We appear to be in the midst of a bit of a golden age for music documentary, with films about interesting and surprising subjects coming out or being announced with increasing regularity. The reduced cost of making films in the digital age and the new crowd sourced methods of getting funding make creating a film about a relatively obscure artist achievable without the need for cinema showings or guaranteed DVD sales to support the endeavor.

Last year was a good year for the music documentary at both ends of the success and attention spectrum. At the top end was the Oscar winning ‘Searching For Sugarman’ which took an artists that was both obscure and hugely famous (depending on where you live) and coupled it with a fascinating story to great effect. Also notable was the epic homage to George Harrison, ‘Living In The Material World’, that was perhaps too comprehensive but was certainly a labour of love for Martin Scorsese.

TV has been another good source with BBC4 and Sky Arts leading the way in showing interesting and well produced documentary films on a wide range of artists. Sky Arts tends to show archive films but the BBC have made and shown excellent films on the likes of Squeeze, The Kinks and a surprisingly in-depth look at the work of Chas and Dave. They also have a film about David Bowie in the pipeline which features world renowned Bowieologist Nicholas Pegg in a consultant role.

Lawrence of Belgravia

Last year saw two of British music’s greatest curmudgeons celebrated in film, Felt/Denim/Go-Kart Mozart main-man Laurence and former Auteur Luke Haines.

‘Laurence of Belgravia’ was perhaps the better film and showed Laurence as an increasingly delusional figure, clinging on to concepts of stardom that  would never come, although it is all wrapped up in a self-perpetuated myth by the artist himself. (You can watch a trailer for the film here).

‘Art Will Save The World’ shows Luke Haines as a figure who is increasingly affable and comfortable with his place in modern music. At odds with his (again self-perpetuated) image as the most evil man in Brit-pop it sees him moving towards becoming something of a national treasure. It is perhaps best viewed as a companion piece to his excellent memoir, ‘Bad Vibes’. (You can watch a trailer for the film here).

Pitchfork has also entered the music documentary arena  and done some sterling work as part of their Pitchfork Classic series of films. These films are similar in concept to the 331/3 series of books focusing on a single album by the band in question whilst offering up some biographical details about them. These films to date have been of a very high quality and managed to get all the principle players interviewed for the films and included some excellent archive footage. Best of all is the recent film about Belle and Sebastian’s If You’re Feeling Sinister, and managed to make a brilliant record seem even better. (You can watch the whole of the film on the Pitchfork TV site here).

The Sad and Beautiful world of Sparklehorse

Below I preview four films scheduled for release, or in development, most of which have been made possible by crowd funding (the pros and cons of which I will not discuss here, although it is much debated).

‘The Sad and Beautiful World of Sparklehorse’ is a film about the music of the late Mark Linkous, one of my favourite recording artists. The UK interview filming has been completed and the producers are currently trying to raise funds for interviews in the US and Europe on this crowd-funding website. I have mixed hopes for this film based on the interviews captured to date, with some like-minded musicians such as Jonathan Donahue and Ed Harcourt included as talking heads. More worrying is the appearance of TVs Matthew Wright in the film, he may be a big fan but this doesn’t add credibility.  Hopefully the remaining interviews will include collaborators like David Lowery, Dangermouse and PJ Harvey and the archive footage could be what lifts this film.

‘Song Dynasties’ has already managed to get full funding through Kickstarter and looks set to bring out the story of Kevin Barne’s Of Montreal on DVD later this year. The film has been put together from hundreds of hours of footage from throughout the band’s career and has been 16 years in the making. If it is anything like as entertaining as Of Montreal are live on stage then it will be captivating viewing. (You can read more about the project and watch a trailer for the film here).

In February we posted a review of a little-known (in this country at least) album by the South African punk band National Wake.  We now have an opportunity to find out more about the African punk scene thanks to the forthcoming release of ‘Punk In Africa’, a film made by Deon Maas and Keith Jones in South Africa, Mozambique, Namibia and Kenya. (No UK showings of the film are currently scheduled but more details about the film and some footage can be found here).

Best of all is ‘Are We Not Men?’, a film about Devo. And  if you watch the trailer (above) you’ll see what an exciting film it looks to be. Devo were colourful, subversive, different and had some ideology to support the ideas in their songs. The perfect subject for a documentary film and one that should appeal to those unfamiliar with the band as well as their fans. The film was made possible by a Kickstarter campaign that raised over $70,000 and is scheduled for a release in August this year.

