Viewing Gum Listening Post #32

Another month, another Viewing Gum Listening Post! Yes, don’t I know it. I have proper features in the offing, I promise! Anyway, listen to right here, or just stream below.

In the meantime, in non-music news, why not check out my movie-related stuff, namely my Letterboxd account I’ve been updating, as well as my Japanese movie programme Tumblr, EIGAGAGA?

 

  1. Miike Snow – Genghis Khan
  2. Mr. Oizo – Hand in the Fire (feat. Charli XCX)
  3. Shonen Knife – Rock’n’roll T-Shirt
  4. Weezer – Wind In Our Sail
  5. Iggy Pop – Break Into Your Heart
  6. Charles Bradley – Good to Be Back Home
  7. Anchorsong – Mother
  8. Emmy The Great – Social Halo
  9. Disasterpeace – The Mirror in the Attic
  10. MMOTHS – Body Studies
  11. Olafur Arnalds and Nils Frahm – 00:26

Viewing Gum Listening Post #31

It’s been two months, but the first Viewing Gum Listening Post for 2016 (and the thirty-first overall) is ready for you to listen to right here, or just stream below. Various factors delayed its collation, but perhaps of most significant relevance was the passing of David Bowie, which prompted a fairly typical response from his devoted followers worldwide of absorbing as much of his incredibly vast and varied work for a goodly time. There are few artists who could very easily fill days of radioplay but thanks to Bowie’s ability to inspire as well as be inspired, to collaborate, to produce, to write, to make guest appearances, to follow music as well as be followed by other musicians, to cross genres – well, there was much material to savour during my hefty Bowie binge.  I updated my 21st Century Bowie playlist recently, which can be listened to here.

I’m still not over it, and it will colour the rest of the year – and years – to come. But seeking out new interesting music was something he championed, and so the Listening Posts must go on!

 

 

  1. Yeasayer – I Am Chemistry
  2. The Crookes – The World Is Waiting
  3. RAT BOY – MOVE
  4. Field Music – Disappointed
  5. Sunflower Bean – Easier Said
  6. Fruit Bats – From a Soon-to-Be Ghost Town
  7. The Besnard Lakes – The Bray Road Beast
  8. Daughter – Doing the Right Thing
  9. Animal Collective – FloriDada
  10. The Last Shadow Puppets – Bad Habits
  11. Shlomo – Druid Caravan of Smoke

 

2015: TV of the Year

I made a concerted effort to watch a lot of TV this year. With so many must-see shows, many fell by the wayside, so if it’s not on the list, I either didn’t watch it or didn’t like it as much as you! But for what it’s worth, here are ten favourite shows of the year, plus the next fifteen in briefer detail, all in no particular order within their separate quality brackets. And it wouldn’t be an end of year list on this blog without an evening’s work of sloppy photoshop work too.

THE TEN TV SHOWS OF 2015

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Fargo
With series one, Noah Hawley defied all logic and sense and turned a critically acclaimed and award-winning movie by a pair of master film-makers into one of the most entertaining shows of 2014 (indeed, my favourite of that year). That series two would end up being just as good, maybe even better, is unbelievable. Wisely going forward by going back (some 30 years before the ‘true story’ first time around), a great cast all bring their A game to a tale of warring gangsters, an oblivious couple caught up in the cross-fire, and a police force trying to make sense of it all, with so much to enjoy amid the ensuing carnage. May ‘The History of True Crime in the Midwest offer more stories to come.

Mad Men
So much has changed in the televisual landscape since Mad Men first debuted (on BBC Two – remember when the BBC showed American drama?), it was no longer the sixties setting that made it feel like a product of another time. The end of Mad Men as such feels like the end of an era. And while this second half of its final series wasn’t quite as strong as the first, it finished off its run in some style. That the last few episodes would feel deliberately aimless was a reminder that dream-like, nomadic journeys of self-discovery was as much a part of its DNA as pitch meetings, office and social politics, and the evolving wardrobe of its characters. Mad Men leaves us in a better place (at least in terms of the variety of TV out there and the ease of accessing it), and it was worth sharing the ride with it.

Better Call Saul
The Breaking Bad spin-off that was much talked about and hugely anticipated quickly established itself as its own thing, exceeding expectations and being perhaps even better than its forebear. I’d go so far as to recommend it to those yet to see Breaking Bad (so long as you skipped the first 5-10 minutes), as it has all the fun and tension of seeing a slippery central character trying to get out of various legal scrapes, but with not quite so much killing and nastiness which might otherwise be off-putting.

