The Necessary Evil Hall of Fame: Gold Star Artists

  • At least three albums
  • All albums featured on the Necessary Evil best of year countdown

I’ve been doing this dumb blog that nobody reads since my first post on the 1st December 2014 called the latest Pixies album an “especially grievous dirty protest”. 2024’s list was the tenth I’ve written in excruciating detail on the blog. The intelligent thing to do would be to call it a day after that. But then again the really intelligent thing to would have been to never start it in the first place. As a stupid person, I’m definitely conflicted. My (recorded) albums of the year go back to 2007. I’m not wanting to put too fine a point on it, nor am I at all pompous enough to ever overexaggerate my importance, but I think it’s fair to say that I am objectively the paramount and most respected voice on music of the last 15 years. And before that too, I just didn’t have a blog then.

But what about the artists themselves? They sometimes play a part in the psychosexual agitprop magic of this blog. We can obviously consider the artists whose work has appeared most in my year end lists, but that’s obviously going to be the Manics (eleven + one very decent JDB solo record and one dreadful Nick Wire one), Prince (eleven, and eventually all 42 of the fuckers) and Nick Cave (I think around eleven, over a variety of projects). Like, duh much? We can all agree without any argument at all that these are the three most important musical artists of all time. It’s like if someone says their favourite food is “crisps”. Like, of course it’s crisps. Crisps are amazing. Everyone loves crisps. But what does that tell you about them as a person?? No, we need a different gage to work out the real stars of Necessary Evil.

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Necessary Evil 2020 pt.6 (50-46)

#50 Banoffee: Look At Us Now Dad

Banoffee’s debut album should act as an important reference point for Halsey. The subjects she covers here- from painful reconciliations to painful intergenerational trauma to, Jesus, why didn’t I just leave it as a one night stand with that prick??- are at least as weighty as those covered on Ms Frangipane’s latest. Banoffee simply covers them often more explicitly, with far more humour and raw openness. And, more importantly, does so with no shame about this being a pop album and with the mature knowledge that really shouldn’t take away from its artistic legitimacy. She’s not openly complaining about Band of Horses not being considered pop despite starting with the same three letters, she’s not arguing that her album being considered ‘pop’ and the Javier Muñoz Spanish language production The Occupant being considered a ‘movie’ is just more evidence of the suffocating patriarchy, she’s not pointing to the barbed wire around her wrist on the album cover as poof of how freaking metal she is. She has no qualms about being a pop artist and is confident in the utter magnificence she can still produce, how being a ‘pop’ artist doesn’t act as a barrier to producing such weird, challenging and effective music such as this.

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