If you have any favourite music documentary films, or know of any interesting projects in production, please post a comment below.

By Dorian Rogers

An album of fictional historical events featuring songs by two of music’s grumpiest men and a narration by an Australian journalist isn’t likely to be everyone’s cup of tea. However, we liked it so much that it sneaked in as a late entry into our albums of the year chart. Even though I had enjoyed the recordings a lot I was curious to see how the album would work as a live performance.

And a performance is what this was, it wasn’t a gig in the conventional sense. There was no support and the entire album was performed in order including Andrew Mueller’s spoken introductions to each song. The musical line-up was Luke Haines on guitar, Cathal Coughlan on keyboards and Audrey Riley providing cello accompaniment.

As with the album Haines and Coughlan sing their own songs, but seeing them play instrumentation on each others songs made the set seem more unified. This isn’t a close collaboration like St.Vincent and David Byrne but seeing the album performed live make it seem more cohesive than on record, especially as Mueller (a bashed gavel between each song) ties the performance together.

The three men are dressed in white suits and pith helmets, their musical underground tribute to the Raj, and this adds to the absurdity of the performance. Performed in character, there are no words between songs, they make their stories seem deadly serious even when they concern Chris Evans, Ian Bell from Gomez or an Australian IRA tribute act.

Luke Haines is in the middle of a bit of a purple patch and his songs on the album continue in the same vein as his wrestling exploration from 2011. He has received the lion’s share of the attention in reviews of the album and it is true that his songs are the more immediate and obviously witty on the album. ‘Broadmoor Delta Blues’ is a particularly enjoyable track and starts the show and album brilliantly.

However, Coughlan’s songs have as many merits even if they take a little longer to sink in. In live performance his songs sound even better, his voice being a striking instrument with some power. Just as on the album it is the contrast between the two artists style and voices that make then set so satisfying.

As a whole the album works brilliantly as a live performance piece and I hope the two artists will unite to present more discoveries from history in the future.

By Dorian Rogers

North Sea Scrolls is an album that brings together two celebrated musical grumps*, Luke Haines and Cathal Coughlan, along with journalist Andrew Mueller to create an alternative history of the British Isles. (*this isn’t the word that I was originally going to use but after watching Art Will Save The World last night I’m studiously avoiding the use of the “M” word).

The album is based around the information from the scrolls that have been discovered offering a new view on our history, excerpts of which are read out by Mueller between the songs. Among the concepts featured are the ritualistic sacrifice of Chris Evans, Joe meek as the Minister of Culture, Enoch Powell as Poet Laureate and Ian Ball, the kidnapper of Princess Anne, having a crisis of identity in Broadmoor about Ian Ball the singer from Gomez.

The album is split equally between songs by Haines and Coughlan, and despite having very different styles they sit nicely together across the album. The arrangements are simple, mainly guitar and vocals or piano and vocals, with some additional cello on some numbers. This lets the songs do the talking, with the distinctive vocals and off-kilter lyrics making the absurd concepts believable and amusing all at once.

The album is presented twice, once with just the songs and Mueller’s intro and outro pieces and additionally with his readings from the scrolls presented before each song. This is a wise move as it gives the album a longer lifespan for most listeners. Whilst it is very much worth listening to the full concept first, at least a few times through, you’ll find yourself just wanting to listen to the songs after a while.

2012 has already presented one of the most thoughtful concept albums that I have heard in years, Darren Hayman’s The Violence and North Sea Scrolls matches that album in terms of conceptual inventiveness. Neither album would score as highly if all they had was an interesting concept, what Haines and Coughlan have in common with Hayman is intelligent lyrics, distinctive voices and way with melody.

This is likely to be a marmite album, obscure references (I had to Google a lot of people mentioned) and acidic delivery isn’t going to be to everyone’s taste. Even some of those who like Haines’ work may struggle with Coughlan’s Scott Walker style delivery and vice verse  However if, like me, you see the brilliance in both you will find that November has delivered one of the best albums of the year and unquestionably one of the most unusual.

