Spooky (but not in a Halloween sense) playlist compiling

This month's F-Word Music blog post is now up on the site. Because we are well into the period I like to think of as Peak Touring (new university term, end of year lists pending, Christmas wish lists being compiled...) there has been an awful lot of stuff to cram in this time. 

By comparison, the playlist was pretty easy and came together almost immediately. I think I had to move, maybe, two songs around and that was it, it was done.

It was when I was listening to it back that I realised how very apt a lot of the songs are in terms of the past year. A lot are very pertinent to the #MeToo era and, most recently, the Kavanagh appointment in the US. I feel as though I've been stockpiling these songs in my mind, and in my Spotify lists, just waiting for the right moment to put them all together. 

Some are from new artists, some are from established artists. Some were recorded for major labels, some were self released. But what they all seem to share is a kind of conscious or unconscious commentary on the state of womanhood and the world in 2018. 

I'm really pleased that so many artists have tapped into their inner rage this year. It would be nice to live in a utopian world, or at least a more restful one, but that seems remote and, as with all art, music reflects that. And provides a source of inspiration and solace in a fucked up world.

Image is the cover image for Laura Gibson's new album Goners. It is out now. 

Something old, something new, something borrowed, something blue #2

Holly Tree, Heaton Moor

Low's 'It was just like Christmas' is a sweetly lo fi, just the right side of cheesy, slice of festive fare that is always due a re-listen at this time of year. There's something innately comforting and innocent about it that ensures it never loses its charm.

Julia Holter's new album Have you in my wilderness is Piccadilly Records number 1 album of the year. They probably nailed it when they wrote in their end of year round up that, while liking her previous albums, they love the new one a lot more because it seems more substantial and fully formed in a pop sense than previous offerings. Personally, I really loved 'Hello Stranger', and loved the concept behind Loud City Song in a general sense, but never really got into it as an album.

September's track 'Sea Calls Me Home' captures the new album well.

Birdy's take on the Fleet Foxes' song 'White Winter Hymnal' showcases the singer's voice well, while deftly paying tribute to a song that, while markedly different in its original form, remains far from spoiled. I like both versions, but for very different reasons.

'Pale blue eyes' features on the Velvet Underground's self titled third album and, while not perhaps as well known as, say, 'I'm Waiting For My Man', or 'Venus In Furs', it is a quiet masterpiece.

Image of holly tree by Cazz Blase. Copyright Cazz Blase, all rights reserved.