Right, after that enjoyable diversion, I’m off again.
On to the Top Ten at last, and while the records featured were easy to pick out, putting them in some sort of order I’m happy with has proven to be a nightmare thus far. In short, it’s not done yet! I’ve spent much of this week’s travelling time listening and relistening to each album, and I’m still none the wiser as no sooner have I finished listening to one, then that one leaps up several places until I listen to the others and it all gets a bit messy. But that all just gives me an excuse to listen to them all again and come up with a different order, so as pointless as this whole thing’s been since the start, at least it’s still fun.
There’s also the thing that all of these final entrants, in whatever order they manifest themselves in, are in the last ten not just because they’re really good records (which they are), but have stood out from the others for reasons that aren’t necessarily musical; hopefully the guff written about them over the next three weeks or however long it takes will go a long way to explaining this intangible otherness that’ll all make sense at some point. Fingers crossed on that one.
So, at Number Ten, I have this absolute gem from Germany that I bought on a late-night whim and more or less because of the title and a sepia-toned cover that reminds me ever-so-obliquely of Tove Jansson’s Moomin artwork. And if that’s not a decent enough reason to blind-buy a record, then I don’t know what is.
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