Last week we unveiled our top 50 albums of the year, but as regular Muso’s readers will know, we get just as excitable about the good old song as we do about full length albums. So with that in mind, over the next three days we’re going to be unveiling which songs our writers have voted their top picks of the year. Enormous thanks are due to Mitchell Sterling who did us proud in fulfilling his annual chore sifted through the emails from the Muso’s Guide staff, compiling them into something resembling a logical order.

Without further ado, here are picks 50 through to 21. Check back tomorrow for 20-11 and then on Thursday we’ll be unveiling our top 10 songs of the year.

50. The Leisure Society – You Could Keep Me Talking
49. St. Vincent – Cruel
48. Friendly Fires – Hawaiian Air
47. Hannah Peel – The Almond Tree
46. Jamie xx – Far Nearer
45. James Blake – The Wilhelm Scream
44. Radiohead – Codex
43. Jessie Ware – Strangest Feeling
42. Drake – Headlines
41. The Horrors – Still Life
40. Slow Club – Where I’m Waking
39. Telekinesis – Please Ask For Help
38. Arctic Monkeys – The Hellcat Spangled Shalalala
37. The National – Think You Can Wait
36. Nicki Minaj – Super Bass
35. Bjork – Crystalline
34. Death Cab For Cutie – You Are a Tourist
33. Coldplay – Paradise
32. SBTRKT – Wildfire
31. Junior Boys – Banana Ripple
30. British Sea Power – Who’s in Control
29. Beyonce – Run the World (Girls)
28. The National – Exile Vilify
27. Active Child ft. How to Dress Well – Playing House
26. Azealia Banks – 212
25. Beyonce – Countdown
24. Lady Gaga – Marry the Night
23. Bon Iver – Holocene
22. Girls – Honey Bunny
21. The Saturdays – All Fired Up

Numbers 20-11 will be up tomorrow, and the top 10 will be posted on Thursday.

Wye Oak

Welcome to the first part of our albums of the year countdown – for the rest of the week, we’ll be bringing you our favourite albums of 2011, as voted for by our writers. Check each day this week for 10 more albums, with 10-1 announced on Friday. We’ll bring you our favourite songs of the year in the following week. All in all, 24 lists were totted up by Mitchell Stirling, and votes were cast by Tom Bolton, Paul Brown, Sam Cleeve, Jane Corcoran, Lucy Dearlove, Rosie Duffield, Ben Dufton, Paul Faller, Stephen Ferdinando, Paul Gettings, Alex Kavanagh, Dannii Leivers, Steve McGillivray, Kenny McMurtrie, Jim Merrett, Greg Salter, Natalie Shaw, Andrew Schagen, Harley Sherman, Stef Siepel, Mitchell Stirling, Stephanie Stevens-Wade, Antonio Tzikas, and Russell Warfield. This list, and everything else that we do, would not have been possible without them and all our other writers – thank you!

50. King Creosote and Jon Hopkins – Diamond Mine

Back in March, few would have predicted the year that King Creosote and Jon Hopkins were about to have – even as he praised Diamond Mine to the rooftops, our reviewer Steve McGillivray was left lamenting that “The only downside to this album is that it’s pretty much likely to be ignored by the public at large, which is a real shame”. One Mercury nomination later and this duo, who have for so long produced distinctive, strong bodies of work on their own, had something of a moment in 2011.

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49. Tim Hecker – Ravedeath 1972

“In a church in Reykjavik, Hecker’s ambient organ music builds slowly, relentlessly into disquieting discord, even punishing feedback. There’s a humming in the air and something is stirring, unable to find peace.” Tom Bolton

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48. Arctic Monkeys – Suck It And See

“There is a school of thought that suggests that Arctic Monkeys have become progressively worse with each passing record. Anyone who thinks this, however, is utterly mistaken - Suck It And See is the sound of a band both very much comfortable in its own skin and sounding as effortlessly confident as ever. From gorgeous indie-pop (‘She’s Thunderstorms’) to wilfully ridiculous rock stompers (‘Brick By Brick’), they barely put a foot wrong here. Alex Turner is also on fine lyrical form, demonstrating his tender side with tracks like ‘Piledriver Waltz’ and ‘Love Is A Lazerquest’, as well as his trademark wit on ‘Reckless Serenade’ and ‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’. Doubters gonna doubt, but Suck It And See is a fine addition to the Arctic Monkeys canon regardless of what they think.” Paul Faller

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47. Yuck – Yuck

A divisive album – several of our writers loved Yuck’s debut LP, while several others steered well clear. How you felt about Yuck may well have depended on whether you experienced the ramshackle ‘90s indie that the band clearly love the first time around. Either way, the band clearly made an impression in 2011.

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46. Los Campesinos! - Hello Sadness

“The most recent set from Los Campesinos! sees them adopt a more mature sound at points. Sure, Hello Sadness still features bursts of youthful exuberance (‘Songs About Your Girlfriend’) and Gareth’s lyricism is as devastating as ever, particularly on the chorus of the title track. But songs like ‘The Black Bird, The Dark Slope’ and the heart-wrenching ‘To Tundra’ feel like the sound of a band pushing harder than ever to surpass themselves – and succeeding.” Paul Faller

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45. Wye Oak – Civilian

“Civillian came out way back at the beginning of 2011 and has stayed at the forefront of my mind since. Being a two piece, I’m never not amazed at the complexity and depth of the sound Wye Oak produce. The album starts with the buzz of an expectant crowd and boy are they rewarded, getting an album packed with guitar driven indie-rock, reminiscent of another two piece close to my heart, Giant Drag. Brilliant stuff.” Steve McGillivray

“Breakthrough album from Andy and Jenn, credibility well earned with a set of memorable tracks with a well defined US indie sound. Buy this if you’re fed up of waiting for the new Mazzy Star.” Tom Bolton

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44. New Look – New Look

In our original review in October, Antonio Tzikas found much to love in the minimal, patient synths of New Look’s debut album: “As an album, New Look is a fully accomplished affair, the quality of the songs and the inspired and original production point to all the signs of a totally realised artistic vision. The two sides of the record are distinguished by the centrepiece; six minute long, sombre, anthemic single ‘The Ballard’, the real highlight of the album and a true showcase of the songwriting and lyrical brilliance New Look are obviously capable of.”

