Necessary Evil 2020 pt.15 (6-4)

#6 Katie Gately: Loom

Yeah, I know, because of the Prince entry this is technically part 16, but I just decided the optics didn’t look right. Don’t @ me

Grief will affect everyone in different ways. And, hey, what other year have we been forced to face silly, unbiased mortality more than 2020? Firstly, there is no intimacy league table with an imaginary line drawn across it- nobody who was less than this close to you can properly affect you. Oh, and they need to be bipedal animals with recognisable hands and a proven ability to use those hands to manipulate tools, so no excessive mourning for your pet dog passing away. But I guess if you have a pet gorilla or chimpanzee who dies, that’s covered so you’re allowed to grieve for that. Aw, man, imagine having a pet gorilla just hanging around the house, like a big hairy flatmate. And then that gorilla dying! I’m getting sad just thinking about it. And maybe crows are covered. You can mourn your pet crow dying. But the fact is, every death has the potential to affect you, and the arresting smack of mortality will smack you hard even if it’s an old schoolfriend who you haven’t seen in decades or somebody you’ve never even met, even an existence that you had no concept of occurring before it was snuffed out. A human life, an existence you know as being full of thoughts and dreams and opinions and love and hatred just suddenly being stopped isn’t easy to get your head around. You might laugh, but even the death of Prince in 2016- a person I have never met, a person who I’ve never even been close enough to spit on, a person with less than no concept of my existence- hit me hard and played a part in my mental downward spiral that led to Necessary Evil 2016 starting ten months late. Hey, here was a living, breathing, organic thing that was doing stuff– stuff that affected my life– and now that thing is no more and that stuff is going to stop. It’s actually pretty fucked up.

“Mate, those dishes are really piling up…”
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Necessary Evil 2020 pt 3 (80-71)

#80 High Command: Beyond the Wall of Desolation

Yaaaaaaaaaaaaaaaaaaaaaaaaars! Do you sense that? Those faint but ever rising embers of putrid hellfire? Can you feel that, underneath your feet? The unmistakable rumbles of the devil’s chord painfully calling at your wordlessly from the depths? Can you smell that? That unmistakable aroma of a Nailbomb t-shirt once used in desperation as a makeshift toilet tissue but now hurriedly discarded in shame in a Castle Donington Portaloo? You know what that is? That’s metal, son, like they used to make it in the old/Black country!

Seth Manchester joins us once again, he had quite the 2020. Except, this album actually came out in 2019. And, actually, one of his albums from part 1 was even from 2018. Whatever, I’ve had quite a 2020 belatedly realising albums that he’s produced!

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“Gender is Garbage”- Aqua Girl Gets Woods

Listen, I’ve tried to explain to you gormless mouth breathers before that Aqua Girl is pretty freaking special. Her 2018 debut was one of the best albums of the year, a knock out introduction to a talent able to write songs that candidly narrated a perhaps under represented  perspective of the transgender and nonbinary experience.
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But- and I’ve long been concerned that maybe my review of her debut didn’t properly credit this- she’s not ‘just’ a singing trans woman, her gender identity doesn’t define her- she’s special because she frequently writes fucking bangers! As Elora Driver, she’s already released Sunburn, one of the best songs of 2020 so far, and she’s smart enough to realise that, logically, perfect pop songs rarely need to last longer than two minutes.
When she announced in March that her second album proper was on its way in April, I was, obviously, so excited that I wet myself for three minutes straight. Like, I just drained myself of moisture, you really should have been there.  It was clear that I needed to mark this momentous occasion with a blog post, but did this mean a freaking album review?? I hate ‘reviewing albums’! I sit down and have time to listen to the album a dozen times on repeat, then I’m supposed to dribble out 2’500 words on how it made me feel?? I don’t know how it makes me feel! I haven’t lived with it for any decent time, it hasn’t soundtracked any glories or any tragedies in my life yet, I don’t know which track I jump to if I need to be taken up or taken down, I couldn’t yet tell you which track gave me a tiny bit of an erection while I was on the bus last Wednesday morning. If I reviewed it after merely hours after first being introduced to it, I would rate it as ‘pretty good’, as that’s almost all you can say about a piece of art that early on.
So I thought… what if I interview her…? Let her explain her positions in her own words rather than me making widely inaccurate and borderline offensive statements based on me force feeding the work for a handful of listens. I put the idea to her on Twitter and she was kind enough to agree. The following interview took the form of an email exchange over the course of a couple of weeks, but if you’d prefer, picture us both in the bar at Ritz-Carlton, me furiously scribbling Elora’s words of wisdom with a stubby pencil that I store in my cap, while she sprawls back on a chaise lounge with a smirk on her mouth and one eyebrow archly raised as she charmingly answers questions between sips of cognac. All while we keep four feet apart, of course. To be honest, I thought the interview would be more of a frivolous and lighthearted series pf responses to dumb questions, but Aqua Girl actually managed to pull it into engaging and almost profound places through sheer force of charisma, until the interview ends up almost interesting. That might be Aqua Girl’s greatest achievement to date

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