Tag: rock

3 FKA Twigs: EUSEXUA

~ Lex Leeson ~ Leave a comment

Yeah, that’s right, I’m going to start my post on the Scientifically Proven™ third greatest album of 2025 by slagging off Beyoncé’s ‘Renaissance’ for the third fucking time.

Both Beyoncé’s 2022 critic stupefying event album and FKA Twigs’ third proper record were heavily influenced by dance music. Beyoncé referenced a lot of post 70’s black dance crazes – with close attention paid to early 90’s House music and Detroit’s best -while Twigs was enchanted with the techno music she heard when she relocated to Prague to – don’t laugh – film ‘The Crow‘.

I’m a dog for you

33 Danny Brown: Stardust

~ Lex Leeson ~ 1 Comment

There are few artists as unduly unappreciated, with a back catalogue that’s so ridiculously unappreciated for its consistent experimentation, than Mr Daniel Dewan Sewell. Better known as… yeah, OK, you probably got that…

“Dad, you said we’d go to Alton Towers this weekend…”

His career has been pretty spectacular, even simply going off his entries onto Necessary Evil. 2011’s ‘XXX’ was an intensely arresting bloc party that wittily both celebrated immense substance abuse while nudging the person beside it and joking with a wink “Lol, we’ll be regretting this in the morning! And for the rest of our lives! YOLO!!” It was 2011, ‘YOLO’ was still a thing, don’t blame Danny Brown for that. His hair happened to be on fleek at the time. Don’t hate the player, hate the game. 2016’s ‘Atrocity Exhibition‘, though, delved deeper into the morning afters and came up gasping for air with one of the greatest albums in Necessary Evil’s history (that was unlucky enough to be released in the greatest year in Necessary Evil’s history so didn’t even make the top 5). An absolutely jaw-dropping achievement, incredibly evocative yet bumping music set to perhaps the funniest yet darkly poignant lyrics exposing the slow suicide of substance abuse since peak Shaun Ryder…

I’ma just do what I have to do

36 Tame Impala: Deadbeat

~ Lex Leeson ~ 1 Comment

Dude, mate, bro: did you know that Tame Impala was just one guy? And he’s Australian? Mind: blown, right? Wait until I tell you who’s the brother of Big Mo from Eastenders.

Mate (maaaaaaaaaaaaaaaaaaaaaaaaaaate!), is that your daughter on the cover?? No. Don’t like it. That feels creepy and wrong, and brings in all sorts of questions of ethical consent. But now that’s dealt with, I’m not sure I can think of any other reason to dislike this album. It’s perhaps no way near as expansive, trend-shitting or potentially influential as his (it’s just one guy!) previous work, but it’s still an incredibly strong collection of brilliant electro pop with melodies to absolutely die for.

Do you want my love? Is it obsolete?

Necessary Evil 2025: The Ragin’ Climax

~ Lex Leeson ~ 1 Comment

The stage curtains open, revealing 40 lovely ladies in bathing suits, wearing sashes that denote which of 2025’s greatest albums they represent, blinding the front row with quite how dazzlingly white their full toothed grins are, in danger of taking someone’s fucking eye out with quite how resplendently squeezed tight their open cleavages are.

I come out through the floor on an elevating platform, full suit and bow tie, hair slicked back and microphone in my hand:

“There she iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiis, Miss Necessary Eviiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiil…!”

“…and I said ‘Lady, that ain’t no gear stick!!!’ Seriously though, if you don’t let me videotape me pissing on you then I’ll eject you from the competition

Considering this will be the seventeenth time that I’ve collated the Scientifically Proven Best Albums of the Year™, I’m pretty sure I know what I’m doing by this point, yeah? I had only just graduated from university when I started writing this dumb list that nobody reads, and I’ll be freaking forty two when I finish the 2025 vintage! Considering my physical health (which, in 2025, has definitely started to take on a whole ‘end of days’ start of feel), it’s looking more and more likely that I will die before I ever retire this list. Mate, I would love to stop, this is a massive pain in the arse that ruins Christmas and my birthday for me every year. But if I go, then who seriously is there to take my place?? Pitchfork?? Give me a break. Fantano?? Bald fraud. Smash Hits??? Mate, I don’t like having to break this to you, but Smash Hits Magazine shut down in 2006. To quote a far less talented (but bizarrely more feted, which is often how it goes) personality who has been able to actually retire this year: I’m still here because you can’t do your job!