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43. Summer Camp – Welcome to Condale

“Welcome To Condale is just a really great, retro-yet-current sounding record. It takes you back to the Brat Pack films of the ‘80s and all that teen angst – but in a good way.” Rosie Duffield

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42. The Field – Looping State of Mind

“Incredible work from Axel Wilner, I’ve been a big fan of The Field for around two years now, since hearing ‘Everyday’ for the first time. The new record is never off my iPod, perfect to slip into a trance that’ll let you lose hours. I do a lot of train travel on my own and this record is prefect for the journey” Antonio Tzikas

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41. Drake – Take Care 

“2011 started with me rolling my eyes at Drake’s guest verse on ‘What’s My Name’ and never quite getting all the way through Thank Me Later, but ended with Take Care on repeat. I think people love Drake for the same reasons others hate him – the minimalist production (though who else in hiphop is drawing on influences like James Blake, Clams Casino and The Weeknd?), his tendency to draw his songs out, his occasionally clumsy rhymes, the way he makes his fame/money/girls lifestyle sound like a right hassle sometimes. No other album distilled everything I loved and obsessed about in music in 2011 in one sprawling whole and, though it could definitely be trimmed, no other album had quite so many highlights – ‘Headlines’, ‘Take Care’, ‘Lord Knows’, ‘Make Me Proud’, ‘Marvins Room’.” Greg Salter

by Paul Brown

Given the events of the past week, it’d be easy to be a bit flippant and infuse this weeks singles column with some kind of glib riot theme, make some rubbish Kaiser Chiefs joke, or even drop in some shit crack about Gazza and a fishing rod (we’ve all got one of those wankers in our Facebook feeds, right?) However, that’d be pretty disrespectful to those who lost businesses, homes, hope, and in the case of one horrible incident, lives, so it’s probably best we just focus our attentions on the power of music to unite us, to lift us, and infuriate us. After all, few things offer a better escape than a good single. Onwards, then.

Arctic Monkeys
‘The Hellcat Spangled Shalalala’

Suck it and See was unfairly called a ‘return to form’ by far too many people, when it was completely inaccurate to suggest that Arctic Monkeys ever lost their form in the first place. Either way, it’s a cracking album, and ‘The Hellcat Spangled Shalalala’ is one of its highlights. It’s got a gorgeous sleepy air to it, and at the same time it’s the band’s biggest nod yet to proper big old pop music. You might struggle to get your hands on a physical copy due to some shithouses in Enfield, but God, if you don’t own this song in one form or another, then you really must rectify that.

The Union Choir
‘Eleanor’

‘Eleanor”s a seriously lush piece of work from North-East nine-piece The Union Choir. The song is dominated by Jon Melvin’s vocal, simultaneously gruff and reassuring, but underneath it lies an absolutely beautifully arranged chamber pop instrumental. Throw in the equally lovely b-sides (one of which, ‘Rapture’, is arguably even better than the lead song), and you’ve got a good old-fashioned proper single, which stands alone as an absolutely brilliant release. All very impressive for a debut, and it’s pushing Arctic Monkeys pretty hard to be the week’s best single.

Sea of Bees
‘Gnomes’

‘Gnomes’ is as good as anything on Sea of Bees’ album Songs For the Ravens, but you really need to see Sea of Bees live to get the full picture of what she’s about. On stage, her extraordinary voice and endearing awkwardness make for a pretty special gigging experience, but on record there’s a danger that it can all be just a touch overwhelming. That notwithstanding, ‘Gnomes’ is a nice jaunty little strum-along, catchier than you realise at first, but it’s all rendered a bit disorienting by that eye-fuck of a video.

The Feeling
‘A Hundred Sinners (Come and Get It)’

Oh wow. I’d genuinely forgotten this band ever existed. Apparently this comes from their third album, although I have no recollection of the second appearing. This is basically like all three of the other Feeling songs that I’ve heard in my life, only a bit more half-arsed. It’s notable (!) exclusively for the singer doing what I can only assume is a Sting impression on the chorus. There really is absolutely no reason whatsoever for these people to still be making records together. In fact, I’m not even going to bother posting a video, partly because YouTube doesn’t appear to have one, and partly because even if it did, you wouldn’t want to watch it.

Wonderland
‘Nothing Moves Me Any More’

Prior to hearing this song just now, I had no idea who Wonderland were. Man, they were halcyon days. This is absolutely laughable drippy nonsense. You see, I’ve always thought Girls Aloud were A Good Thing, but if this kind of lazy, trite bilge is a direct result of their success, then maybe I need to reconsider my relationship with Cole and her pals. I’ll still stick the video for this one up, purely because you might need a laugh of a Monday morning.

Yann Tiersen
‘Monuments’

Okay, I was keen to finish on a positive note, so I’m grateful to Yann Tiersen for enabling me to do so. ‘Monuments’ is a stunning piece of work, minimally constructed, but enormously affecting nevertheless. In fact, right at the last minute, it’s turned The Union Choir and Arctic Monkeys’ two way scrap for single of the week into a triple-header. The gorgeously weird animated video might just swing it Tiersen’s way though.

T in the Park (Photo by Steve McGillivray)

 

 Friday

The tap on the shoulder as I sit at work is slightly unexpected. “I got you a VIP Weekend ticket for T in the Park” is even more unexpected, but the good kind of unexpected – free access to loads of live music. Superb. Unfortunately I still have Friday to work before I get to head up to the site. Friday comes and the inevitable delay at work means I arrive at T in the Park around 8pm. First job is to get the lie of the land and meet up with Gary and Kirsty from Carnival Chaos, the wonderful people that bestowed my free ticket upon me. That done, I saunter off in the direction of the Red Bull Bedroom Jam Transmissions tent, dodging all manner of impressively drunk festival folk. Friday is fancy dress competition day with VIP passes for 2012 up for grabs to the winner. I feel like I’m the one that’s been drinking as I pass Iron Man, Dick Dastardly, Wolverine, soldiers, a SWAT team guy with gas mask and all manner of crazy costumes. I make it to the tent, feeling foolish for wearing a Green Lantern t-shirt instead of dressing AS Green Lantern. No matter. I’m here for the music anyway.

First up for this year are British Sea Power. These guys have always been on my radar, having bought their debut album a few years back, but until now I’ve never got round to seeing them. They’re not helped tonight by a decidedly ropey sound set-up but there’s no questioning their commitment. It’s a good lively set from them, touched with an element of the surreal as the band are joined by a crazy looking robot thing on the stage. I’m glad I’m not boozing tonight or I’d be very confused right now. First band are done and now it’s time to see my second and final band of the Friday down at the Main Stage, Arctic Monkeys.

