Keep your face straight

Continuing my trip up The Guardian's Top 50 Albums of 2021

#18 : Glow On - Turnstile

The compressed, febrile sound of 80s punk rock is resurrected for this terrifically entertaining record, where the jams are not just kicked out but also sent off the nearest cliff. The monstrous chug of cock-rock rhythm guitar underpins lead lines made for whipping a mane of hair around to, and Brendan Yates’s vocals have something of Perry Farrell’s yelled pronouncements to them. But there’s a dream-pop softness, too – not least in two songs with Blood Orange guesting – that adds emotional range.

Never heard of album or artist, but if the album sounds anything like the above description, I can assure you I'm not going to like it - so I can't say I approached it with enthusiasm.  But, it wasn't that terrible - however, it also wasn't "terrifically entertaining".  I was a bit "meh" about the whole thing - it reminded me of Def Leppard and who wants to be reminded of them?  I can appreciate there are some serious axe skills on display, but I struggled to care and it all got a bit boring over the course of a whole album.  Although I didn't mind the tracks with Blood Orange on, which feel like he came in and went "I know what you guys usually do - but we're going to play things my way today, OK?"

Wikipedia tells me I'm wrong and this is great and makes hardcore gender-fluid and shows how innovative the genre can be.  By reminding me of Def Leppard?  Err - OK.  It also tells me that Blood Orange is the same person as Lightspeed Champion (and I'm so disappointed his real name isn't John Smith or similar).  The album was very well received critically and is on a lot of "best of 2021" lists and did OK commercially as well - #62 in the UK and #30 in the US.

"Customers also listened to" Fiddlehead, Drug Church and Trapped Under Ice - I've heard of one of them at least, so well done me.  Turnstile feels it's all done well enough - but just not my kinda thing.

#17 : Colourgrade - Tirzah

The intimacy of new parenthood, where the world shrinks to a few rooms, is expressed in a new singular language by the south London musician (she also evokes the strangeness of those circumscribed Covid lockdowns). Breath, touch, kisses and sleep fill her songs, which conjure dub, hip-hop, post-punk and folk as if trying to remember them from a previous life. This album has the kind of utterly natural beauty that other artists strive towards, but will never reach because of that very striving.

Another one I had no knowledge of and no idea about from the description - although I'd have to say I wasn't so scared off by this one.  But it's about as accurate as the previous one, although in this case I'm not able to give you any alternative reference points to aid your understanding as to what it sounds like.  It's just an odd record of strange sounds - it's not horrible, but I'm somewhat perplexed as to what I'm supposed to do with it.  Put it to one side and never listen to it again, I suspect.

Wikipedia tells me this is her second album and it was released in October - and that's it.  I assume they didn't know how to describe it either.  "Customers also listened to" a load of people I've never heard of - the only name I recognised was Beirut and I'm struggling to see the connection.  However, I'd have to say I'm tempted to check out Illuminati Hotties on the strength of their name alone.  Back to Tirzah, I do get the feeling she produced exactly the album she was looking to do so - but I'm just left scratching my head.

#20/19 - Two slightly different albums

#16/15 - Nothing wrong with these