We seem to be posting a lot more lists than actual joined-up writing at the moment – Michael’s just put Uncut’s full Top 75 of 2012 on the website, with links, and is promising our Archive/Reissues chart tomorrow – but, hey, here’s another. Among some other good new arrivals, another strong recommendation for Parquet Courts: check them out here.
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While rolling out my Top 112 albums list last week, a couple of people understandably asked what some of those records actually sounded like. Maybe this’ll help: ten of my favourite tracks of 2012…
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As a knock-on effect of posting my Best Albums Of 2012 list every day this week, the office playlist is about double its normal length, as you’ll see.
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The last 25, then. A few of you have asked for some help as to what these records sound like. I’ll try and put some links into these lists over the next few days, and also a blog of favourite track clips that might help a bit. See you what you think, anyhow…
Previously: 112-76
Previously: 75-51
Previously: 50-26
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Preamble: I’m going to start rolling out this list over the next couple of days whenever I get a chance to post. Apologies, first, for the weird number…
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One of those rushed weeks, I’m afraid – it looks like I won’t be able to construct a Wild Mercury Sound 2012 chart ‘til next week now, if you can bear the agonising wait. Lots of links and clips to be getting on with here, though: please make sure you have a listen to the new Sun Kil Moon and Plush tracks, and check the clip that Neil Young scholars are claiming shows the first time he’s collapsed onto the floor and wiggled his legs in the air mid-solo.
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As many of you will have seen by now, the current issue of Uncut features our Top 75 albums of 2012 and, as usual, there’s been a fair amount of comment online about the list. I’m going to try not to be too defensive about this, but as the person who compiled the list, I thought it might be useful to post a few notes that’ll hopefully clarify one or two issues that have been raised.
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Sometime in the summer of 2011, I spent a pretty amazing Saturday morning at a small recording studio in Green Lanes, North London. When I walked in, a hesitant but beautiful piano line was coming through the speakers, and one of the most emotionally compelling voices I’ve encountered in the past few years was singing a song which, it transpired, would be called “Never Ending Happening”.
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