Necessary Evil 2019 (72-65)

72 Kanye West: Yandhi

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You know what? I’ve got a funny feeling that this might not be my last chance to talk about him before this list is done, so I’m wary of squeezing out all my Kanye Juice before the real party starts. ‘Yandhi’ was the album that he was going to release as his follow up to last year’s ‘Ye‘ (I’m sorry, haterz/liberals, but ‘Ye’ was a pretty fine album, as were most of the eighty four records he released last year, let’s not let our reactions to his general behavior colour the history), but then it was delayed, then cancelled, then briefly revived with Ashton Kutcher playing the role of Kanye West, then delayed, then its name was changed to ‘Spunk Muffin and the Dudes With Attitude’, then it was cancelled again, then it was changed to ‘Jesus Is King’, then it was revealed that it wasn’t actually a name change but a completely separate record, then that record was delayed, then it was delayed again, until, finally, it was released, and Yandhi was cancelled, only briefly being released (seriously) as ringtones. Quite straightforward as Kanye West album launches go, really. I actually only sought out ‘Yandhi’ because I assumed it would contain intriguing scrappy demos of whatever tracks Kanye was working on for his next record (which at that point had been delayed so many times I assumed this would be the closest we’d get to a Kanye album this year), but it’s shocking to hear quite how complete a lot of songs on here are, and how realised many ideas are. New Body in particular sounds less than a tweak away from being a hit single, Nicki Minaj feature and all. Later, it was shocking how few of the songs and ideas on ‘Yandhi’ made it to ‘Jesus is King’. Like, pretty much none of it. Nicki Minaj? She’s gone. Hey, Kanye, maybe stay focused on one thing for more than three minutes? Might result in better albums? Perhaps I’ll get to debate this further later.

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73 Lizzo: Cuz I Love You

Your affection for Lizzo’s third album will all depend on how well acquainted you are with it. If you absolutely love it then you’re almost certainly a recent convert to the Lizzo cause. Maybe as recently as October, a friend advised you that a few spins of the record really ‘takes the edge off’ a fentanyl binge the night before. You try it out and- you know what??- it really does! Its infectious and unashamedly boisterous confidence acts as a vital kick start to your vital organs. “‘The only exes that I care about are in my fucking chromosomes ‘!!* That’s so true!!”, you announce to yourself, before curling up into a ball on the floor and weeping as you consider how ashamed your mother must be of you.

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…throw it like a girl, throw it, throw it like a girl!

 

(*obviously, you’d say this out loud, so that pun would make a lot more sense)

Maybe you appreciate it in moderation. This will because you were first introduced to it back in July, after Tempo soundtracked your particularly memorable sexual experience, after it happened to be playing on the radio of the Audi A4 you were carjacking at the time, and these things tend to stick with you. You’re always happy to give Lizzo a listen and appreciate what stellar pop songs the album’s highlights are, but can rarely stomach a full 42 minutes at any one time. You’ve started to cringe ever so slightly at Lizzo’s constant, overbearing shtick of ‘I DON’T NEED NOBODY I KNOW I’M AWESOME NO MATTER WHAT I’M GOING TO DATE MYSELF KNOCK KNOCK WHO’S THERE I’M FUCKING AMAZING THAT’S WHO JET FUEL DOESN’T MELT STEEL RT IF YOU LOVE KEANU REEVES IS EVERYBODY HAVING A GOOD TIME?!?!’ , plus the fact that a good 45% of her lyrics are simply viral Tweets that she liked (and, erm, then attempted to trademark) ensures the the love you briefly held for it after first hearing it has now cooled significantly. Yeah, I know, you have to really read between the lines for that jet fuel stuff, but it’s there.

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Necessary Evil 2019 (77-74)

77 Princess Nokia: Metallic Butterfly

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As I’ve previously mentioned, I’m a big believer in getting into artists solely because you like the cover art of their album. Well, guess what? I freaking loved the cover of ‘A Girl Cried Red’ by Princess Nokia. A Latin-American woman in a Slipknot shirt giving me the finger? Yes please, that’s all that I ever want, give that to me now, please, let me chow down on that, nomnomnomnomnom, thank you sir, can I have some more. Do you see? Well, I got the album, I loved it, and then was left with two main questions:

  1. Where do I get to get more of this stuff and then shovel it into my ears?
  2. So, what, is she the daughter of some sort of monarchy based around mobile phone manufacturers? Is she the daughter of the king of the Nokia phones, or is each different member of that particular royal family a different type of phone? Like is her brother Prince Samsung and her great aunt Duchy LG? I mean, the king has to be King iPhone, don’t it? Not based on quality, but one assumes that actual phone sales would feature in most prominently when deciding the lineage of such a monarchy. But if Nokia’s parents and older siblings die and she ascends to the throne, does she then take on the name iPhone? You can’t be having phone manufacturers royal house being run by a fucking Nokia, what is this, 2002??

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79 MARINA: Love + Fear, 78 Billie Eilish: When We Go To Sleep Where Do We Go?

Yeah, that’s right, motherfucking double entry. Pssssshow! Did you hear that sound? That’s the sound of your tiny BRAINS being blown, yo! Don’t like it? Wanna lay down? Come at me, bro! COME AT ME!!!!