the last time ISN’T now

Top 40 Prince Songs Recorded Between 23rd April 1985 and 31st March 1986

~ Lex Leeson ~ Leave a comment

The eighth Prince album ‘Parade’ was released in 1986. It has twelve songs on it. Is it any good? Mate, spoiler alert! You’ll find out if I think it’s a stinker when I list the 2025 Necessary Evil albums of the year!

Previously though, I have included tracks from Prince’s albums in my Legit Bosses countdowns of the best songs of the year. But that’s not really fair, is it? When He was listed as the joint best song of 2024 people were piiiiiiiiiiiissed!

So I’m going to give Prince His own dedicated countdown, at least in the near future, simply ranking all the songs that He recorded between His last album, 2024’s ‘Around the World in a Day‘, and 2025’s ‘Parade’. So, ranking ‘Parade’s twelve tracks, right?

Well… no… I could never settle on an exact number, but Prince recorded somewhere between 60 and 100 original songs in the eleven month period between the two albums. Eleven of them would appear on ‘Parade’; one would appear on His 1987 album ‘Sign ‘O’ the Times’; a handful would appear on future albums; some were given to protegees and other artists (including one that was famously taken the fuck back); and many are instrumental jams that were… maybe… never going to be released, but Prince was planning an instrumental jazz album at the time so it’s impossible to say.

We are now entering Prince’s most prolific period: in the next two or three years He would plan and then cancel at least four separate albums, countless side projects, a damn play, He would split up His band, start to question whether Warner Brothers were working in His best interests; and launch a near impossible to count number of failed protégées. It’s quite a ride.

Oh, and that 23rd April 1985 (when ‘Around the World in a Day’ was released) to 31st March 1985 (‘Parade’) timeline is occasionally loosely applied by a week or so (and, in one case, two fucking months). I’ve gone with the first recording of each song, as otherwise we have no idea (so, obviously, thanks a billion to https://princevault.com/.

Here’s the YouTube playlist, you lazy bastards.

This is what it’s like in the Dream Factory

The Holy Bible: The End of History, the End of the Manic Street Preachers, and the Greatest Album of All Time

~ Lex Leeson ~ 3 Comments

He felt very privileged to have the opportunity to articulate a lot of what he feels, but I think it weighed him down because he didn’t think anybody believed anything he said.

JDB to RAW 1994.09.14

The Manics had only released one debut single when, in a summer 1989 essay in the American ‘National Interest’ magazine, Francis Fukuyama declared that the fall of the Soviet Union (with Communist China sure to follow) signaled the “unabashed victory of economic and political liberalism… the total exhaustion of viable systematic alternatives to Western liberalism”. ‘The End of History?’ was a glorious pat on the back for the NeoCons and the Western chauvinists: “Look, everyone! We were right all along! All these Communist states are failing completely of their own accord and we’ve just sat back and witnessed the natural crumbling of an all feasible alternatives! Go, unmoderated capitalism! And can we talk about the age of consent? No, actually, what you’re referring to is hebephilia…*”.

(*all direct quotes. Libertarians gonna libertarian)

By the time Fukuyama had been confident enough to remove that question mark and release the 1992 book ‘The End of History and the Last Man’, The Manics had released around ten further singles and a debut album – ‘Generation Terrorists’, which famously did not sell 16 million copies – that were all essentially angry ripostes to Fukuyama’s thesis. Rather than rejecting themselves to the alleged demise of all ideological disagreements and the all conquering discouragement of revolutionary thought, they were going to be a band so huge that they would change the very world itself. If they were the only thing left to believe in, so be it, but they would always passionately highlight that alternative, they would always be that alternative.