As I make my way down to the main stage I’m struck by two thoughts. Tonight alone, I’ve seen half a dozen females crying and almost everyone is absolutely smashed! I’m feeling like the soberest, most mentally stable person here now! I pick a spot to the right of the stage and settle in. All the while people are arriving at the Main Stage from elsewhere on site and the crowd is huge. While the roadies are setting up Oasis has come on over the PA and the crowd is going wild. It’s lucky for me none of the crowd are mind readers. Just as the song ends my despair is lifted as ‘Town Called Malice’ comes on. Then the guy three feet from me asks his friend “What’s the name of the band that does this?”. Seriously? I’m astounded. How can anyone stand at a festival and not know who The Jam are? Before I get the chance to remonstrate with the guy Alex Turner and company are out on stage to a thunderous welcome. I didn’t think they’d get a better reception than that but on their second song they hit us with ‘Brianstorm’. Mayhem ensues and while I’m taking it all in the young man to my left clearly has some kind of stomach complaint as he’s only gone and emptied it on the ground. Must be a bug going round.

Nobody seems to care though as the Arctic Monkeys set about securing the title as the best British guitar band. On this evidence, I can’t see who else can take the crown. It’s a storming set, littered with hits and a few tracks from the latest album. The crowd goes particularly crazy for ‘I Bet You Look Good On The Dancefloor’, with every lyric belted out by the huge crowd. There are a couple of flares being lit, making me feel like I’m in the San Siro and not a field 20 miles from my hometown. At no point are the crowd not eating from Alex Turner’s palm. The boy is a genius. As the set closes I’m fairly satisfied with my first night. Time to head to the staff car park to get the car and head home. See you for a full day of bands tomorrow Kinross-shire field!

A Flare-Up at Arctic Monkeys (Photo by Steve McGillivray)

Saturday

I’m off and running early today with a spring in my step as I walk through the backstage areas towards the VIP Hospitality. I know how smug that sounds but there’s nothing in there that isn’t out in the main site. It’s just got more space, nicer toilets and a DJ. It’s going to act as my base of operations for the festival, which is great because the closest stages are the BBC Introducing stage and the T Break stage. It’s here that the unsigned and under the radar bands will try and make a lasting impression and the first to get the chance are Three Blind Wolves. The Glasgow four piece appear on stage after an introduction from Radio 1 DJ Ally McCrae to a generous reception from a decent sized crowd. I’m not sure what to expect here as the band kick off their set but I’m quickly enjoying it. Talk of comparisons to Frightened Rabbit aren’t too wide of the mark but the band have a good, distinctive sound and lead singer Ross Clarke’s vocals come over really well. There’s a lot to like here from a great bass to the quiet/quiet/loud formula used by many bands. Three Blind Wolves use them all very effectively and their set is filled with energy. It’s just a pity that their slot is so short. A great start to the day and now I need a £4 beer from the bar. 

As I find a seat for me and my beer a Chinese Dragon wanders past me. Slightly surreal but when it moves away I can see members of Kid Canaveral sitting a few feet from me. The band will play the BBC Introducing stage at 4pm today and I will definitely be there. They’re top of my list that says “Must See Bands”. Being a shy and retiring type I leave them in peace (for now) and head on over to the T Break stage where Woodenbox are due to perform. I don’t know too much about these guys but as I position myself in front of the sound desk (I like standing next to the sound desk for some reason) I’m heartened by the size of the audience. The band are coming out and there are a few beards, checked shirts, trucker caps and a brass section. This is very promising. They put on a lively set, with occasional hints of spaghetti western in their folk tinged sound. The set is high on energy and the band look like they’re having a great time, which is always good to see. The singer even exclaims that this is “the biggest crowd we’ve ever played to”. As they prepare for their final song, the Hornblower Brass Band are introduced and it’s a great end to the set. So far today is going great. Now is the time for my top “must see” band. 

I head back out and make my way up the slope towards the BBC Introducing stage. As I arrive The Mars Patrol are introducing their last song. As the song ends I’m wishing I’d seen their whole set. It was excellent but I can’t let this affect my mindset. Kid Canaveral are due up in 15 minutes. I use the intervening period to make my way to the front of the stage, something I don’t usually do, but the BBC have their sound desk at the side of the stage behind the barriers so I’m stuck for a place to stand. Talk about a long 15 minutes. I’m brought out of my daze by Ally McCrae coming on stage to introduce the band. By now there’s a reasonable crowd, but if I’m honest I expected more people. Oh well, it’s their loss and what a loss. The band are superb. There’s some good banter flying around, especially when a guy in the audience yells “taps aff” at the band, which illicits much laughter on stage. To any readers south of Berwick, this is a polite request for the band to remove their upper garments. Naturally the request is equally politely rebuffed. The four-piece play a very spirited set, engaging the crowd throughout. Everything sounds absolutely spot on and I’m already wondering which band will top this performance over the weekend. I doubt anyone can. I narrowly avoid inserting a photographers camera where it will be difficult to remove after he pushes me from behind to get a shot of the band. I decide to let him off since I’m in a great mood after a fantastic start to the day. It’s especially nice as all the bands I’ve seen today have been Scottish. I’ll drink to that. Trouble is I don’t have a beer so it’s back to the bar we go!

Around 15 minutes later I’m heading back to the BBC Introducing stage for another Scottish band. This time it’s Aberdeen’s The Xcerts. These young men create an almighty racket. A three-piece, they belt out power pop songs that have the big audience going absolutely mental. I remain a safe distance from the stage as I can see madness happening before my eyes. The sound these guys are putting out is incredible. I can see male and female crowd surfers and the security down the front are having their work cut out. Just when I think it can’t get any more mental the singer dives into the crowd with his guitar and keeps playing as he’s passed over their heads. Crazy and brilliant. While I’m really enjoying it, I’m also thinking I’m way too old for all this energy. A sobering thought. 

