The amount of fantastic music that made 2018 makes creating a playlist an arduous task. Originally totaling 50+ songs, the painful, gut-wrenching process of elimination to just 25 songs demonstrated just how many tracks there were I loved. This is no objective best of, but a purely subjective collation of the songs that sound tracked my year.
Honourable mentions include the power pop indie of Flasher, MAGA frat boys eaten alive by Pleasure Venom, vomit in your turn ups and piss stinking tales of broken Britain by Hotel Lux, Jarada tearing your face off with their brand of blistering Israeli hardcore, the haunted candle lit flickers of dungeon synth mage Old Tower, and the great return of industrial juggernaut Ministry, with AmeriKKKant being their best record since Animositisomina.
Here’s to the heroes of 2018, and here’s the songs which wooed me, wowed me, moved me, and smashed me in the face like a sledgehammer. Merry Christmas! 🎄
Rarely are solo and side projects as indispensable as an artist’s main acts output, but Laslo Antal’s DIESEIN debut LP is a glorious entry in an impeccable run of dazzling, synthwave mood-pop.
Belgrade born Antal formed Sixth June with Lidija Andonov way back in 2007, and were the progenitors of the so called ‘minimal synth’ movement, alongside Xeno & Oaklander, Daybed, and Veronica Vasicka’s Minimal Wave label/reissue project. Kindred spirits they all may be, the lush and rich production behind Sixth June was contrary to their ‘coldwave’ tag, their first album Everytime being a dramatic and nostalgic journey with unashamed pop sensibilities, married with Antal’s unique cinematic video style, all painting a romantic picture of a Berlin you had always imagined. Two EP’s followed, and in 2016 Antal teamed up with Sally Dige Jørgensen for their one and only Cult Club record, introducing mean bass work and Antal’s backing baritone vocals.
Songs about Sally expands upon the pallet of sounds first hinted at on Sixth June’s ‘Night Before’ from last year’s Virgo Rising. Gorgeous sax work shimmers over the first two tracks ‘You’ and ‘Make me Feel’, irresistibly complimenting the funky basslines reminiscent of Play with Lies. ‘Tell me’ recalls that special Sixth June urgency, effortless pop which builds into a satisfying crescendo, awash with synthetic strings that are so exciting you jump out of your skin. ‘7777’ takes a step away from the organic, all analogue arpeggios and an infectious sequenced drum beat, before album closer ‘Make me Weak’ ends with gothic guitar licks and cavernous ghostly vocals coalescing to a moody finale which would make Martin Gore proud.
Melancholic but never cold, nostalgic but never ‘retro’, Songs about Sally is an authentic and earnest demonstration of how pop can inhabit our most sentimental inner spaces, and form the soundtracks of our lives.