I’m kind of sick of this self-obsessed white guy indie-emo thing where this kind of mundane shit you pretend’s got any symbolism, or greater important to other people’s lives, rather than just some fucking tedious self-involved nothing
I fucking hate Manchester sometimes. Most of the time, if I’m being honest. Sure I was born here* but I had little to no choice in that matter, and I live here now, but that’s only because you’re unlikely to find a better UK city experience than sleeping in a tent in St Peter;s Square while you wait to be housed by the council**.
(*well… in Ashton, which nobody in Manchester would consider Manchester, but seeing as nobody outside of Manchester has heard of or is arsed about it, let’s just call it Manchester for the benefit of this post
**and, to bring us back in, there’s a joke that nobody outside Manchester is going to get)
Manchester is special though, yeah? We do things differently, isn’t it? Something something FAC9087546 something something Coronation Street something something actually that person you’re thinking of is from Salford and we’re really inconsistent about whether we consider that a worthwhile distinction. Remember Oasis though? Remember when both the Stone Roses and The Happy Mondays were on the same episode of Top of the Pops? What do you mean you’re not even old enough to remember Top of the Pops?? I’ll have you know that British institution enabled Jimmy Saville to prey on more children than you’ve had hot dinners, and you need to show it some respect!!
The 16th year end Necessary Evil list of the year’s objectively and scientifically proven greatest music is a notable event for a few reasons. Firstly, it will be the first time I’ll be writing a list of year’s best bops and slapsthat played out to a full twelve months of genocide. Like, the whole year. When I wrote last year’s list, it was only to the backdrop of a tiny bit of genocide that covered the last couple of months of the year. And who really pays attention in those winter months? Too busy thinking about Christmas, right? A couple of years back, for example, my housemate Darren engaged in the systematic and targeted slaughter of more than two dozen woman and children in those early December weeks, and I just didn’t notice because I spent the whole time trying to untangle the Christmas lights. Don’t worry, it happens, I get it.
1.(of a process or system) characterized by constant change, activity, or progress
It’s never talked about in 2024, but Oasis were actually a far bigger deal than Nirvana.
In the UK I mean, of course. I am from the UK and writing this in the UK from the perspective of someone who lived in the UK in the 90s. If I were Spanish, I might be writing the praises of the million selling debut album by Laura Pausini, by far the biggest selling record of 1994 in that country. If I were Japanese, I might be talking about how neither Nirvana nor Oasis can hold a candle to Mr. Children (ミスターチルドレン), whose 3.4 million selling ‘Atomic Heart’ album obviously hit that sweet spot between tentacle porn and genocide denial that the country cherishes so much. But, I’m writing in English, so you’d probably just imagine I’d cede to the American version of history, as we are so often wont to do.
I’ve always hated the concept of ‘desert island discs‘. So I’ve been shipwrecked on an island, marooned away from society, all amenities and all forms of human contact for potentially the rest of my sad and increasingly deranged life? I’ve not even got a beach ball to draw a face on and inevitably end up fucking by around week four as the loneliness drives me to sad, feral desperation? And you want me to choose eight songs to play on repeat for infinity to soundtrack my own mental journey into the heart of darkness?? I mean, I love Old Town Road as much as the next man, but by the hundred and twenty seventh time it’s played in the background as another angry parrot pecks at my arse hairs, repeatedly?? “Squawk! Can’t nobody tell me nothing! Squawk!”?? I’m going to learn to hate that song rather quickly.
But then I learned that perhaps it was just the number of songs that was the issue. Forty two songs to a desert island? Yeah, I reckon I could live quite happily for the rest of time. I’d still go crazy, obviously, but in a more earnestly satisfying and poignantly depressed sort of way. And those parrots will learn some bars.
Forty two songs. Two hours and twenty seven minutes. That is (as far as I can work out) the extent of Massachusetts group The Hotelier/The Hotel Year’s entire recorded output. And every emotional, artistic, intellectual and affectionate need a human being ever needs is here. Lead singer/songwriter/bassist Christian Holden is as accomplished a lyricist as there’s ever existed in the artform, possessing a poetic sensibility and unashamed earnestness that can fundamentally cleanse and then rearrange your very soul in a world of post-truth nihilism. More importantly though: their songs are almost always absolute fucking bangers. If you couldn’t speak English, The Hotelier would still be in your top ten favourite ever acts simply based on the sheer, bollock-splitting, rush of blood to the spleen of their immediate songcraft. Then you’d learn English from the lyrics, realise what beauty and genius underpins these bops, and would scientifically become a better person based on their teachings. You’d also learn words like ‘dichotomies’, ‘salutations’ and ‘chrysolite’ a lot earlier than most English speakers.
