20 Poppy Ackroyd: Pause

2018 #21

Up one place since her last album! If the unbelievably talented Brighton-based pianist/multi-instrumentalist continues on at this rate, and with a similar schedule between albums, then she’s going to place #1 sometime around Necessary Evil 2081! Will we all be dead by then. No. You will, obviously, but I’m never going to die. And neither will my pet Pomsky, Zeus Bertha Pepper, I wuv hm sooo muuuuuuch! But, erm, yes, you’ll all be dead. Zeus Bertha Pepper will have likely killed you, he has quite the bloodlust. Have you read that 2018 review though? Yeah, I loved the album muchly – I even suggest she score the recently released movie Bumblebee, which is of course meant as a compliment, how could it not be? – but I seem like I was in a pretty bad place on that particular day, doesn’t it? Three years on, has my brain’s general countenance improved? Today, absolutely. These past few months, definitely. This past year… weeeeeeeeeeeeell, there was a bit of a struggle that I invited it into.

I’ve touched on how toxic and damaging my 2020/21 marriage was, and how it left my self-belief, my mental comfort and my dang desire for life in the absolute toilet. Well, this post is going to be the final reckoning, the complete and total exorcism, the slicing open of old wounds so that they can bleed completely out and not poison me again. Starting on the 14th December 2020 I started keeping a diary of how much the marriage was hurting me, it ran until abruptly stopping on the 29th January, likely because my illness became too much to leave time for such pathetically solipsistic concerns. There were thirty three entries.. I think this was in response to my wife showing disbelief that I could be feeling that way, or perhaps she had challenged me to name instances in which I was hurt and my decrepit old brain struggled to give precise details when called up on it. Whatever. I started writing them down and put them in a password and fingerprint secured OneNote file. I never showed or even mentioned them to my wife, and before recently I hadn’t looked at them myself in months. It was actually reminding myself what I said about Poppy last time around that convinced me to dig them up. I couldn’t remember the password and had to keep guessing until about three in the morning, but I got in! And here the entries are.

Now, I don’t want to make this feel like I’m piling on my ex-wife – she wasn’t right for me I wasn’t right for her, but she otherwise deserves all the love in the world. I don’t come out of these records looking great either, please just take this all as evidence of how incredibly awful the relationship was. Oh, and I’m sure there’s roughly a dozen trigger warnings I should be offering here, so maybe just don’t read any further if you’re having anything like a decent day that you don’t want ruining, or if dark depictions of mental states or terrible relationships are likely to set in motion grim and traumatic thoughts of your own, then get out now! Seriously, not many jokes on this one…

AT YOUR PERIL

“I’ve Been Calling it ‘Depressive Suicidal Pop Music'”; Don’t Do It Neil Wanna Know What Dragon Tastes Like

You should all absolutely already know this by now, but Philadelphia’s Don’t do it, Neil was already a bit fucking special. Mabel Harper has long managed to combine a Weeknd-esque ability to document the seediness and pain behind revelry and intimacy with an exquisite understanding of how right these wrongs sometimes feel that can sometimes rival Stock, Aitken and Waterman’s grasp of sheer pop bliss. Her songs often sound like the building pleasure leading towards an orgasm while having sex with someone you really shouldn’t, but always with the underlying anxiety of the size of the mess you’ll have to clean up after your messy climax. This has been quite the opening paragraph, hasn’t it?

Worryingly, there were moments in the last couple of years involving suicidal thoughts and hospitalisations that might have led to the brilliant B/X album being her final record. However, Mabel managed to survive and process the experience, and today sees the release of her new album ‘I WANNA SEE WHAT DEATH IS LIKE‘, adding new perspectives on death, grief and mortality to an artist whose personal circumstances already made her one of the rarest perspectives in pop music. As soon as I heard of its release, I had to request an interview. Which meant only one thing.

The carrier pigeon

Yeah, I know, the handwriting’s terrible, but in my defence I asked my personal carrier pigeon (Twattori) to write it himself, so my hands are clean on this one. Unfortunately, Twattori did not survive the journey and so was unable to reach Philadelphia to deliver the message. He didn’t even survive long enough to leave the UK. In fact, he didn’t make it 50 metres from my window. Because I shot him. Seriously, did you see that handwriting? Mabel would never talk to me if she saw that. Christ, Twattori was such a prick wasn’t he?

So I just hit her up on Twitter. I was going to blow her mind with questions she’d never been asked before.

Firstly, and I’m sorry for being the 65’703rd person to ask you this question, but why ‘Don’t do it, Neil’?

In the movie Dead Poets Society, there was a kid named Neil who seemed pretty gay to me. Just a really sweet boy who discovered his love of acting only to have his passion ripped away from him by his father. Long story short, Neil kills himself during the climax of the movie, and it was really, really devastating to me. So “Don’t do it, Neil” means, “Don’t do it, Neil, don’t kill yourself.”

Continue reading ““I’ve Been Calling it ‘Depressive Suicidal Pop Music’”; Don’t Do It Neil Wanna Know What Dragon Tastes Like”

8 Sharon van Etten: Remind Me Tomorrow

Considering neither The Manic Street Preachers or Lupe Fiasco were scheduled to release an album in 2019, I don’t think I was looking forward to any record this year as much as Ms Van Etten’s fifth. Her fourth, ‘Are We There’, was one of the three albums released in 2014 that were legitimate GOAT contenders and all kinda given my joint album of the year. It was such an amazingly accomplished and powerful record, one that moved the more eloquent reviewers to state that it was “an absolutely devastating Sturm und Drag bulldozer of emotion, a sharp piercing blade of hopeless heartache that is as heartbreaking and moving as any movie you’ve seen since ‘Toy Story 3“. I have to assume that Toy Story 3 was still totally a topical reference point when that prodigiously insightful yet dangerously sexually alluring reviewer wrote that. While I spend all of my time excruciatingly droning on about how artists/people should be constantly evolving and pushing their sound/personality forward, I often catch myself just hoping that artists responsible for my favourite things will just do those favourite things again! Hey, Jazz Cartier, why isn’t the new album just Red Alert ten times?? Hey, Tegan and/or Sara, why aren’t you just giving me Walking With A Ghost?? Lil Yachty!! Why are you… why are you… Why are you doing any of this…? I… I’m not sure what exactly I want from you… But do that, please. Do Minnesota again, that’ll cheer me up. Sharon van Etten! I can’t wait to see where you take your sound and evolve your music on this new album! But, having said that, please make it exactly the same record as ‘Are We There’! You can, I dunno, add a few trap beats to a couple of songs and have track eight heavily influenced by Hardware, but make sure that, at the base level, it’s exactly the same as ‘Are We There’!! Give me those exact feels! Reach into my bloodied chest and tear out all of those emotions like you did in 2015!!

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‘Remind Me Tomorrow’… isn’t that record. It’s an incredible reimagining of what weight, muscles and undeniable gall bladders* her songwriting can achieve. Synths blast all over the place like the sounds of invading forces damaging the outer wall of the claustrophobic shelter she’s built herself to evade the apocalyptic terror of her mind outside. The first line of the album is ‘Sitting at the bar I told you everything/You said “Holy shit, you almost died!” and the following songs act as almost a flashback, telling the listener exactly what these near fatal experiences were. It’s an amazing album. Look above, it’s the eighth best album of the year. It was considered for number one, but holy shit, you’re about to see how hotly contested that accolade is this year. Like I said, every top ten album is merely different levels of essential. Buy them all, you cheap fuck.

Continue reading “8 Sharon van Etten: Remind Me Tomorrow”