9/10

By Dorian Rogers

There’s plenty of rubbish books about music out there. Hatchet jobs, cobbling together a potted history of a band that adds nothing to understanding their music. But once in a while a real gem comes along, offering a different, sometimes personal take on the music industry. Here’s ten of the best music books around that are not only a good read but offer the reader the chance to really get to know the subject matter.

1. Lester Bangs – Psychotic Reactions and Carburetor Dung

Lester Bangs is a legend among music writers, portrayed by Phillip Seymour-Hoffman in the film Almost Famous and died tragically at the age of 33 in 1982. For some he is one of America’ best writers, it just so happens that he wrote music reviews in the likes of Rolling Stone rather than novels.

Perhaps his best trait is that he wrote about how music made him feel, rather than whether it will be a hit. Among the highlights here are his review of a Barry White gig recounting the grotesque caped image of ‘bulbosity’ wandering around murmuring about “lurve” in a hundred different ways. His time with The Clash on tour in 1977 is another high point, as is his arguments with Lou Reed and thoughts on John Lennon’s death. “Did you see all those people standing in the street in front of the Dakota apartment where Lennon lived singing “Hey Jude”? What do you think the real — cynical, sneeringly sarcastic, witheringly witty and iconoclastic – John Lennon would have said about that?” This excellent collection of Bangs work is a must for all music fans.

2. Rob Young – Electric Eden 

What started off as a look at the explosion of folk rock bands in the late 1960s and early 1970s soon turned into an epic exploration of UK folk music taking in the  Victorian era through to the modern day; from Vaughn Williams to David Sylvian and Holtz to Talk Talk. While the musical forms of folk music differ, all those featured in this weighty tome have the same attribute in common; a desire to find Albion in music.

It is the golden era of folk that Young started to explore that still dominates this book, but by turning the very notion of folk music on its head and spanning multiple generations of musicians Young has created one of the most absorbing, clever and inspiring books about British music.

3. John Peel – Margrave of the Marshes

John Peel died while writing his autobiography. He’d barely got started, reaching about 1960 and the beginning of his life as a DJ in the US. His widow Sheila takes over the story from there and what follows is as much about the couple as the DJ and the history of alternative music over the last 40 years.

Even though the bulk of the book is told from Sheila’s view, it is pure Peel. She knew his thoughts on the future of British radio and music better than anyone. There’s some great stuff here. The couple’s friendship and fall out with Marc Bolan and the later years when Peel started recording his show at home. The anecdote about the many members of Belle and Sebastian performing across the house for one of the legendary Peel sessions is particularly endearing.

4.Simon Reynolds – Rip It Up and Start Again

While Lester Bangs writes about how music makes him feel Reynolds takes another tact, how music is influenced by and influences society. This is his take on that largely unwritten part of music history 1978 to 1984. The over analysed punk of 1976 to 1977 is just the beginning for him and the story is particularly insightful of John Lydon’s musical influences, reggae and even prog rock that was so despised by the early punks.

Across the book, there are thoughts on Devo, Pere Ubu, Magazine and others. Often it is tales of missed opportunities, of pretension and of artists failing to live up to expectation like Vic Goddard of Subway Sect and Howard Devoto of Magazine.

5. Dave Simpson – The Fallen

The Fall fan and journalist Simpson’s attempt to track down all 50 plus members and ex members of the band almost ends up destroying his life. It’s a tough job, which he miraculously pretty much achieves. What emerges is a bizarre picture of life working for and with Fall frontman Mark E Smith, which at times, according to Simpson’s book, is like working in a Victorian factory, with Smith as the mill-owner.

Simpson even gets to interview the man himself  but it is the memories of the more recent members plus the infamous fight on stage in New York where Smith ended up sacking the entire band that  are among the true highlights.

6. Luke Haines  – Bad Vibes: Britpop and My Part In It’s Downfall.

As lead singer with the Auteurs Haines’ reluctantly found himself part of the heady time of Britpop in the mid 1990s. This stunningly written and above all funny look back of that time is full of vicious musings about those around him. For us at Neonfiller we particularly  like the recurring appearance of Noel Gallagher, who annoyingly for Haines turns out to be a nice bloke despite his “mindless northern bluff”.

Others to get a tongue lashing including Radiohead’s Thom Yorke – “that most heinous of creatures, a heavy rock outfit, fright-wig and all” and Blur – “those habitual bandwagon jumpers”.  It’s the classic tale of a nearly man of modern music, who while convinced of his own genius is painfully aware of his own failings.

