Necessary Evil 2019 (53-49)

53 Govier: No More Frontiers

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Hey! I wrote a big review of this album when it came out! What, you want me to cut and paste all those words here?? Jesus, your sense of entitlement is actually rather worrying. I’m not angry, I’m just… learning things about you…

I’ll just add one little story. One of my friends actually subscribes to my blog. Like, literally I think, one of my friends. That’s how fucking useless my friends are. Honestly, if you take away the option of offering them an excuse to get drunk (even if you keep stressing to them that, even if you don’t drink, you really fucking want them to, because they’re such overwhelming dullards when they’re sober!) you’ll find that many of your friends don’t actually care that much about you. Anyway, my one true friend, the one who actually reads this piece of shit blog, noticed that my latest masterpiece was titled ‘Govier Forces a Little Exception of His Own’ and asked me if I was making political posts now. I just said ‘No’, that ‘Govier’ was the name of the artist, and we moved on. Much, much later, I started to get puzzled by what exactly about that particular title might have led him to believe that it was political, and I think by now too much time has passed for me to reopen the inquiry to attempt to discover…

Michael Gove!! He thought it was about Michael Gove. Well, that’s been solved, and I hope the Michael Gove reference in my latest Miley Cyrus review helped quench that particular thirst. Wow, turns out I really didn’t have anything to talk about for this entry…

Metacritic: n/a

56 in 2018

Wow, at this rate he’ll finish number one in 2041

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15 Rina Sawayama: RINA

Just Preparatory Superstar

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(…) 

This placing is perhaps a little too high for Ms. Sawayama: her debut EP probably doesn’t actually have the fifteenth greatest collection of songs of 2017. Based on solely the actual musical merits it would still feature highly on Necessary Evil 2017, don’t get me wrong. Though perhaps it’d be awkwardly bumping body parts in the crowded economy section with the likes of Andrew Bird and Ghostpoet, rather than clinking champagne glasses in first class as she spreads her legs and guffaws with Lupe Fiasco over Moses Sumney‘s droll anecdote.

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But if you think pop music is 100% about the music then you’re an indefensibly dull person. Great pop music isn’t just about great music: that’s definitely a large part of it, of course, perhaps even as much as 53%, but there are so many other factors involved.

It’s those other factors, those elusive forty seven percenters, that Rina Sawayama knocks comprehensively out of the park

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21 EMA: Exile in the Outer Ring

The Rejection of Comprehensive Reviews

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Well, two out of three ain’t bad (I turned 34 after the song was released)

I’m not going to be able to give the next handful of albums the usual insightful and in depth  investigation that by this point you’ve come accustomed to.

You see, my previous entry intensely debating the artistic choices made on St Vincent‘s recent album was just so emotionally draining, that I worry that if I shake have head over my keyboard there simply won’t be enough viscous creativity juice left to pour out over my next few reviews.

Regardless: here is Emalina McFunnel Armitage with her third solo album. It’s brilliant, for many of the reasons I pointed out in my 2014 reaction to her previous record.

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46 Andrew Bird: Echolocations: River

Echoes of Locating a Cool Red

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Aaaaaah, Andrew Bird- ‘Birdo’ as I call him, or ‘Birdman’, or ‘Big Bird’, or ‘Slammin’ Andy’ if I’m not into the whole ‘feathery’ thing: we’re good friends- has been a repeat offender of past Necessary Evils. I occasionally forget about him for a few albums, but then discover his latest release and discover him still producing music of such consistent quality that I curse myself for ever letting him slip from my consideration. He’s like that cool uncle whose infreuent visits you always enjoy and, while he’s scoring you premium grade memthaphetamine and letting you rifle through his collection of vintage mid 1980s porno mags, you wonder why your parents never think of inviting him round more often

‘River’ is the second of his ‘Echolocations’ records and the first I’d been made aw

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been made aware of. The ‘Echolocations’ records are instrumental albums where The Birdmeister removes himself vocally from the process (meaning we lose a voice that, if we’re being honest, was never one of the main selling points of his music) and focuses on his incredible work with violins. I mean, there isn’t even any whistling on this album, which for a long time Birdometer fan is like playing the latest Lana Del Ray album and her never once either putting on or taking off a red dress. Each record’s name also points to the nature (geddit?) of field music that the collection is recorded under. The locations of the echoes you might be able to pick up: are you following? The first such collection was called ‘Echolocations: Canyon’, which was chiefly recorded in- get this- a canyon, and now ‘Echolocations: River’, recorded in an underpass next to the Los Angeles River.

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