Julien Baker, The Weather Station and many more.


What’s on your radar?

TINH Episode 9 new tracks

April AOTM – ‘Ignorance’ by The Weather Station

Ignorance | The Weather Station

It’s my turn for Album of the Month and as usual, I’ve not found my selection an easy choice. I’ve selected Ignorance by The Weather Station, the 5th full length album from 36 year old, Canadian Tamara Linderman. I wasn’t aware of her music before the single ‘Robber’ was released late in 2020. Her early albums fit neatly into the ‘singer / songwriter’ folk genre but with each successive release her sound develops in complexity and the band becomes bigger along with the sound. A journey that delivers ‘Ignorance’, which is hard to define by genre but it seems that many still refer to her as a folk artist. This feels like an old label that doesn’t fit this album. But on the other hand, does it really matter?

My hesitation in choosing this album was 100% down to the hype. Last month we discussed Arlo Park’s ‘Collapsed in Sunbeams’ a new, young artist from the UK managing the burden of expectation of being called ‘the voice of a generation’. The hype around ‘Ignorance’ is of a different kind; to come so early in 2021 but to be touted as a contender for ‘album of the year’. It’s a simple, undeniable fact that this changes your listening experience … at least it does for me. I vividly remember my first experience of this album. I had heard Robber, loved it and then saw an early review massively praising the album. I got on it straight away, and loved it. It was a 9/10 for me. I told the crew this was to be my Album of the Month. Can you tell there is a ‘but’ coming? But then, despite its luxuriant scope, scale and shockingly beautiful soundscape, I failed to connect to it emotionally. Which is odd as it ticks SO many of my boxes. The lyrical context and content being one of them. But it still failed to truly dent me emotionally. I found it a little cold and I stopped listening to it as a result.

So why have I chosen it? I’ve chosen it as I’ve gone on such a roller coaster with this album that I thought it would be an interesting choice for discussion with my friends who I know will have an opinion. I have connected more with this album over time. I think it demands close attention, it does sound best in headphones (I know, I know everything does) but I’d argue this is a different album in headphones. It’s so ‘pleasant’ on a surface level that it can be a perfect background music for life but I think due to the fragility or Tamara’s vocals and lyrics, a different level of appreciation can be achieved through a focused, concentrated listen.

So, on to the music? This a 40 minute, 10 track album. Hallelujah! Thank you Tamara. It is SO dense (I mean this in the ‘good way’) that overstepping the 10 track mark might have been problematic. There are a couple of 5 minute tracks but generally we’re in the 3-4 minute track mark … so this must be pop music right? I think the answer to that is ‘yes’ you could go ‘art pop’ if you wanted people to snigger behind your back but I am going with ‘pop music’ and I’m ok with that. ‘Side A’ (by which i mean tracks 1-6) is upbeat and rhythmically driven giving way to a more melancholic ‘Side B’. Regardless of the tone of the tracks there are tons of melodic, rhythmic and lyrical hooks. Let’s get into a few of them.

‘Robber’ … wow. What a way to open an album. There’s an albums worth of motifs, trills, frills, strings, woodwind and spiky yet intriguing ideas in one track (and of course we all know I love a big organ). It’s a surprisingly anxious, urgent and threatening track to start an album with and I think you could argue that it could have closed the album? It constantly threatens to veer off into jazz noise but never quite carries through on the threat.

The album then opens up into 9 more tracks that, while they rarely play with the oddness and complexity of ‘Robber’, there’s a hell of a lot going on. How many influences can you hear in this album? Are they deliberate? Stevie Nicks, Kate Bush, Springsteen (Atlantic / Tried to Tell You) and a host of other 80’s radio rock smeared with synths (I can genuinely hear shades of Dire Straits!) but then also the strings and hints of 80’s ‘sophisti-pop’ chucked in for good measure. David will love the disco-tinged-drive of ‘Parking Lot’ and I think we’ll all appreciate the magical backing vocals on ‘Loss’.

There is loads to love about this album; pop hooks with scope, scale, ambition and complexity. An artist playing with a wide sound palette and clearing enjoying the process and the results. I am still yet to fully connect with it emotionally but I can feel that this building slowly over time.

Some questions that I think might be interesting to discuss;

What is hell is this (and as always, does that even matter)?

How do hyperbolic critical reviews impact your experience of an album?

What influences do you hear in it?