7. Chris Twomey – Chalkhills and Children

The story of XTC is one of the most interesting in modern music. The band of friends from Swindon, driven by the songwriting genius of Andy Partridge, who are to this day one of the UK’s most beloved bands despite never reaching the commercial success their talents deserved.

Poor management and business decisions coupled with Partridge’s crippling stage fright, which prevented them from touring from 1982 just when their album English Settlement and its global hit single Sense Working Overtime were about to propel them to the big time. They soldiered on for another 18 years producing critically acclaimed albums but sinking further into a Kafka-eque music business hole that included going on strike from their label Virgin. All of this is told wonderfully by Chris Twomey who interviews the band, their producers and those that know them. Most of the band’s members still live in Swindon making them the George Bailey of modern music, full of talent and wonder but never able to leave the town their grew up in.

8. Julian Cope – Head On

Head On is the story of Julian Cope’s discovery of the Liverpool punk scene and his subsequent adventures as an (almost) pop star with The Teardrop Explodes. His drug-fuelled adventures with the likes of Echo and the Bunnymen, Bill Drummond and David Balfe (the subject of Blur’s ‘Country House’) are hilarious and often astonishing. Cope proves to be a very accomplished writer and his honest account of his own, very flawed, personality make this book a compulsive read.  The book now comes packed with the sequel, Repossessed, a worthy if more downbeat successor.

9. Bill Drummond – 45

45 is the age that Drummond reached when he decided to write this series of memoirs, it is also the speed of a 7-inch single. The bulk of the memoir tells of his days as a man who was obsessed with nothing more than the pursuit of a hit single.

Drummond is a witty writer, and his life has been interesting enough to make these tales into real page-turners. The best bits are the descriptions of his time with the KLF and the K Foundation as they attempted ever more outrageous stunts. There’s a real sense of sadness as Drummond looks back and is filled with real doubts about what he has achieved.

10. James Greer  – Guided by Voices: A Brief History: Twenty-One Years of Hunting Accidents in the Forests of Rock and Roll

Guided By Voices are the ultimately indie-rock act. They have produced dozens of albums, recorded many of them (quite literally) in a garage and have a strong cult following. They have also been a fairly insular act, not touring for many years and rarely appearing in interviews. Pollard himself being far too busy writing and recording to do much else.

Greer has a unique insight into the band being both a fan and also one of the revolving cast of players in the bands 21-year existence. He is also a music journalist and his writing on the band is of a very high quality.

The book deals with Pollard as a songwriter and also the band as a group of friends who meet and drink in a garage in Dayton Ohio. The stories jumping backwards and forwards between the bands final tour and their inception when Pollard was a 30-something school teacher are consistently engaging and have a pleasant, personal feel.

Compiled by Joe Lepper and Dorian Rogers

Editors Note: This is an updated version of a list that first appeared in Neon Filler in 2009. Since then we’ve realised we should have included Chris Twomey’s Chalkhills and Children due to it being such a compelling  tale of a band that never quite fulfilled their potential. We have also since read Rob Young’s Electric Eden. This fascinating look at British folk music is a deserved new edition to the list. 

Outsider/In is the closest thing you’ll hear to a Luke Haines’ ‘Greatest Hits’ package. He has very few songs that could be classed as hits but, unlike the demo and b-side heavy Luke Haines Is Dead collection, this two CD set is made up of singles and album tracks from across  his career.

Whilst this more straightforward song selection, except for the inclusion of tracks from the The Auteurs vs Mu-Ziq EP, makes it less desirable to anyone who already knows and owns most of Haine’s work it does make for a close to perfect introduction for anyone who is interested in checking him out.

What is interesting in retrospect is hearing what a consistent producer of excellent records Haines is despite his (somewhat self-perpetuating) reputation for sabotaging his career. The Auteurs songs from the New Wave tracks, through the brilliant ‘The Rubettes’ to the orchestral reinterpretations are uniformly excellent. His early solo work is also much better than my memory would suggest and, although I struggle with the whole of the Oliver Twist Manifesto album, ‘The Death of Sarah Lucas’ sounds great.

Best of all is the inclusion of a handfiul of tracks from his Baarder Meinhoff project, an album that is criminally hard to track down. ‘There’s Gonna Be An Accident’ must be the funkiest song about German terrorists ever written.