The Jinx
True crime documentaries have been as much a staple of television as the detective shows that form the fictitious flipside of the coin. But few have such access to its central suspect, let alone one as high profile (at least in the US at the time – I’d never heard of the case beforehand) as millionaire Robert Durst and his connections to a string of murders and disappearances. Even if you know the much-discussed ending (a deeply chilling final shot that recalled Ghostwatch of all things – while we’re on the subject, I’d also recommend The Enfield Haunting if you have an interest in said show), the whole series was one of the most engrossing watches of the year.

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Fortitude
Despite the publicity onslaught at the time, it seems all the media attention evaporated for Sky’s big original production with its impressive international cast (including Michael Gambon, Sofie Gråbøl, Stanley Tucci, and Christopher Eccleston) soon after, which is a shame, as Fortitude was my favourite new drama series of 2015. What made it especially compelling was how it was never quite clear what kind of show it would become – was it a detective mystery, a serial killer thriller, a supernatural investigation, a sci-fi horror? That it ended up being all those things to an extent, and more, while maintaining a consistent tone is remarkable. If you’re partial to the likes of The Returned and Twin Peaks but with a touch of The Thing thrown in for good measure, then Fortitude’s grim, strange delights may be just the thing for you.

This is England ‘90
Another successful film-to-TV transfer, the four-part mini-series and likely conclusion to the adventures of Shaun, Woody, Lol, et al packed in many laugh-out-loud moments as well as its fair share of heartbreak and trauma too. It could be accused of turning up the misery to the point of incredulity, but having become so invested in the characters over one film and three series (not quite #sixseasonsandamovie), I think it earned its bruising toughness, counterbalanced with a sense of hope and optimism (well, not for all of them). Tears, both happy and sad, were indeed shed.

Show Me A Hero
For those intimidated or put-off by all the hype for The Wire and unsure whether to invest the time and energy would do well to check out Show Me A Hero, also from David Simon. At six episodes, it’s a fully contained and manageable story, based on real events, and while it doesn’t sound like an exciting proposition (public housing in Yonkers, New York, in the late 80’s), its cross-section of individuals directly and indirectly affected and involved with the issues has all the drama and social commentary of its bigger brother. Great use of music and attention to sound mixing too (the noise of the public debates was particularly striking).

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Catastrophe
Sharon Horgan teamed up with Rob Delaney to deliver another great comedy that’s as good if not better than Pulling. Frequently hilarious, Catastrophe had the kind of frank, disgusting but authentic dialogue that rarely emerges from behind closed doors, but, you guessed it, a beating heart under the profanity-strewn surface. Apart from some side characters that still feel out of place after two series, it was something really special. A very whistleable main theme too.

Hannibal
So long, for now, Dr Lecter. After three series with ever-shrinking audiences, NBC pulled the plug on one of the most imaginative and beautiful programmes ever made. And how do you make the most beautiful show on television even more beautiful? Take it to Florence, that’s how! It seemed its fate was sealed as soon as it went full Eurotrash and became a ‘funny’ accent extravaganza. And granted, the first few episodes felt even more languid than usual, as it recalibrated itself following the second series finale. But once friends, enemies and frenemies are reunited, it offered much to savour. That it also managed to fit in The Tooth Fairy – now in its third filmed adaptation after Manhunter and Red Dragon – and still managed to surprise and feel fresh is testament to just how good Hannibal was, and hopefully one day may be again. Fingers crossed for a movie, but not just any movie. A full-blown, over-ripe, nightmarish, gorgeous, movie musical is about the only way I can see it going. And yes, Mads Mikkelsen can sing. Kind of.

Hunderby
Despite its BAFTA and British Comedy Awards, I thought we had seen the last of Hunderby given it being tucked away on Sky Atlantic and lack of mainstream attention. But hush-ho! We were blessed with two glorious, disgusting specials in December. The relationships became ever more convoluted, the plot increasingly contrived, all in the grand traditions of the literature of course, and Julia Davis’ vulgar vernacular made my eyes fountain with laughter and locked my face in a grin throughout. Very silly and in exquisitely bad taste and all the better for it.

AND THE NEXT FIFTEEN…

Wolf Hall
Lots of people looking miserable in dark rooms and creaky corridors is how I imagine the Tudor period, so Wolf Hall is probably a rather accurate depiction of historical events.

