Say It To Me

Pet Shop Boys Neil Tennant and Chris Lowe are 63 and 58 years old, respectively, which… well, Christ, I thought they were like in their forties. They’re hardly boys and more like elders, but that they’re still making synthpop like they invented it, which, of course, they did. In their heyday, their synthpop was about being young, smart and alienated (and gay) which gave it a level of emotional depth not usually associated with synth-anything. All along it’s been about lovelorn and alienated, and now it’s about being over-the-hill but somehow still lovelorn and alienated. At their age, of course, they can only get so much sympathy for still being lovelorn, because at their age they’re old enough to know better. And so, it seems like their music is actually less mournful than it was 30 years ago. Now they’re looking back at themselves and their youthful angst with something like a fond eye. But, apparently, even people hovering near 60 sometimes find themselves paralyzed by silence and insecurity, and songs about those feelings never get old or irrelevant.

Sad Robot World

The Pet Shop Boys are asking some of our favorite existential questions. Have we become a society of sad robots yet? Are we just drones or digital sheep now? And where are the literal robot workers we’ve been promised to ease our labors? Pop culture has been asking those question for, oh, since the Industrial Revolution, at least. And although we ask these questions anew with each new wave of technology, we’ve somehow still remained our same bloodthirsty, irrational animal selves. Robots are no cure for human nature. The fact that we get all existential about the technologies that make our lives easier is proof that we’re helplessly bound to our emotions. We project them compulsively onto everything around us. We’re no more isolated or desensitized than any other generation in any other eon.

The Pop Kids

I’ve already posted this song, fairly recently. If you remember, I really loved the new Pet Shop Boys album, so much so I made it one of my top 10. So I can’t skip past without posting it again. I honestly think these guys were made to be old and doleful. Because doleful nostalgia is just the right tone to take when you’re two formerly edgy pop prodigies who’ve lived to see all the trails they blazed become superhighways. Pop stars deal with aging in a variety of ways, mostly undignified, and it’s cool to see this duo make it a part of their image. It suits them, more than being young and cool ever really did.

The Best Albums of 2016

After a gut-wrenching year, the best albums of 2016 gut-wrenchingly blew apart the boundaries of art and real experience. David Bowie faced his own death. Nick Cave faced the death of his son. Beyonce grappled with what it means to live and love as a black woman in America. Anohni railed against the dying of the planet. Chris Lowe and Neil Tennant cringed before the inevitability of age. As Jerry Garcia once said; “I may be going to hell in a bucket, but at least I’m enjoying the ride.” We’re all gonna die, babe, but at least we got some great art out of it.

  1. ★ – David Bowie

blackstar_front_cover

David Bowie may have opened up a black hole in the fabric of known reality. He exited the world as he inhabited it: cryptically. At least he left us with this swan song, a final masterpiece. It is at once nakedly emotional and knowingly legend-building. Creating art in the face of death – that has to be the most intimate act of creation, besides literal conception. Yet he still cast himself as an intergalactic messiah, still offering unknowable promises of redempion through pure self creation. Once a starman, forever a starman, even through death’s door.

Blackstar

Lazarus

I Can’t Give Everything Away

2. Lemonade – Beyonce

Beyonce_-_Lemonade_(Official_Album_Cover)

Beyonce has outgrown being merely one of the biggest pop stars on the planet. She’s made what has to be the most unified and relevant statement piece by a popular artist within recent memory. Beyonce grasps that the personal is the political. The (publicly unspecified but strongly implied) travails that she has suffered in her own longtime marriage take on broader meaning as a metaphor for the travails that Black women – specifically – have suffered within what is, without question, a violently oppressive white supremacist patriarchy. Though often painful, Lemonade is uplifting; Beyonce offers catharsis through pain and anger, strength through sisterhood, solace in family and community, and in the end, forgiveness and redemption through love.

Formation

Sorry

Hold Up

3. Hopelessness – Anohni

hopelessness_front_cover

Anohni cornered the market on mournful chamber pop years ago. She’s lent her unearthly voice to everything from Marina Abramovic installations to singing backup for Lou Reed. Not to mention, of course, the beautiful albums she made fronting Antony and the Johnsons. This, her solo debut, is a step in entirely new – though still mournful as fuck! – direction. She’s adopted a more modern, uptempo sound; and a newfound, keening rage. It’s an album about destruction, a dying earth, the devastation of war, the oppression of a society fast approaching digital totalitarianism.