They couldn’t though. Five years after the fall of the Berlin Wall; after it was widely accepted that Communism no longer represented a clear and present enough threat to scare Western capitalist nations into some pretense of proper care for their citizens above basic profit. After neoliberalism became the one accepted doctrine despite nobody ever wanting it, The Manics plunged into the abyss of capitalist horror and released ‘The Holy Bible’. On the (cough) thirty first anniversary of the record’s release, here’s my long promised/threatened review of art’s greatest paean to the fall of Communism, and basically far too many words explaining why it’s the greatest album ever.

see my third rib appear

2025’s New Gold Star Artists (and a couple of RIPs)

~ Lex Leeson ~ Leave a comment

Sigh, I guess I should explain the rules again? To be honest, if this is one of your first times reading The Most Trusted Voice in Music then you really should start with the first post from December 1st 2014 and then read through the next 791 entries (or “chapters”, as I like to think of them) until you’re ready to read this post. Necessary Evil might be oversimply referred to as a ‘Blog’, but it’s actually more of an epic tale – a poem, really – that only sampling parts of risks lessoning its artistic impact. What’s happened to this generation’s attention spans?

OK, the criteria for qualifying for the Necessary Hall of Fame as a Gold Star Artist:

  • At least three albums
  • All albums featured on the Necessary Evil best of year countdown since 2007

There were three new Legit Bosses crowned on the the 2024 list, and here’s my ranking of their three albums so far, which will soon be added to the ongoing Hall of Fame.

And, excitingly, for the first time this year we have two artists that have brought great shame on their careers, their legacies, and their entire families by dropping out of the Gold Star Artist Hall of Fame. Both (predictably) Soccer Mommy and (perhaps surprisingly) Illuminati Hotties released records in 2024 that weren’t considered good enough for the end of year lists, so they are forever banished to the dreaded Ex-Gold Star Graveyard. There, they are both feted to rot for eternity. A ridiculously harsh ‘punishment’ for the supposed crime of releasing a record that I didn’t think was quite as good as their previous three+? Especially tough considering Soccer Mommy’s previous three albums were all released before the list shortened to 40 albums and all finished outside the top 40, so could arguably be being punished for remaining as good as they ever were?

Yes.

Sorry, SJW cuck snowflakes, take your woke ideas of fairness and ‘not treating people like shit’ back to Libtardia. This is Necessary Evil. We hit harder here.

KAPOW! CRRAACK! ZGRUPPP!

Is Spellling Just Trollling on ‘Portrait of My Heart’?

~ Lex Leeson ~ 1 Comment

Seriously though, what the fuck even is this?

You can call this an emergency review. Generally, I would wait until the end of year Necessary Evil countdown to air all my bigoted grievances and problematic thoughts (I got a lot of problems with you people), but right now I can’t see this record making the top 40 and if I don’t air my bewilderment I will literally die. I don’t know what this album is. I don’t know what it’s supposed to be. I’m not even convinced how seriously we’re supposed to receive this record and if it’s all just a giant pissstake by Spellling.

Continue reading “Is Spellling Just Trollling on ‘Portrait of My Heart’?” →

The Decline and Lull: The Manics Grow Dull Gracefully on ‘Critical Thinking

~ Lex Leeson ~ 3 Comments

The Manic Street Preachers’ fifteenth album is one that is extremely easy to appreciate, so long as you’re ready to accept an entire trolley worth of caveats.

Firstly, this is the band’s 15th [FIFTEENTH] album. Few bands with any kind of success ever get this far, never mind a band that started out already preplanning their self-destruction, and coming 34 years after a debut-album the band promised would be their last. And, hey, for a group of three men in their mid fifties this ‘Critical Thinking’ is a great accomplishment. My colleague at work recently had her 50th birthday, and would she be able to produce an album of this quality? Highly unlikely.

Imposter syndrome, fuck that!