They are one of my favourite artists of all time. And the fuckers haven’t released a single piece of music since I first became aware of them
I can’t even remember how I first became aware of The Hotelier, can’t remember the first time I heard them, can’t remember the first time I felt their presence. It’s like asking me the first time I tied my shoelaces or became aware of my own mortality. I know there was a time where it wasn’t there, and now if most definitely is, but the changing of the guard was never noted. I heard their masterful third album ‘Goodness’ in late 2016, fell in love, named it the fourth best album of that year, fell in love even more and later retconned it to be the best album of that year (potentially the decade/century), saw them live and bawled my eyes out believing there was a God, and went back to assesstheir first two albums. In 2023, I named Soft Animal as the greatest song of the previous 10 years (spoiler…?). Goodness was released on May 27th 2016. I first started to become obsessed with them a few months after that. In the almost eight years since the fuckers haven’t released anything else!!
So perhaps I’m writing this list to tempt fate, to harness the dark power of Sod’s Law. Wouldn’t it be awful if I spent all this time and more than 10’000 words writing about the band’s complete discography only for them to release a new album and make the whole thing redundant?? Oh no, you guys, that’d be terrible! Absolutely don’t do that! That’d be the worst! Spank me, Daddoes, I’ve been naughty!! In terms of writing about the importance, majesty and genius of the band, Zac Djamoswrote a perfect piece for Stereogum to celebrate the tenth anniversary of the band’s most widely regarded second album ‘Home, Like Noplace is There’, which I’m not sure is humanly possible to compete with. So instead I’m sticking to what I do best: borderline autistic listicles! I was also blessed enough to have my longtime yaoi fixation Seth Manchester to answer a few questions about their bone rattlingly good production on the band’s (at time of writing!) final album.
Seriously though, the band have promised not to record another album before the revolution, so that’s yet another reason for all you workers to unite and break free of your chains (and join your local Communist Party branch, obviously). This list is basically a quick cheat sheet to the band, and forty two reasons why you should be as obsessed with them as I am!
You know the rules by now: an entire album discography comprising of at least three albums, every single one of their albums featured on a Necessary Evil album of the year countdown on the Most Trusted Blog in Music. There were a few Legacy Gold Star Artists who added to their repertoire in 2023, but on this post I’m going to be concentrating on the five artists who earned their wings in 2023. Or rather, who were already glorious winged beasts of musical sapience, but got those motherfuckers gold plated in 2023.
Ah, Ms. Zauner! I see you have chosen to commemorate your achievement! As wee you should, my dear.
Oh, and these particular entrants will just be copied and pasted into the master post as well. I’ve just created this new post highlighting the new entries so you wouldn’t have to go back to the original entry every year to see who has earned promotion. So don’t come at me with that “You never think of us! You treat us so bad!” bullshit, alright? I treat you just fine. If anything, I treat you too well, so that might not be a string you want to pull too hard on. To see how new albums by Legacy artists like Wednesday and Janelle Monae did? Yeah, you’ll have to check the rankings on the master post. Like I say, I already treat you too well, so be careful what you ask for. And did you read what I thought about that Janelle album?? Probably not breaking into that top three, is it?
All year I adored the opening lines from ‘Radical Romantics’ fifth track. I loved the angry, vicious attack of the commodified work of an artist. How the work is no longer about inspiration or true artistic integrity, but just a career. Under capitalism it has become just another desperate attempt to ensure safety, housing, food and education for your family. And what does such a system force you to do with your artistic inclinations? Or maybe the social safety nets?? “And then we cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut/Cut, cut, cut, cut”. Comrade Karin Dreijer! Give those capitalist pigdogs what they deserve!
There’s no room for you And we know where you live One day we might come after you Taking back what’s ours
“For me, there’s no heavenly respite; creation is a spectral and feminine continuum, and our souls are an inalienable part of nature.”
Anohni Hegarty
There are those who argue that the sex/gender divide is just a socio-political construct. Certainly this is not true for those individuals with gender dysphoria where there is a mismatch between their biological sex and gender identity. It is also the case that class society has nurtured an ideology of femininity and masculinity which fits the profit motive rather than peoples’ lived experience. But all of this this does not invalidate the fact that the vast majority of humans (unhelpfully labelled ‘cis’) do not experience a mis-match between their biological sex and their gender. This does not mean that all is well for women who are, by virtue of both sex and gender, historically and currently oppressed in patriarchal class societies.
Necessary Evil 