Inside No. 9
Steve Pemberton and Reece Shearsmith’s second post-League collaboration after Psychoville mirrors its predecessor by following a good first series with a great second one.

Penny Dreadful
Still not essential viewing, but the second series of John Logan’s gothic mash-up found itself a sense of humour, and with it became far more entertaining.

Broad City
Comedy Central UK finally woke up to the fact that it might actually be a good idea to show some of the much-praised original programmes from the U S of A, so while Key & Peele, Kroll Show, Nathan For You, Review and more remain unshown, at least we finally got to see Inside Amy Schumer and this, Abbi Jacobson and Ilana Glazer’s very funny misadventures as they struggle to deal with the real world in any way, shape or form.

Jonathan Strange & Mr Norrell
Not read the book and I gather chunks were understandably excised, but it didn’t affect the story-telling or character as I saw it. An enjoyably weird and unpredictable tale that offered some startling stuff.

Wet Hot American Summer: First Day of Camp
Given how much I didn’t get on with the film when I watched it for the first time only this year, I’m pleasantly surprised how much I enjoyed its prequel some 14 years after the original was made. Great new additions round out an original returning cast that has its fair share of stars already, and its goofiness is infectious.

The Returned
The second (possibly final?) series was as atmospheric as ever, though had a different feel and agenda to what came before. Less focus on character and mood, more on twists and revelations, but managed a tricky balance of being both satisfying and ambiguous.

W/ Bob & David
The team and talent from Mr. Show (which I still have not seen) reunite for a mini sketch series that not only knows how to squeeze the best out of a great set-up, but has the performances to back it up. Digital!

And Then There Were None
Superior Agatha Christie adaptation with a stellar cast, so you end up feeling extra upset when your favourites from stage and screen start dropping like flies.

Master of None
Aziz Ansari wrote the book on modern romance (literally), so it’s no surprise Master of None (co-written with Parks and Recreation’s Alan Yang, and originally developed with the much-missed Harris Wittels) would be a witty, articulate and accurate depiction of relationships (and much more besides) in this day and age.

Doctor Who
I still think this gets better year on year. Peter Capaldi and Jenna Coleman settle more comfortably than ever into their roles, and the good-bad story ratio was the highest it has been post-comeback.

The Great British Bake Off
Nadiya – QUEEN. Comfort food telly of the highest order.

Ash vs Evil Dead
I have a feeling I may end up writing a more in-depth review once I finish off the series, but, a few misgivings aside, this is a largely successful (and quite frankly still amazing that it ever happened) resurrection. Lively, boisterous, and very, very bloody.

Rick & Morty
Maybe not as strong as the first series, but still a remarkable, rule-breaking animation that can run rings around supposedly serious sci-fi fare. With extra dick and fart jokes.

Peep Show
As the El Dude Brothers ride off into the sunset, let’s just stop to appreciate just how such a cringe-inducing, uncomfortably accurate comedy of social embarrassment and despair with a bizarre first-person gimmick became one of the longest running sitcoms in British TV history? Just as good as ever.

2015: Films of the Year

Here are ten films I saw in 2015 that I liked a lot with some comments too (some lazily culled and edited from earlier reviews), with some fairly arbitrary ranking (I could probably swap around the top five each day). Given how film release schedules work (or don’t in one particular instance) and festival screenings and the like, it’s somewhat fluid what constitutes a 2015 film (a couple of international releases date from 2013 and 2014, one other film here isn’t out in the UK until March), but if you want the full context of my tastes and habits to avoid a “Where’s [BLANK]?”-athon, I’ve got a Letterboxd account now, which I plan to make full use of in the New Year. So now you can judge everything I watch or do not watch! Enough preamble, on with the list!

 

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1. The Look of Silence

A companion piece to Joshua Oppenheimer’s The Act of Killing, this time telling the story of the Indonesia genocide from the point of the view of the victims, rather than the perpetrators. Here, an optician whose brother was murdered before he was even born confronts those responsible, but this is far more complex than a straightforward revenge story.  In fact, while this may be a more accessible work than The Act of Killing in many respects, it is even more essential. Playing something like a documentary version of Dead Man’s Shoes, it’s chilling, eye-opening and powerful, and carries with it, in its main subject and his family, an emotionally engaging centre through the horror.