Next port of call is the Red Bull Bedroom Jam Transmission Massive Long Pointless Name Stage to see Australian outfit Tame Impala. Hailing from the namesake of my own hometown, Perth, I’m pretty excited to see these guys as I find a perfect spot in front of the sound desk. As I get myself set, a guy walks past with a mask on that has a penis instead of a nose. Lots of mental people here today. There’s a good crowd in for the Aussie psych rockers’ set, which is a nice surprise, but explained away when I take a look outside and see it’s absolutely tipping it down. No matter. I’m sure they’ll win a few people over. I need a water so I pop out to get a bottle from a nearby van and walk into my mate Glenn. To cut a long story short I’m pretentious for not wanting to see Beyonce and Coldplay. In that case I’ll embrace my pretentiousness. I tell them to sod off and head back in just in time to see Tame Impala come on stage. The set is something of a contradiction. The guitars are sounding great, getting that psychedelic sound across well in the tent, but the vocals are really poor. The sound is a little muffled and tinny and this is a feeling I had at British Sea Power last night. It’s probably a minor quibble though as it doesn’t really get in the way too much. I notice the tent is emptying and a quick look outside confirms the rain is off. It’s a shame as Tame Impala are great, vocal issues aside. The set is punctuated with long, spacey instrumentals that lull you in before the band explode into noise. I’m thinking My Morning Jacket meets Secret Machines would be a good reference point for anyone unfamiliar with them. It’s a really good set and I leave the oddly named tent and head back towards the BBC Introducing stage. 

This is my kind of festival. Just wander where I fancy with a very loose schedule in mind. There are definitely bands I want to see, but there are enough gaps that I can take a chance on unknown bands and perhaps get a surprise. With this daring spirit in mind, I arrive back at my favourite stage as Navajo Youth are doing their thing. A little bit Wolf Gang/MGMT going on here but I confess I’m not struck by the need to stay and watch so I’m on the move again. After a brief visit to the VIP area, I’m off with a spring in my step. Destination Radio 1/NME Stage to see New York’s finest, The Strokes. There’s a good sized crowd gathering and the weather is holding. I’m quite excited here. Last time I saw The Strokes they were a last minute addition to the T in the Park bill, back in the months prior to Is This It? being released. They were pretty good then and here’s hoping they’re as good this time round. A huge cheer greets the band as they wander on stage and strap on their respective instruments. Second spot on the setlist is ‘New York City Cops’ and the crowd go wild. After last night’s flares, today it’s smoke bombs with the smoke partially obscuring the stage for a few minutes. Like Arctic Monkeys it’s a pretty good set, sprinkled with the best of their four albums, but it’s the songs from the debut that get the biggest reception. Julian Casablancas comes across as a bit of an idiot at times though. His vocals are occasionally lazy and in places sound like Vic Reeves pub singer. It doesn’t quite put a damper on the set but it is a bit disappointing. Thankfully the band are in top form and when Casablancas remembers to do his job they fire on all cylinders.

My feet are beginning to hurt by now but for you our loyal readers I’ll soldier on. With a sense of déjà vu I brave the scary drunk people and set off towards the Red Bull tent again. As I walk into the tent I’m assaulted by the stench of the place. It literally reeks of damp grass, soil and body odour. Not pleasant. Villagers are manfully battling a thumping bass from the dance tent that I can feel in my chest. No mean feat for a tent that’s probably 400 yards away from this stage. I only catch a couple of songs from Villagers but the small crowd seem appreciative and quickly drift off into the night. I park myself in a quiet corner of the tent and wait patiently for Bright Eyes, tonight’s headliners. In the time between Villagers finishing and Bright Eyes arriving, I’ve seen a guy with the handle of his umbrella held up – but with no umbrella. I also see a girl walk into the tent with two guys, one of whom proceeds to urinate while they all stand around talking. Only at a festival! As Bright Eyes take to the stage I return to my spot in front of the sound desk, getting a nod from a like minded soul and prepare myself. I make a mental note to grab a setlist from Mr Sound Guy as Conor and the gang take to the stage to a loud welcome. I can’t help but notice two things. Conor Oberst is wearing a big jacket and it’s getting cold. He’s a smart and talented man this Oberst. Opener ‘Wrecking Ball’ sounds great. Seems the sound is a lot better for Bright Eyes than for any other band I’ve seen on this stage. There is the never ending battle with the bass from the dance tent, but Oberst laughs it off by suggesting the next track is a mash up with the DJ. It’s a great set from the band, who make it look very easy. Conor Oberst leaps around like a wild man, belting out the songs and it’s a fantastic end to what has been a good day.

Kid Canaveral (Photo by Steve McGillivray)

Sunday

I’m up and at ‘em today. Must get there early as The Phantom Band are on the Radio 1/NME Stage at 12pm. Ridiculously early for a band of their stature if you ask me, but then I don’t organise massive music festivals so what do I know? I race to the stage after running a few minutes late to catch the band wrapping up their first song. Disappointed not to make the start but I’m here now and that’s all that matters. There’s a decent turnout for the early slot, which is great and the Glasgow band put on a strong set, managing to fill the arena with their distinctive big sound. I’ve seen a lot of bands fail to make an impression on the big open air stages but no such worries for these guys. ‘Folk Song Oblivion’ sounds especially epic with Rick Anthony’s vocals carrying easily. They sound fantastic and although I’m still frustrated at their early time slot, I’m pretty sure I’ll see more of them between now and next year’s festival. I mean 12 o’clock. Gives them 20 minutes or so. Not nearly long enough for a band this good. Nothing I can do about it now though. I do notice Ally McCrae again though. I’m pretty sure he’s stalking me. During the set I can see a guy waving a sign around that officials hold up during golf tournaments that says “Quiet” on one side. That’s quite amusing. I head away pretty pleased, having checked off band number two from my must see list. Only one to go. As I pass the main stage I can see Cast on the big screens. Since it’s not 1995 and I have an okay taste in music I keep on walking. 

My route takes me past the T Break Stage so I decide to stop off for a look. The screen tells me United Fruit are up next and I decide to stick around. There’s a good crowd building and lo and behold if it’s not my stalker Ally McCrae. Not to be outdone, Radio Scotland’s Vic Galloway is here as well. This looks more promising by the second. The band appear on stage and literally launch into their opening song. This is great. It’s brash, it’s loud, it’s fast and it’s excellent. There are shades of At The Drive-In here from the Glasgow based foursome. Again, the band appear to be having an absolute blast playing and this comes across to the crowd who respond well to the energetic set. I don’t catch the names of the songs but the last one is a stormer. Really pleased I’ve stopped by here for this gig. Brilliant stuff and I’ll be making sure I catch these guys again. 