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Ahem… We enter the top 80 [EIGHTY] with an artist whom I’ve long loved who has never achieved the commercial success her AMAZINGNESS deserves, and a debut album by an artist* doing a lot of Marina’s old tricks and the obvious inheritor of the Welsh/Greek Queen’s mantle of master (mistress?? No, can’t use that word, the perverts have ruined it) of pitch perfect pop music that’s unafraid to be a little weird- frequently A LOT weird- and can hide quite profound sentiments behind its bubble gum pop aesthetics, playfully ironic one second but emotionally sincere the next. Yet, rather than challenging Marina for the title of ‘Favourite Cult Alt-Pop Act Who Sells Fuck All Records’, somehow her debut album has sold 1,304,000 equivalent album units (343,000 physical sales), which, yeah, it’s no ‘This Is My Truth Tell Me Yours’ (five. Fucking. Million?!), but it’s about as much as albums sell these days, and was the biggest selling album of 2019 for a long time. It might still be. What am I, Mr. Research? Get fucked. Released a month after Eilish’s debut, Marina’s first album in four years was going to set up a brutal battle between the master and the jumped up apprentice who has managed to commercially outperform her influence more than a hundred times over. Marina officially removing the ‘…and the Diamonds’ suffix from her name was like her removing all shackles, ready to go to war. She even stylises it as ‘MARINA’, like she’s screaming her name to remind these little upstarts who the real OG is! Billie’s gonna get pwnnnnnned!! Grab your popcorn, kids, this is sure to be brutal!

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Necessary Evil 2019 (82-80)

82 Le Makeup: Aisou

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That cover intrigues me. If we move the camera back, will we just see Keisuke Iiri with his arm’s out wide pulling a roll of cling film over his face? It’d ruin the illusion somewhat, wouldn’t it?

Listen, I have no fucking idea who this guy is. His name is Keisuke Iiri, his Twitter seems to suggest that he’s legitimately Japanese, and he’s made one of the most accomplished and sonically arresting dance albums of 2019. That’s all. This is awesome, I’m awesome, you’re awesome, and Le Makeup are awesome.

Keisuke, if you’re reading this, keep it up.

Metacritic: n/a

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Necessary Evil 2019 (92-84)

92 Chance the Rapper: The Big Day

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Seriously, what the fuck is this? It’s almost depressing that this is technically the debut album from arguably one the most influential and critically adored rappers of the past ten years. Previously only releasing music through free mixtapes, it’s a little baffling that Chance has decided the album that sees him starting to go after that Bruno Mars crowd should be the one that people should have to pay for.

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2019’s Best Movie: Sorry We Missed You

Yeah, I know, continuing my proud tradition of naming the year’s best movie alongside the albums of the year countdown. ‘Under the Skin‘ was named 2014’s movie of the year, but the award went unclaimed in 2015, 2016, 2017, 2018, and indeed every year before 2014. However, the (latest) masterpiece by Ken Loach, ‘Sorry We Missed You,’ was such a powerful piece that inspired such painful bolts of recognition and sheer fucking anger that I had to make space in 2019 to talk about it.

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Oh, and by the way, this isn’t going to be one of those “Ooooooh, look at the camera angles! isn’t the mise en scène lovely?! Hints of Akira Kurosawa’s vagina dentata, perhaps??” reviews, as I have no interest in actually talking about the movie. Instead, these is mainly going to be a thousand words or so of me ranting about the twisted nature of capitalism in 2019. Like I said, it’s gonna be a lot of fun.

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Necessary Evil 2019

It’s Back (and Badder Than Ever)

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Yes, unbelievably, it’s been 12 months since I started 2018’s version of this long, laborious and pointless task that completely ruins my Christmas and New Year every fucking year. Luckily, I’m Macedonian Orthodox so don’t celebrate Christmas until January 7th, and I haven’t drunk alcohol for roughly four years so there really is nothing worthwhile about New Year’s Eve. Also, I’m smart enough not to have any friends.

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Stats Through the Heart (and you’re to blame) 2018

Hooray for me. A winner is me. I’m the king of the world. I am a golden God. I put the bomp in the bomp bah bomp bah bomp. I’m that star up in the sky. I’m that mountain peak up high. Hey, I made it. I’m the world’s greatest. I assume that allows me to enslave any underage girl I want, with occasional pissing privileges. What a time to be alive.

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That’s me, that is

This week 2019 officially outstripped 2018 on Necessary Evil, with the site getting more views and more individual visitors than ever before. This despite me not even starting the end of year list, which has always been the only reason any of you miserable cunts (love you!) ever visit this piece of shit site. This is, of course, an outstanding achievement which you no doubt would have heard on the news. Whatever it is that I do on this blog is more popular than ever.  Perhaps it’s due to me writing many more non-list entries this year. In 2019, I’ve written

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I’ve written a number of non-list entries, which beats my previous record of ‘a lot less’ at best and, more commonly, ‘fuck all’. I’m not going to waste much time trying to analyse why I’m so popular- just luck at that fucking face. Adorable- but such a momentous occasion deserves something of a celebration. And I couldn’t think of a better one than this. Or, more accurately, I could think of a million better ways to celebrate than this, but this is the only one I could be arsed doing. Good? Good.

You could probably guess what I’m aiming to do. As we edge towards the end of the year, it’s obvious what needs to be done, and the fact that we are about to close on a decade that has seen the arrival SnapChat, Pope Francis, Boko Harem, Transformers: Age of Extinction and Miley Cyrus & Her Dead Petz only makes things more imperative.

That’s right: a statistical breakdown of the best albums of 2018!!

Yeah, I know, I should have done this in January when I finished the countdown, much like I published detailed breakdowns soon after 2016 and 2017 finished. But you know what? I’ve just been busy, man, y’know? Did you not notice that it took me three entries to list the greatest Money in the Bank matches ever? If I’m spending so much time on bullshit like that how am I ever going to find time for bullshit like this? Are you going to be one of those people who doesn’t like it when things they don’t like happen?? Grow up, this is neoliberalism and you’ll accept whatever we tell you that you’re happy with.

Love you!

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