2. The Lobster

Though absurd in its set-up and often very funny, The Lobster has a lot to say about our own reality, namely love and relationships, and the weird rituals, mechanics and quirks that make no sense taken out of context and viewed dispassionately – even if there is something strangely moving about the central character’s own quest for companionship. Though this is his first film in the English language, Yorgos Lanthimos’ dry deliberate tone and stilted dialogue fits well with the international cast.  It’s weird, sad, dark and hilarious, reminiscent of Chris Morris’ Jam if anything, and one of the best films of the year.

3. It Follows

There is so much about David Robert Mitchell’s It Follows to talk about, it’s hard to know where to begin (I go into more detail here). For all the talent taking place on screen and off (especially when it comes to its score and cinematography), a recommendation would be hard to justify through style alone, but It Follows’ substance runs deep. It feels timeless yet current, it presents a gimmick and vague set of rules but allows an uncertainty and ambiguity to the premise to unsettle you further, and it plays on multiple themes explicitly but doesn’t vocalise them in a way to make them seem so heavy-handed. A trashier version of the film, played more for yuks and scares, could exist somewhere – and would probably be very entertaining – but as it stands, It Follows feels fully-formed and left me much impressed.

4. Carol

Carol is a simple story – in the best possible sense – impeccably performed and elegantly told. Cate Blanchett and Rooney Mara put in their very best work, even given their tip-top standards, and you can almost smell the smoke and perfume pouring off the screen. Every glance feels electric, every touch momentous, and every creative detail perfectly judged.

5. Mad Max: Fury Road

There were arguably better films released this year, but Mad Max: Fury Road was the talking-point movie of 2015, ten tonnes of unfiltered crazy from a singular vision in George Miller, age having done nothing to dull his sensibilities. As blockbusters get baggier and bleed into each other through ‘cinematic universes’, this is world-building done right, with exposition that cuts to the chase, characters that speak through their actions, story that is inferred without sacrificing pace. Instantly iconic.

 

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6. Force Majeure

A family skiing holiday is punctured by a sudden incident and a split-second decision that has deep personal ramifications. Sounds like a thriller, yet Ruben Östlund’s hilarious comic tale manages to create simmering tension while maintaining an excruciatingly funny vein of humour. If you can bear the cringe-inducing awkwardness of it all, Force Majeure is a biting and witty dissection of the roles and responsibilities of men and women in their social and domestic relationships. The great expanse of the Alps has never felt so claustrophobic.

7. Snowpiercer

Included here as something of a protest vote, Snowpiercer remains without a UK release due to meddlings from the Weinstein Company. A shame, as it means audiences here have been denied a chance to see another fine film from Korean master director Bong Joon Ho (his first – mainly – in the English language) on the big screen. In spite of this, Snowpiercer is a compelling addition to the future dystopia social satire sub-genre, charting an uprising aboard an intercontinental train perpetually travelling through a post-apocalyptic Earth turned icy wasteland. As with Bong’s earlier work, it can smartly juggle grim reality and sudden violence with dark humour and emotional weight, and a great cast commit themselves to the outlandish premise (Tilda Swinton particularly memorable as a Roald Dahl-esque villain). Absolutely worth seeking out.

8. Star Wars: The Force Awakens

Big space movies are back. Gravity, Interstellar, Guardians of the Galaxy, even Prometheus has something to answer for (well, a lot of things to answer for). Ridley Scott’s attempt this year to make an all-together decent off-world offering was very close to finding its way into my top ten – the hugely enjoyable The Martian – but Star Wars: The Force Awakens managed to not only course-correct a franchise that had lost its sheen, but do so in such an entertaining fashion. And it’s not just an exercise in nostalgia. In fact, I was having such a good time with its trio of new characters (plus Ball Droid), it was a bit of a disappointment when Han and Chewie show up. The Internet can nitpick away at its flaws; JJ Abrams for all his success at nailing the tricky stuff does have a habit of fumbling story and speeding through leaps of logic (which makes the next instalments and spin-offs more exciting now the groundwork is out of the way). But fewer better times were had at the cinema this year.

9. Enemy

While Sicario has garnered justifiable praise, it’s Dennis Villeneuve’s previous film (released in the UK on 2nd January 2015, so just sneaking in here) that left the greater impression. Enemy is an engrossing head-scratcher that lingers long after watching, not just as you unpick the plot but with the weird sense of dread that seeps through it. Almost a year after watching it, there’s still stuff in here I’ve yet to shake off. Jake Gyllenhaal is just as good here as in Nightcrawler (though played very differently), and if Villeneuve can combine the atmosphere and paranoia of Enemy with the tension and action of Sicario, then his forthcoming Blade Runner sequel may shift from ‘approach with caution’ to ‘very exciting indeed’.