With a spring in my step (not really, my feet are almost literally falling off, they’re so painful) I decide the next band to fall under my gaze will be New Zealand’s The Naked and Famous. It also marks my first trip to King Tuts tent. For those not familiar with the name, King Tut’s Wah Wah Hut is a renowned venue in Glasgow. The difference between the real venue and the tent is that the tent is around a thousand times bigger than its Glasgow namesake. The tent seems about half full as the band come onto stage and open with ‘All of This’. They get a good reception and the sound is good but I’m not blown away by it so far. Second song ‘Punching’ is more of the same and is good, but I don’t feel a stirring so I decide to head to the bar for a £4 beer. Such luxury. I make the bar just as the DJ is playing Happy Mondays. Perfect timing. It also starts pouring with rain, meaning the main festival area will be a mud bath very soon. Wouldn’t be T in the Park without some mud.

I head back out when the rain stops and make my way to the BBC Introducing stage once again. I’m not even sure who’s playing but the low-fi chalkboard tells me it’s Madhat McGore. Thankfully Ally McCrae introduces the band as one of many great acts in a burgeoning Scottish hip-hop scene. They appear on stage with the obligatory baseball caps at just the right angle, trailing their DJ behind them. But wait. One of them has a military helmet on. I get it – he’s Madhat! I must confess right now that I’m staying here for the comedy value this presents. I get the feeling a few others are doing this as well, but any thoughts of cheap laughs are soon dispelled. The DJ lays down some good beats and the three MC’s deliver tight, flowing rhymes which sound surprisingly good with a Scottish accent. I’m totally won over here and feel slightly guilty for my knee-jerk reaction. Especially as I think of myself as a fan of hip-hop. The band even get the whole crowd involved on their final song, having the crowd yell “Healthy” at the end of every chorus. It’s great fun and I go away pretty happy.

I decide I need to freshen up and head into the Media Area (best toilets I have access to). There’s only two in the queue so I wander up and wait. The guy in front seems a sociable type as he turns and asks who I’ve seen today. “I came early to see The Phantom Band” I say, “but have seen a few other bands too”. “I’m in The Phantom Band!” he says. I’m slightly taken aback and a little embarrassed I must say. Anyway, Duncan, is indeed a very sociable guy and we wander around for a while chatting while he seeks out his band mates. We later find Rick in the VIP area and the guys are kind enough to put up with my inane banter for a spell. They head off and my attention turns to a legendary band.

My weekend is drawing to a close but there is one more thing to do. Pulp are due up on the main stage. I meet up with Gary and Kirsty, the good people that gifted me my ticket and we troop off down through the mud to the Main Stage. There’s a massive crowd building and we manage to wangle our way into the area at the front of the stage. VIP has to be good for something. Now, I said before it wasn’t 1995, but that was Cast. A little album called Different Class was released that same year. Everyone here, me included, wants to taste a little bit of that record again and Jarvis and co. don’t disappoint. They’re flawless. It’s not rocket science to figure that a set from Pulp will be a greatest hits run through and that is exactly what we get. Being a normally reserved gig attendee that likes to bother the sound guys, I find myself jumping around in the mud singing ‘Common People’ at the top of my lungs. Nobody cares though, me included, as everyone is doing that. The poor weather can’t dampen the moment at all. We’re even treated to Jarvis wiping his rear with a copy of News of the World, which raises a mighty cheer from thousands of people who probably actually bought the paper, but today we’re all in Jarvis’ palm. He even cunningly praises the SNP’s landslide victory in the Scottish Parliamentary Elections. He’s a clever guy is our Jarvis. He charms the crowd and delivers what they want. A big sing-along to Pulp’s greatest hits. I just hope they stick around for a bit, because a world with Jarvis and Pulp is a better place.

As I head away from the main stage, absolutely blown away by Pulp, I’m planning my next move. Noah and the Whale followed by Eels at the Red Bull stage is the preferred move, but Foo Fighters on the Main Stage is also a possibility. In the end my feet decide. By the time I reach the base camp (ie VIP bar) I am absolutely shattered. In a moment of sense and clarity I decide to call it quits and head for home. I’m caked in mud and really tired but I’ve had a great time. It’s a long walk back to the pickup point where my wife is getting me. As I’m leaving I pass a huge crowd watching Foo Fighters and just before I leave the site I bump into the singer from Three Blind Wolves. I tell him how much I enjoyed his set and stumble off into the night happy. Hopefully see you next year. If I can walk by then.

T in the Park

We bring you the round up from our next stop in an 11-festival calendar with Vodafone VIP – Scotland’s pride, T in the Park festival.

For those who presume that a festival containing 70,000 ‘revellers’ (as the local papers will have you picture it) in a giant muddy field can’t possibly have the excitement of their favourite band headlining a venue in their town, T in the Park is a strong challenger.

Many of the same acts are filling the upper echelons of 2011’s big-draw festivals, it must be said, but there’s something different in the air around Glenrothes [Ed: or Kinross - as pointed out by the commenters below (sorry!)] - it’s a sense of hysteria, theatricality and excitement that spreads farther out than just the rows in front of the barriers.

It’s not just in the crowd that the performance button’s been switched up to maximum, but the stages too. Metronomy are in their perfect setting: a dark tent with crowds thronging towards the front. They’re a smoother machine than ever on this showing, and uncompromising with each note – there’s nothing missed, but with The English Riviera’s warmer tunes not one bit as clinical as non-fans may have had it down for around the release of Nights Out. This sounds overly defensive: the point I’m trying to make is that if there are a more startling incredible live band out there than Metronomy, then we’re yet to find them.

Diplo’s set is another of Sunday’s highlights, with snippets of the producer’s work with Beyonce and M.I.A. turned up to full blast alongside crunching, lurching cuts from Major Lazer and Hudson Mohawke – the womp and wobble of ‘Pon De Floor’ shakes up T’s raviest tent into a far later setting than its 6pm ought to feel. The set’s attention-deficit makes it seep into at such an early time, but it’s a stormer nonetheless

Arctic Monkeys’ Friday headline sits sour-faced at the opposite end of the scale, for lack of show – the sound in most of the area around the main stage is muddied and distorted, disguising the variation between their most raucous material from the debut and their most contemplative – as the music’s spun out ever since. 2manydjs whip proceedings up into a frenzy earlier, but it’s Saturday and Sunday where T in the Park comes alive.

Beyonce has members of the audience in tears as she turns on the style and flicks the switch on that incredible, effortless voice and stage-show – all without even breaking into a sweat. It’s difficult for non-showmen Coldplay to follow that, but a firework display and a rousing ‘Fix You’ keeps the crowd’s spirits raised.