This album isn’t a complete career retrospective, and that is a shame. Add a third disc containing tracks from his last three solo albums as well as his best songs as Black Box Recorder and you would have something just about perfect. As it is this is an excellent collection of tracks from one one of the finest songwriters this country has ever produced and anyone new to his work could do a lot worse than start here. And I think that most new listeners will be buying the full albums and the two excellent books of memoirs off the back of the experience.

9/10

By Dorian Rogers

What makes a good songwriter? For some it’s the ability to tell a good story, for others it’s a turn of phrase that succinctly captures a common emotion. For some. such as Andy Partridge, one of XTC’s chief songwriters, it is simply to draw inspiration from your own life and community.

In a  feature  in The Guardian in 2005 Partridge is quoted as saying:

“I can’t write mid-Atlantic airport lounge music. I can’t talk about my hot babe with her leather and whip or meeting my cocaine dealer. I like to write about what’s going on around the town.”

In a nutshell, he writes about what he knows. This frees his work from pretension and gives his lyrics genuine meaning. As the article later alludes, the example of Partridge puts the meaningless drivel of the likes of Coldplay to shame. Chris Martin needs to have a wander around town more like Partridge if he ever hopes to gain a song writing reputation to match his bank balance.

We’ve been having a good listen to the lyrics and construction of some of our favourite tracks recently and have decided to attempt one of our Top Tens looking at the art of the great songwriter and those whose lyrics inspire and amaze us. We’ve set some ground rules. They have to broadly fit into the indie or alternative musical world we cover, which unfortunately rules out Kate Bush. They also have to be an active song writer who is still releasing. This  rules out Partridge,  as XTC’s last album was more than a decade ago.

Andy Partridge

In our list we’ve some who not only write great lyrics but are expert song constructors. For some their best work is behind them but they are still plugging away. Meanwhile, for others they seemingly get better with age. Others in our list really give thought to the art of songwriting and take delight in helping fans and music lovers understand the process better.

We’ve also cheated a little. It is in fact a top 11; we couldn’t separate our top two choices so decided to give them equal first.  So with all that in mind here’s the first part of  our top ten (okay, its 11 really) song writers. To view part two of this list click here.

10. Darren Hayman

As singer and songwriter with 1990s act Hefner Darren Hayman already had a good reputation on the UK indie scene for producing strong lyrics and well worked songs. Good Heart, which made our Top Ten Tearjerkers list, is a perfect example of this. In this track Hayman tries and fails to convince his lover to stay with lines such as

You were just there, in the right place. You smooth out the wrinkles on my face

But arguably his best work has come in recent years, during a productive and purplest of patches that includes two albums about his native Essex (Pram Town, Essex Arms), contributions to the Vostok 5 space travel art and music project, bass playing for another great modern song writer Robert Rotifer in his band Rotifer, an album of piano ballads (Ship’s Piano) and his  January Songs project, where he wrote, released and recorded a song a day in January 2011. He is set to release an album about British lidos and Essex witch trials.

Darren Hayman at the Vostok 5 exhibition, 2011 (pic by Dorian Rogers)

It is his January  songs project that is perhaps his most impressive in terms of songwriting, in which he gave his audience a fascinating insight into the song writing process and came up with some superb lyrics and song writing that made a mockery of the short time he spent on them. I Know I Fucked Up, sung by Allo Darlin’s Elizabeth Morris and My Dirty Widow are among our highlights.

We drove to Barcelona on the road along the coast
The sun got in my eyes, we careered side to side
and now all I hear is the knocking of her heels on my casket

If you see my dirty widow
Tell her it’s ok
Tell her I don’t mind

A final mention goes to one of his songs on Vostok 5, A Little Arrow and a Little Squirrel, about the Russian  dogs Belka and Strelka, the first space dogs to return  to earth alive. Its line

“In a cage made of metal and glass, two beating hearts, beating too fast,”

perfectly captures the perilous, unusual situation these animals’ faced and shows a willingness by Hayman to write about the most leftfield of subject matter. It is among many highlights in a great songwriting career for Hayman that is showing no signs of letting up.

9.Luke Haines

Luke Haines is a different character from most of the people on this list, he has worked hard to commit commerical suicide many times in his career and he is as well known for being bitter as he is for great songwriting. But great songwriting is what he does, and it is something he did with his previous bands, The Auteurs and Black Box Recorder, and is something he continues to do today as a solo artist.