10. Anomalisa

Charlie Kaufman’s latest work is naturally as Kaufman-esque, for want of a better word, as previous favourites, witty and strange and emotionally engaging. But in teaming up with co-director Duke Johnson, together they have also crafted a quite remarkable animation to boot. The use of animation serves many functions here, especially as our lead character, a relatable but crucially not necessarily likeable writer (played by David Thewlis) is surrounded by a sea of identical faces, be it man, woman or child, all voiced by Tom Noonan. To describe what Anomalisa actually is would perhaps reveal too much as the story itself is slim and contained, but the directions it takes and the choices it makes offer much to take away for further thought and reflection. For any fans of his previous films, it is essential viewing.

 

And for making it this far – a reward! Here’s my annual Spotify playlist of favourite pieces of scores and soundtracks from 2015. Stream below or click here to open separately.

 

2015: Music of the Year

As much as I love music and seeing music being performed live and sharing the music I like with people, it’s finally dawned on me that I actually suck at writing about it. I have no sense of how to describe how something sounds, and my working knowledge of terminology, or coming up with comparisons, or even placing bands or songs into subgenres, is pretty ropey. It’s a pain to write, it’s not entertaining to read, so let’s cut to the chase, and present – largely without comment – my favourite albums released this year.

1. Sufjan Stevens – Carrie and Lowell

I will just say something about this, out of all the gigs I saw this year (admittedly not many, but some good stuff at Glastonbury, Future Islands/Beck/The Strokes at Hyde Park, Garbage at Brixton Academy…), Sufjan Stevens at Royal Festival Hall was a highlight. Impeccably performed renditions of the latest album, but when Sufjan finally got chatting with the crowd, what could have been a beautiful but sombre occasion became filled with remarkable levity, cracking jokes, fluffing lines as he got the giggles. And to cap it off, a finale that made full use of the venue’s pipe organ filled the hall with a swirling rumble that felt like a UFO landing. Extraordinary and memorable.

2. Grimes – Art Angels
3. The Dø – Shake Shook Shaken
4. FFS – FFS
5. Hot Chip – Why Make Sense
6. CHVRCHES – Every Open Eye
7. The Go! Team – The Scene Between
8. John Grant – Grey Tickles, Black Pressure
9. Tame Impala – Currents
10. Lianne La Havas – Blood

And what with a music wrap-up be without one of my Viewing Gum Listening Posts? Largely compiled from my VGLP playlists, this bumper edition will hopefully in the grand tradition offer a little something for everyone. Stream below or click here.

 

 

And that’s not all, for in my occasional duty as resident DJ of GamerDisco, I also listen to a lot of chiptune, synthwave, video game remixes, soundtracks and more. And so I also compile a Spotify playlist with some of the best tracks that you might hear at our events. Please enjoy!

 

 

THEATRE REVIEW: Biohazard The Stage

Biohazard The Stage

As previously documented, my long-standing relationship with Resident Evil (or Biohazard, to give its original Japanese title) has been somewhat tortured of late. Therefore, the prospect of going to see a stage adaptation of the franchise (having already spun-off into films, books, comics, and theme park interactive experiences) was met more with caution than excitement, but still a morbid curiosity. What form would it take? How would it work? Would it be scary? Embarrassing? Hilarious? Awful? Given that it tied in nicely with a trip to Tokyo and I would be accompanied by a friend with a similar take on all things Resident Evil, how could I not go?

Performed at Roppongi’s swish, new EX Theater, with a short run in late October/early November, Biohazard The Stage (a glorious linguistic misfire of a name) is set sometime between the events of RE5 and RE6, in which a virus outbreak turns the staff and faculty of an Australian university into zombies and fan “favourites” Chris Redfield, Rebecca Chambers and Piers Nivans have to contain it. The plot devised by Capcom is not based on any one game, but follows the same predictable narrative beats that would make it fit neatly amongst the official chapters. As such, it won’t surprise anyone who has played any of the games (and God help you if you see this without any prior experience), or probably anyone who has encountered a work of fiction for that matter. Will the scientists with the wonky tie harbour a dark secret? Will the bleach blonde guy in the red shirt turn out to be a bit of a bad’un? Will the mysterious stranger with the leather jacket hold the key to everything?