Gerard Way’s My Chemical Romance blast out ‘It’s Not Okay (I Promise)’ early on Sunday, recreating teenage rebellion in the desperately longing way that only they can – it’s not a nostalgia that brings back anything as necessary as Pulp’s, as Jarvis Cocker reminds us just why music needs characters to get fans pro-active.

In spite of Pulp’s mere hour on-stage, Cocker emerges out of the shadows wide-eyed, toying playfully with the crowd by throwing Twixes into the front row, but more than that – praising the SNP victory and rousing the huge crowd into one collective, together. If you put N-Dubz’s instructive “put your hands in the air” together with Ke$ha’s filthy-girl cynical tunes and time-intensified fame, they don’t come close to the level of popstar that Cocker performing ‘Babies’, ‘This Is Hardcore’, ‘Disco 2000’ and ‘Common People’ have him achieve. It’s easy for time to erase just how consummate a frontman Cocker is until he’s on-stage in your horizon, when it all becomes apparent. Pulp’s reunion is essential, not only as an exercise in nostalgia but an exercise to many of today’s top-drawer acts – acts who are shy of conflict, or opinion and of spontaneity.

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views,  a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and  plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.

Here’s the new video for ‘The Hellcat Spangled Shalalala’, the second single from Arctic Monkey‘s fourth album, Suck It And See.  The band are headlining T In The Park and Oxegen this weekend, and we’ve got the rest of their tourdates below.

Friday 8^th July                           T In The Park Festival
Saturday 9^th July                       Ireland – Oxegen Festival
Saturday 20^th August                Hylands Park – V Festival
Sunday 21^st August                   Weston Park – V Festival
Friday 28^th October                Nottingham Capital FM Arena – SOLD OUT
Saturday 29^th October             London The O2 Arena – SOLD OUT
Sunday 30^th October London The O2 Arena – EXTRA NIGHT ADDED
Tuesday 1^st November Cardiff Motorpoint Arena – SOLD OUT
Wednesday 2^nd November       Manchester MEN Arena
Friday 4^th November                Birmingham LG Arena
Saturday 5^th November           Newcastle Metro Radio Arena- SOLD OUT
Sunday 6^th November               Aberdeen AECC
Tuesday 8^th November Glasgow SECC Hall 4
Wednesday 9^th November        Liverpool Echo Arena

It’s difficult to write objective journalism on the Arctic Monkeys - very few people are ‘indifferent’ to them. If you’re someone like me, the Monkeys were a pretty dominant force in your teenage years, providing the soundtrack for many evenings of underage drinking and youthful angst about not getting laid and not getting pissed. Others seem to dislike them precisely because of those years when their heels were on the neck of the mainstream, drowning out any other bands from the radio.

Arctic Monkeys - Suck It And See

Wherever you stood, it’s apparent that everyone had certain ‘expectations’ of the Sheffield lads; expectations that were finally let down on Josh Homme produced Humbug. Arctic Monkeys’ third delivery, whilst still possessing some thrills, largely saw the shrinking of one of Britain’s largest fan bases. This was aptly pointed out to us by their Reading and Leeds festival headline slot, where the band played to a somewhat motionless crowd. Indeed, when finding yourself in that difficult third album position, do you “pull-an-Oasis” and give the people what they want, or choose artistic integrity, which usually means not giving the people what they want. It seems there was only one choice for Alex Turner, as he bellowed on early track ‘Who The Fuck Are Arctic Monkeys’, “we’ll stick to the guns/ Don’t care if it’s marketing suicidal”.

And so, we find ourselves at the fourth release, Suck It And See. With expectations lowered we find considerably less pressure, but also with criticism easier to distribute. The album feels like an addition to a rock band’s catalogue, opposed to any particular statement; something the previous albums played with. This isn’t necessarily a band thing. Suck It And See is a collection of rock songs that the band can proudly add to their name and their live shows – a collection of solid songs that are both radio accessible and privately enjoyable. The tunes focus on the echoes of Humbug’s ‘Cornerstone’, a major key pop feast. So too can we hear ‘Crying Lightning’ and ‘Secret Door’ resonating, especially in single ‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’. The difference is where Humbug chose obtuseness, Suck It And See chooses major key rock, a distinct move back to the tone of the critically acclaimed Favourite Worst Nightmare. Just watching how Turner and the boys carried themselves during their surprise appearance at Radio 1’s Big Weekend confirms their journey into becoming a rock bands with rock anthems, and this is exactly what Suck It And See is.

This isn’t to say the album is unquestionable. If we start with the title, Zane Lowe confronted them in an interview saying “that’s funny, right?” But I’m not too sure just how ‘funny’ they meant it to be, as the band have a reasonably long history of poor titles. The album artwork too seems to be a lazy attempt at minimalism, but really just ends up being quite unimaginative. Turner’s lyrics, what he’s most adored for, at times slip beyond comprehension or ingenuity; ‘Piledriver Waltz’ announces “I etched the face of a stopwatch on the back of a raindrop/ and did a swap for the sand in an hourglass”, which leaves most people shrugging their shoulders. Although consistent, a word that could be heavily affiliated with the album, the 12 tracks are a bit excessive. ‘All My Own Stunts’ feels like a pointless repeat of the previous song ’Library Pictures’ and hears Turner asking “put on your dancing shoes”, an almost cringe-worthy reference to their debut. Finally, release ‘Brick By Brick’ is a painstakingly obvious attempt to crack into the American market, which features dumbed down lyrics and sleazy guitar work.

Suck It And See is, however, still an impressive rock record. It’s certainly not a classic album, but it’s an excellent assortment of tunes that will get you throwing your Ray Ban’s on and driving a little faster. ‘She’s Thunderstorms’, ‘Black Treacle’ and ’Reckless Serenade’ are all major key treats that remind us of the charisma we pine for from Turner, whilst ‘Don’t Sit Down ‘Cause I’ve Moved Your Chair’ and ’Library Pictures’ provide us with the kick that’ll slide in so perfectly with ‘Brianstorm’ and ‘When The Sun Goes Down’ in any set list. We get our anthem from ‘The Hellcat Spangled Shalalala’, which beautifully erupts and pulls to a halt. Closing track ‘That’s Where You’re Wrong’ wraps us in the warm nostalgia of ‘A Certain Romance’ and reconfirms that Turner’s craft is still as masterful as it ever was.

So, where Humbug presented us with a band that looked as if they’d lost their way, Suck It And See suggests that they are finally sure of their direction. That direction? To becoming rockstars, and this album is surely a move towards achieving that.