Drone Bomb Me

Hopelessness

I Don’t Love You Anymore

4. Skeleton Tree – Nick Cave & the Bad Seeds

skeleton_tree_album

This is Nick Cave’s elegy to his dead son. It’s a horrific irony that the singer, so long fascinated by the furthest and most macabre extremes of the human condition, was struck by such a tragedy. It’s a testament to something – call it the redeeming power of art, call it the human spirit, call it a coping mechanism, call it damn plain stubbornness – that he went straight back in the studio, and there reexamined every idea he’s been writing about all these years, coming back with a record that makes those old murder ballads look like so much innocent posturing.

Jesus Alone

Magneto

I Need You

5. This Is Acting – Sia

Thisisacting_albumcover

Not everyone had a terrible year of roiling turmoil. Sia, the one-time professional songsmith turned celebrity, has had the best couple of years of her career. Having become a pop star at an age when most pop stars are long out to pasture, Sia feels ambivalent about the tricky balance of fame, identity and creativity. This album is a collection of songs she wrote for other, bigger stars to sing, all of which had been rejected. It is, in a way, a concept album, the concept being; what exactly is a pop star and who exactly are you as an artist if you’ve spent most of your career furthering the careers of others? There’s no clear answer to that, but Sia does prove one thing – that flagrantly commercial pop music can be a vehicle for ideas of great complexity, when presented by the right artist.

Alive

Cheap Thrills

The Greatest

6. Wonderful Crazy Night – Elton John

Elton-John-Wonderful-Crazy-Night

Well, Elton John, for one, isn’t trying to drive home any heavy concepts. He’s not here to deliver any messages of great complexity. He’s just having fun; he’s got his mojo back and he’s celebrating. He’s spent some of his past years in the wilderness, both personally and professionally. In the last few years, though, he’s been steadily revitalizing his career and enjoying some very well earned personal happiness. Musically, he sounds like a man truly enjoying himself, he’s brought back some of his best collaborators, and he reminds us what made him so great in the first place – his unmatched ability to deliver an emotional wallop all the way to the back rows, but effortlessly and with nuance and humor.

Looking Up

Wonderful Crazy Night

Blue Wonderful

7. Joanne – Lady Gaga

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Lady Gaga continues to gratifying evolve. This record shows a little bit less pop monster, a little bit more real person. Though Gaga’s talent for hooks and choruses can still be heard, that isn’t the point here. The point is she’s capable of showing real emotion as a singer and songwriter, not afraid to show her naked face.

Perfect Illusion

Million Reasons

A-Yo  

8. Stranger to Stranger – Paul Simon

stranger_to_stranger_cover

Back in the 60’s Paul Simon was one of the angstiest songwriters around, full of hyper articulate college boy alienation. Now, he’s the opposite. He writes about the absurd world with empathy, humor and gentle self-deprecation. His age seems to suit him fine; the older he gets the more he seems to be enjoying himself. He’s also, in his own discreet way, a trailblazing sonic experimenter, always on the lookout for unexpected influences and unheard-of instruments.

Wristband

Cool Papa Bell

 The Werewolf

9. Super – Pet Shop Boys

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How long since Pet Shop Boys have been relevant? You may ask that, and the Boys are asking themselves the same question. Once pioneers of synthpop and electronic dance music, they’ve now become elders. How to deal with aging out of the scene you helped create? If you dedicated the first half of your life to being cool kids, what do you become when you’ve grown up? Those are deep questions to ask on a dance record, but balancing pop hooks with introspection has always been PSB’s specialty, and this is as wise, poignant and self aware as they’ve ever been. Don’t worry though, it’s still fun, and if anything, wittier than ever.

The Pop Kids

Say It to Me

The Dictator Decides

10. AIM – M.I.A.

aim

M.I.A. has said that this will be her final album. She’s hardly the first star to threaten retirement, and few who do tend to stick with it. She’s still young, and wildly creative. Let’s hope it’s an empty threat – we need her. She’s been an outspoken provocateur, unafraid of being unpopular and determined to call out every bit of bullshit tossed her way. Her music remains equally fearless, an exuberant collage of ideas, found sounds, and cultural influences. Though she may not relish the condition of celebrity that it brings, she loves her art, and this record skews more joyful than angry.

Borders

Bird Song

Freedun

 

Pazzo!

This is a good mindless three minutes of shaking it out on the dance floor. It’s not exactly hot evidence that the Pet Shop Boys’ new album is exactly what its name promises, but it is the kind of club kid escapism that never quite goes out of fashion. The Pet Shop Boys have always leavened their dance beats with emotional and social themes that would seem to be more at home on some emo indie record, but somehow it never brought the dance floor to a grinding halt; it just allowed their records to be more widely enjoyable. You could dance and mope to them. So in that regard, an instrumental dance track would seem to be a bit below them. But on an album that deals explicitly with the angst of aging out of the club scene, a nice light party track is really needed to lighten the mood. And whatever, it’s fun.