What do you think might be preventing my emotional connection (reading a wide range of reviews – I am not the only one)

March AOTM: Arlo Parks – Collapsed In Sunbeams

Whilst most of us are waiting for 2021 to show a flicker of light, you could argue that music hasn’t let us down so far. After kicking of the year off with Bicep’s ‘Isles’ February has delivered another treat; ‘Collaped In Sunbeams’, the debuit Album from Arlo Parks. For transparency, I wasn’t too sure about this album or how to approach it. The cynic in me was slightly concerned about the hype. 

Much has already been written about the creation, but if you have missed the many articles here’s a top-line recap: Around a year ago Arlo Park embarked on writing her debut album as Covid hit. Instead of being whisked away to a glamorous recording studio in LA, New York or London Arlo and her writing partner hunkered down in a B&B in Hoxton and created much of this album as the world seemed to be falling apart. It seems that her focus could not be shaken and the results were fruitful.

As we all worked through 2020 we were treated with the first 5 tracks from the album; Eugine, Black Dog, Hurt, Green Eyes and Caroline.  Black Dog, a chillingly honest song about her friends depression landed on many (including our) Top Ten year end lists for tracks of the year. As David pointed out in our 2020 year end podcast, there was a lot of expectation and hype around her album. 

The album as a combined finished article is very approachable. From the spoken word intro into “Hurt’ Arlo quickly lets you into her world. Her honest lyrics are matched by her likeable vocals of the West London songstress. The pop sounding ‘Collapsed’, ‘Hope’ and ‘Caroline’ flow into each other and are pleasing on the ears whilst lyrically telling stories more in the vein of a poet than a pop star. She weaves stories into songs with ease, making you feel the album is closer to a conversation with a friend than a collection of songs. This is apparent as you move onto ‘Black Dog’, ‘Green Eyes’ and then ‘Just Go’ which feels like a summer jam on the outside and ever so familiar song about relationships to us all (at that age) when we think about our late teens and early 20’s. 

We often speak on this blog and our podcast about album pace. I’d argue this album has been mapped very well. Some reviews have questioned ‘Violet’, and have suggested it perhaps is one of the albums weaker songs. I think the opposite. The Portishead-esk track reminds us not to rest on our laurels and arguably is a nod to some of her less predictable influences such as Radiohead. After a quick break from the expected you’re quickly pulled into the well known ‘Eugene’. It reminds me of Lily Allen. Not just for the vocal presentation and similar West London accents but also ability to welcome you into the story that Arlo tells and Allen previously did on some of her work. This for me carries through to ‘Bluish’ and ‘Porta 400’. 

Like many debutant albums ‘Collapsed In Sunbeams’ oozes with vulnerability. It reminds me of so many conversations with friends at that time in my life. As a person in my 40’s I can relate to her as her songs remind me of so many things when I was a similar age to her. I think perhaps that’s the magic; her and the allowance into her world. 

It’s hard to read any article that doesn’t focus on the age of Arlo Parks which I struggle with. Many have arguably written their best work at this age; though perhaps this is the point. Is Arlo Parks going to be one of the greats? There is little doubt that poetic lyrics and welcoming vocals are ahead of many of her peers in a similar age group. 

The album is easy to listen to, and has been on constantly in our house. It flows nicely and doesn’t seem to offend any of our ears. I often catch my Hayley and the kids humming along. 

Any hype that this album has received is well earned in my opinion. Will she be one of the greats? I truly hope she can carry on the trajectory she has started on. But she has a lifetime of songs still to write and in the meantime this album has a fair bit of tread on it for me. There are many miles left in it before I’ll be needing the next model. 

Denise Chaila – ANSEO

Irish rappers are still a pretty rare breed, though by all account it’s a fast growing scene. But even those that break out, like Rejjie Snow, end up relocating to the US, and let’s be honest, sounding 100% American.

I first heard Denise Chaila via the unbelievably charming and catchy Chaila tune last year, berating those who can’t be bothered to learn how to pronounce her surname.

I love that she’s got her own distinctive voice and flow, and she’s not just trying to sound like an identkit US rapper, and it’s just so enjoyable to listen to.

But this new track, ANSEO, feels like a step further forward. A proper intro track to her world view and her vibe over a fantastically beefy beat, mixed with the whole chainmail and swords video, it feels like she’s just waiting to blow up. Which is surely what’s going to happen to her….

Her debut mixtape is here: https://denisechaila.bandcamp.com/album/go-bravely and it’s full of bangers. Denise Chaila: say her name!