The xx - xx

As Paul The Octopus isn’t returning our calls we’ll have to make do with our own physic cephalopod, Mitchell Stirling as he casts his tentacles over the elite 12 British and N. Irish records that might be receiving nods next week.

Last year I, like most people felt that Doves winning would be to similar to the Elbow win the previous year but didn’t think that would prevent them getting a nod (nor did the bookies, they were favourites). Similarly we all thought that Portishead’s Third was a lock the year before and it didn’t make it. This year we can’t even find odds before the nominations but you can pick up a vibe on a few releases.

The XX – XX: We’d would be frankly astounded if this doesn’t get nominated, it was already being talked about as a potential winner around the time of last year’s ceremony. WE fully expect it to go in as favourite once the nominations are announced as well based on the acclaim it received at the end of the year that wasn’t restricted to the UK indie press, it was lauded by the broadsheets, the older music press and even the likes of FACT, The Wire and Mixmag. We haven’t seen a reaction to a British record like that since Dummy a former Mercury Prize winner. The one to beat we feel.

Wild Beasts – Two Dancers: Discussed in similar terms last autumn as a potential winner when summer rolled round. It has also been applauded thoroughly for the delight it takes in it’s own outsider status from the striking imagery to the arresting melodies. We don’t think it has enough momentum behind it with its September release in the way The XX have though.

Laura Marling – I Speak Because I Can: We’ve rhapsodised a fair bit about Miss Marling on this site and to anyone that will listen. It seems critical and public consensus is catching up with me and she’ll likely add the nomination of her first album in 2008 with this one. We also fully expect it to be among the favourites when the odds are drawn up.

Marina and the Diamonds – The Family Jewels and Ellie Goulding – Lights: We’re almost flipping a coin on this one. The top two of the BBC’s Sound of…  poll at the start of the year and in the previous two years the women at the top of that list have had a 50% strike rate with Duffy and Little Boots not making the cut, La Roux and Adele did. We think a similar thing is going to happen this time and although neither album really set my pulses racing we’ll go with Marina for having slightly more of the star quality. Bank on at least one of them to make it though.

Delphic – Acolyte: With the slightly more leftfield guitar-indie of The XX and Wild Beasts it’s hard to think of a typical Conor NME indie type album that might make it so we’ll plump for Delphic on account of the high amounts of tips at the start of the year and the goodwill they still have from their incredible early singles.

Plan B – The Defamation of Strickland Banks: It was a surprise at the time that his ‘British Eminem’ debut didn’t attract the attentions of the judges who went with Sway’s This Is My Demo and likely couldn’t find room for both on the list. The change to an easier on the Radio 2 listener’s ears singing style and lack of calling everyone listening a c**t probably puts him in a good position to land on the list.

Others that could make it.

Like last year we’ll throw in albums we’d like to see on the list first. These New Puritans‘  Hidden would be high up on my nomination sheet, a step up from their debut as impressive as that of The Horrors last year. We are also a big fan of Race Horses‘ Goodbye Falkenburg but fear that if SFA can’t get on the last two lists it’s unlikely another Welsh band that has followed them can. (we’re sure Jude Rogers will try though!) If we’re following the saga of the release of Fanfarlo‘s Reservoir correctly, it should be eligible this year if entered but who knows on that one.

We’d love to see Field Music‘s third album on there but with the panel choosing not to include the excellent Tones of Town or The Week That Was, we’re not convinced that they’ll be sitting through a double album too often from their listening pile. Their loss, we know. We also would have loved to have seen Twilight Sad, Frightened Rabbit and Mystery Jets make the line-up in 2008 though we think they all suffered in what was a very strong year for the prize. Their most recent albums are all in with a shout of making it but we feel that they aren’t as strong as previous efforts. The Big Pink‘s debut seems a very long time ago now but Glasvegas managed to make the list after a long gap last time out. We’re 50:50 on A Brief History of Love doing likewise. We also can’t see Alex Turner making it four from four with Arctic Monkeys‘ Humbug certainly not a bad album by any standard but it’s autumn release handicaps it more than any perceived dip in quality we feel. A couple of albums that could make it on both strength and previous efforts feeling hard-done-by are Foals‘ Total Life Forever and Los Campesinos! with Romance is Boring.

With a presumed nod for Laura Marling we think, despite the wealth of talent in the indie folk box there’s probably only room for one more nomination; it would likely be Mumford and Sons. A band that have had stratospheric rise in the past 12 months with a feverent fan-base that clearly adores them and their intense live show as well as lashings of Radio 1 play their have the wind in their sails despite a large amount of sniping at them. This probably means no place for Noah & the Whale‘s The First Days of Spring or Peggy Sue‘s Fossils and Other Phantoms as there surely wouldn’t be a third album from that corner of the world. Previous nominees The Unthanks and newcomers Stornoway and Goldheart Assembly are more on the Radio 2/Uncut end of the folk spectrum so they could usurp Mumford and Sons or join them in a heavily folky list.

Moving away from guitars there’s every chance that Hot Chip‘s recent effort One Life Stand, a more complete effort than Made In The Dark could be nominated like 2006′s The Warning was. We also think that if Four Tet are ever going to get a nomination than this is year with There Is Love in You, one of the best received albums of the year. In a similar vein Fuck Buttons, Scuba, James Yuill and Broadcast and The Focus Group may feel in with a shout.

Typically there’s a Irish nomination just to remind everyone that Irish acts are eligible prime suspect this year is likely to be the joyful but lightweight indie pop of Two Door Cinema Club or Dublin’s Villagers. Former nominees Polar Bear, Dizzee Rascal, Portico Quartet, Maps, Fyfe Dangerfield, Jamie T and Richard Hawley all have perfectly serviceable albums that could make it. Muse’s last album was terrible but that doesn’t stop the panel from including one record a year to really annoy us. A much better home-grown stadium rock effort would be Biffy Clyro who surely deserve a look-in for persistence alone.

There are a few acts that’ve never been on the list that might make a debut Steve Mason’s Beta Band never made the cut. Nor, surprisingly did Grammy and BRIT nominee Corinne Bailey Rae with her debut. We think she may well atone for that oversight. Paul Weller has his best album since 1993 nomination for Wild Wood but we don’t think he’s the kind of act they’d want to nominate still. What price a nomination for Teenage Fanclub or The Fall after all these years? (We can’t see them wanting Mark E. Smith gurning at Lauren Laverne in September to be honest.)