Looking back at his earliest songs, on the Mercury Prize nominated New Wave, he seems romantic and almost whistful. Jump forward to Now I’m A Cowboy and the lyrics get more sophisticated and literary with his best known song ‘Lenny valentino’ opening;

‘There were mourners on the street of every shape and size
The motorcade came down from Redondo
Assassins on the corner tried to throw you a line
You dirty-mouth comic Rodolfo’

Luke Haines

The third Auteurs album (and possibly his career defining recording) After Murder Park cranks up the bile considerably opening with the line;

“When you cut your lover slack you’ll get a fucking monster back”

To be more accurate, the single version of the song, ‘Light Aircraft On Fire’, featured the f-bomb, the album version was cleaned up, a rather perverse back-to-front decision.

His work with Black Box Recorder was (briefly) more successful and well received by the critics, but no less barbed,

“Life is unfair, kill yourself or get over it”

went the chorus to their single release ‘Child Psychology’.

These days Haines is a critically acclaimed author, two volumes published of his musical memoirs, and his music no longer infects the mainstream. That isn’t to say that he has lost his songwriting skills, far from it. His latest album about wrestling in the 1970s features some of his best songwriting, and is a surprisingly warm and nostalgic record.

8. Kristin Hersh

Kristin Hersh has always existed just inside the fringes of American indie music scene. Critically acclaimed and successful without getting quite the same level of attention as her contemporaries such as The Pixies. Her air of quiet oddness coupled with an unpredictable performance style, ranging from whispered to screaming, marked her out as something a little bit special.

Kristin Hersh

Few artists have managed to preserve a range of styles so successfully for so long. Want sprightly indie rock? Then the Throwing Muses can supply it with songs like Counting Backwards. Feel like some delicate pop music? Then Kristin Hersh solo performing Your Ghost will be right up your street. And if you’d like something a bit rough and heavy then 50 Foot Wave performing Clara Bow should fit your mood. The latter being her lyrical style in microcosm, an evocative mix of delicate and violent imagery.

Whether it was soaking in your poppy tea
Or your southern hospitality
Your voice has a singsong quality
And bones were made to be broken
Bones were made to be broken

This wide variety of musical styles is coupled with some great lyrical themes which leap between the personal and the surreal. She is one of the most raw and personal lyricists with her mental health, relationships and even the loss of custody of her first son being the subjects of her songs.

More than 25 years into her recording career she is every bit as exciting a performer as she was in the early days of Throwing Muses. Her perfomance at The Breeders ATP in 2009 was testament to that as she rocked as hard as any other performer that weekend.

7. David Gedge

Admittedly The Wedding Present and former Cinerama frontman David Gedge is a bit of a one trick pony. The poor chap has been singing about love and most notably loss for almost 30 years. So why is he on this list, you ask? If anything this obsession with the intricacies of relationships, of the highs and lows, the introspection, the guilt and jealousy, is his strength not his weakness, as his turns of phrase continue to resonate with audiences today.

David Gedge, Yeovil Orange Box, 2011 (pic by Joe Lepper)

Even on latest Wedding Present album Valentina, written during recent years of enjoyable touring for Gedge, he still manages the self-deprecating aside to suggest all is not well as “everything about my so called life is boring.” Across the years this trademark bittersweet lyrical style has hoovered up fans, who have stuck with him resolutely as their own loves and losses come and go. Among our highlights are the jealous rant of My Favourite Dress from 1987’s George Best with lines such a “It took six hours before you let me down, To see it all in a drunken kiss, A stranger’s hand on my favourite dress.”

We have to admit the year started badly in terms of album releases.  By March we were struggling to think of more than a couple of excellent album releases let alone begin a shortlist of 20.

Then winter turned to spring and the flood gates opened with  new bands emerging and some old stagers reliving their glory days and in some cases bettering them. We have our first ever classical music entry in an end of year album list, some great new UK folk music and a staggering achievement in song writing by one familiar face in our end of year lists.

We’ve even found room for an album about 1970/80s wrestling by one of the music industry’s funniest and most caustic writers and artists.

In the end its turned out to be a pretty fine year for releases, as two of the biggest names of 1990s alternative music battle it out for our top two places.  Get your bus fare ready, prepare to race down to your local independent record store, and enjoy Neonfiller.com’s Top 20 Albums of 2011.