Perhaps this is more a ‘greatest hits’ package, assembling these well-worn elements (and fairly cohesively) as a nod to the fans. And there is certainly fan service on offer, notably flashbacks to RE0 and RE1, as well as appearances from those infamous door animations, a rocket launcher and even a First Aid Spray (no typewriters or item chests that I can recall though). These winky references are to be expected, and as cringe-inducing as they may be, they made me smile, in a chucklesome “oh, you went there, didn’t you” kind of way. The same can be said of the staging, a large shifting multi-tiered set onto which are projected different foregrounds and backdrops to change location. And yet, these projections are low-resolution and/or created with crummy CG, unintentionally mimicking the basic polygon models and basic textures of the original game. It’s a shame though that the key thing lost in its translation to the stage is the horror. What little blood and gore and gruesomeness there is in Biohazard The Stage is largely confined to pre-recorded video, nothing especially scary happens, and the zombies are disappointingly unthreatening. It doesn’t help that the action gets repetitive quickly, with scene after scene of our heroes darting into a new location, popping some caps, fisting some cuffs (in a reminder to just how much the games have been influenced by the films, there is an awful lot of kicking and hand-to-hand combat), and making their way to point B. But at least the actors are no slouches in that department, maintaining an impressive energy level throughout.

In fact, for all the inherent silliness, the cast are completely committed to the premise, taking everything very seriously, as if a stage adaptation of a video game franchise is just as legitimate as Pinter or Beckett, or at the very least a jukebox musical. And why not? That a stage version of Phoenix Wright was playing down the road suggests this wasn’t as novel a proposition as it first appeared. Though the principals are mostly culled from TV dramas and idol groups, Sonny Chiba (best known in the West for the Street Fighter – not that one – movies, and Kill Bill) lends the production a bit of emotional heft and gravitas, though the best character is the impossibly-monikered Posh Brown, a jittery security guard whose comic relief antics, while played broad, break the po-faced earnestness elsewhere. During the interval, my friend and I joked that what it really needed was a musical number, and lo and behold, the second half commences with a big zombie scuffle choreographed to a hi-NRG dance-pop tune. There are some other fun stage effects and ideas too – the backstory for the Umbrella corporation features actual umbrellas twirling on stage, text messages are projected onto the backdrop, a genetic mutation happens with the aid of simple but effective costume trickery.

So, for better and for worse, Biohazard The Stage is a faithful adaptation of the Resident Evil games as they currently exist. It is closer to the games than the live-action films in execution, and while it plays like one long cut-scene, it’s at least more interesting than the straight-to-DVD CG offerings. Faint praise, maybe, and there’s certainly nothing there for anyone but the most dedicated fans, but despite feeling burned out by all things bio-weaponry, it was not the abomination it could have been.

A DVD release is due in January with English subtitles, but I imagine much would be lost removed from the live setting (where at least there is something fascinating about experiencing it in the flesh with an audience). Viewed through a screen, I can see it becoming especially tedious. One for only the most hardcore/foolish (delete where applicable) Resident Evil enthusiast.

Viewing Gum Listening Post #30

The Viewing Gum Listening Post hits the big THREE OH. Welcome to VGLP30 which will serve as the final regular playlist of 2015. Coming by the end of the month (or perhaps early 2016) will include my regular Best of the Year articles, and with them accompanying playlists. So do follow me on Spotify, Twitter and the like to access them as soon as they appear. The year is running out of steam yet (and there are some singles here from some much awaited albums in the new year too, so plenty to look forward to in 2016).

Stream below or click here to hear all dem songs..

 

  1. Hot Chip – Dancing In The Dark
  2. Neon Indian – Annie
  3. Missy Elliott – WTF (Where They From) [feat. Pharrell Williams]
  4. Santigold – Can’t Get Enough Of Myself (feat B.C)
  5. Grimes – World Princess part II
  6. André Bratten – Philistine
  7. Eagles of Death Metal – Save A Prayer
  8. Savages – T.I.W.Y.G.
  9. Field Music – The Noisy Days Are Over (Single Version)
  10. Ghostface Killah, BadBadNotGood – Ray Gun (feat. DOOM)
  11. Guy Garvey – Electricity
  12. David Bowie – Blackstar