We have also mulled records by The Cribs, North Atlantic Oscillation, Archie Bronson Outfit, Rox, Bombay Bicycle Club, New Young Pony Club, Massive Attack, Lonelady, Pulled Apart By Horses, Tunng, Kate Nash, The Chemical Brothers and Blood Red Shoes and could only see NYPC or Lonelady sneaking on to the list but we’re not going to tip them.

We wanted to mention Slow Club as a nominee we’d like to see but Charles and Rebecca’s wonderful debut falls outside of the dates for being on this year’s list after looking it up. Anyone who is suggesting Gorrilaz will be nominated may want to do their homework on the band’s previous nomination though!

Our final predictions: The XX, Wild Beasts, Laura Marling, Marina and The Diamonds, Plan B, Delphic, Four Tet, Foals, Biffy Clyro, Mumford and Sons, Empirical and Villagers.

Half a dozen more to cover our tracks: Scuba, Ellie Goulding, The Fall, Corrine Bailey Rae, Hot Chip and These New Puritans.

How accurate will we be?

Arctic Monkeys

I’m not really too bothered about who he’s fucking, or where he lives, or even what he gets up to outside music. He can become an actor if he wants, start painting….. whatever. I’m concerned about Alex Turner, ‘the indie icon’, about this ‘genius’ tag that has prematurely been bestowed upon his slender frame.

Though success, both commercially and artistically has dictated that we should place Turner in the upper echelons of the indie hierarchy. Close to the likes of Jarvis Cocker or Morrissey. There seems to be an issue about how all the adulation can extend beyond his work on the Arctic Monkeys debut release Whatever People Say I Am, That’s What I’m Not, culturally it was an album that changed the whole landscape of indie music, and by indie I don’t mean real indie, I mean indie. Y’all dig?

Think about it. It was an album that came from nowhere, produced a plethora of singles that everybody could relate to, transcending generations. You had everybody from the thousands in festival crowds singing ‘When the Sun Goes Down’ arms joined in unison, to a couple of middle aged dinner ladies singing along to ‘Mardy Bum’ on the radio whilst smeared in breadcrumbs and chip fat.

Then came the expectation, the hype, the pressure. Briefly acknowledged in the EP Who The Fuck Are Arctic Monkeys? we saw Turner the songwriter admitting that becoming a rockstar is not all it’s cracked up to be, and that life on the road can be a bit boring. Favourite Worst Nightmare seemed to reflect the hectic new found lifestyle, generally more frantic the band’s debut, we witnessed something unsure emerge from Turner. Where as in these circumstances, a more extroverted personality can embrace the notion that all eyes are on me now, for Turner a reticence set in. It appeared the man became serious too soon, and muddled himself in the quagmire of maturity.

Crooning on tracks such as ‘505’ and ‘Do Me A Favour’ Turner seemed hell bent in becoming an old man in his early twenties, adopting a vintage romantic persona that men such as Richard Hawley, Nick Cave and Scott Walker have naturally grown into. But the jacket didn’t fit. It seemed even less believable when he jettisoned the Monkeys to work with Miles Kane on the ridiculously pompous The Last Shadow Puppets side project.

See Turner found himself in a quandary, his popularity intact, his star fixed firmly in space. But his legacy perhaps already ruined. Arctic Monkeys couldn’t even do what Oasis did, and release two GREAT albums consecutively, they merely released one. Lyrically Turner deserted observation and wit, and became a little more cryptic, alienating the public by mystifying the private.

Though Humbug has established the Monkeys alongside Muse, Coldplay and Kasabian as festival headliners and bona fide heavyweights, what they share with those bands is a lack of pushing the boundaries, solid but unspectacular. Trustworthy musicianship, an almost bankable guarantee of a good gig, but the element of surprise is missing. Humbug seemed almost predictable, the getting back to basics album, working with Josh Homme in the desert to merely reconnect with the essence of rock.

I don’t believe that the other three members of the Arctic Monkeys are musical visionaries. Turner doesn’t have a foil within the band; there is no Lennon or McCartney, or better still Morrissey or Marr dynamic. He can trust his band to play, but not to create, and obviously the limitations of his band mates influenced his decision to adopt a side project involving the likes of James Ford and Owen Pallett. The group dynamic is tight musically, but seemingly unlikely to produce a Kid A defining release.

Maybe it all came too soon. The lad had to quickly adjust, and his life abruptly altered from having a comfortable little to acquiring an awful lot. Turner has always downplayed his success, though you’d be foolish to believe it hasn’t affected him. You go from being a bedroom bard to the voice of a generation, the expectation paradigm shifts.

In a time, as the fine football journo John Nicholson remarked where we have a tendency to over-rate, over-praise or even over-criticize. Turner exists as a man accelerated; perhaps not a genius, not yet a legend, but somewhere in the middle.

Gnarls Barkley - Crazy

While it was only a few short years ago, 2006 was a real game changer in terms of this decade. The previous year saw the implementation of digital sales into the singles chart and by summer this year Gnarls Barkley’s ‘Crazy’ became the first UK number one not to sell a single physical copy. It was the also the year that YouTube went supernova and allowed many of us to check out classic clips of bands performing on Top of The Pops while we mourned the final weekly episodes. While the great rush to add people to your fledging MySpace account may have been slightly earlier, there are two acts that will forever be associated with it; Lily Allen and The Arctic Monkeys.

Both however were not solely interesting due to their online presence. The Arctic Monkeys were the money shot that NME had been waiting for in the wake of The Strokes and The Libertines. A critically acclaimed British band that would go on to smash Elastica’s first week sales record for a debut and no doubt shift a few extra copies of the magazine when appearing on the front. Lily Allen’s similar attitude to making her material available online (ah, the irony) also saw her star rising this year. Her bouncy, reggae and ska flicked home-spun pop was for me, and no doubt many others, the sound of that summer. Her openness on her MySpace blog would go on to be the norm with many acts big and small having Twitter and Facebook accounts as well by the end of the decade.

With all this youth and young womanhood dominating my listening habits this year it was comforting to have strong statements from old-hands like Morrissey, Bob Dylan and Scott Walker in what I felt at the time and still do now the poorest year of the decade. While there was plenty to recommend I certainly didn’t think the well of very good albums or singles cut as deep as it has done in the three years since. Maybe that’s also partially due to this being the last year I suffered from the curse of the untouched .rar sitting on an external hard-drive, whose prices seemed to plummet around this time.

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