20. Johann Johannson – The Miners’ Hymns

Luke Haines has had a pretty interesting and varied musical career. Almost winning the Mercury Prize and recording with Steve Albini as The Auteurs, twisted pop as Black Box Recorder, a concept album about terrorists, a very variable solo output and ‘Bad Vibes’ the best book ever published about the Brit Pop era. 21st Century Man, his 2009 album, was a return to musical form that showed an artist with a warmer, more nostalgic, approach to music. Even given all of this it would have taken Derren Brown to predict that his next album would be a concept piece about the classic era of British Wrestling that was watched on ITV’s World Of Sport on a Saturday afternoon through the 1970s and early ’80s.

You have to wonder what the young Luke Haines would have felt about his older self producing music as  nostalgic as this. Despite the typical bile filled vocal delivery this is a loving depiction of an era, warts and all. The lyrics are typically brilliant and anyone who grew up in Britain during the period will be able to identify with his depiction of Saturday afternoons spent with liver sausage sandwiches, broken boilers and the Big Daddy splash.

Each song is a picture perfect vignette of the era and every significant figure of the time gets a mention from ‘Bomber’ Pat Roach to Giant Haystacks and Gorgeous George. The songs manage to be simultaneously warm, affectionate and sinister in a way that only a songwriter as skilled as Haines can pull off. There is a lot of humour here (a song called ‘A Rock Opera: In the key of Extistential Misery’ can’t be taken seriously) but you never get the sense that the era is being mocked. It is an affectionate tribute to a period in time that Haines misses but would never wish to return to.

“Egg and chips from the transport caff was the worst food that I’d ever had. Do you want some more? Oh dear god no.”

It is an old fashioned album in other ways, it is a 10 song cycle that works brilliantly when listened to in one sitting. That isn’t to say that individuals songs don’t work on their own but the whole album experience is when it hits near perfection. In an age where single track downloads  become more and more common this is as much of a nostalgic relic as the British wrestling scene recorded in the album’s songs.

Musically it covers themes that will be familiar to anyone who has listened to Haine’s previous output, and carries on where 21st Century Man left off. On the glam rock stomp of ‘Linda’s Head’ Haines sounds eerilylike a sinister Marc Bolan. The synth pop of ‘Big Daddy Got A Casio VL-Tone’ tells the brilliant imagined story of the man himself trying out his musical ideas on the synthesiser of the title.

I have to admit that I came to this album with a positive frame of mind. I love a lot of Luke Haine’s previous work, and the subject matter appealed to me enormously. Even taking that into account I was surprised by just how much I enjoyed the album and it is possibly my most repeated album of the year in a very short period of time. Witty, concise, well executed and completely unlike any other album I’ve heard this year. This isn’t just one of the best albums by a British artist that has been released this year, it is also one of the best albums by an artists with a pretty impressive back catalogue.

9/10

By Dorian Rogers

Luke Haines is one of the lost figures of modern British music. His first album with The Auteurs, New Wave, was as good as anything else that came out of the British pop explosion in the mid-90s and he released several excellent albums as The Auteurs and Black Box Recorder over the next 10 years.

Despite this I had pretty low expectations of his solo performance. The last Haines’s album I purchased was The Oliver twist Manifesto in 2001, and it was a pretty miserable experience. Unlistenable would be harsh, but pretty difficult to listen to pretty much sums it up. His largely excellent performance on the night was therefore a very pleasant surprise.

The set mixed songs from his latest solo album with songs by The Auteurs (‘Showgirl’ and ‘Unsolved Child Murder’) as well as one cut from his Baarder Meinhoff incarnation. The new songs prove that Haines is still a talented and relevant songwriter, no less bilious than before, but showing a little more humanity in his humour. ’21st century Man’, the title track from his album, was a show standout and was also one of the longest most rambling songs of the night leaving Haines’s to joke that there were another 12 verses to come before suddenly bringing the song to an end.

The revelation of the night was what a good guitarist Haines is. His role as sarcastic, spiteful, pop cultural satirist has always masked his song writing prowess, but is also at odds with his axe man qualities. At times things almost rocked, and he almost looked like he was enjoying himself on stage. Surely not.

8/10

By Dorian Rogers