An atypical year. But aren’t they all?

As I said, 2006 was a bad year. 2007 was a good one.

So while then I needed songs to make any sense of my life, this year I needed them as decoration. Necessary decoration, sure, which tied themselves so tightly to the events they soundtracked, they may as well be the walls – but the events would have been meaningful without them. Additions, not fundamentals. This is fine. Some things, believe it or not, are more important than pop-music.

Conversely, there was the OTHER side of my listening, where I’m a 32 year old man who finds himself living in a single room in a shared house again. This annoys me, and there’s records that understand that annoyance all too well.

And finally, there’s stuff that I like just to annoy Walker.

So a lot of music. Normally, my list of the noteworthy is somewhere around the thirty mark, requiring me actively to go nosing around to remind me what stuff I haven’t written down.

(Which is a lot).

This year, I had getting on for sixty. As anyone who’s seen me will know, this isn’t because I got more organised. I just liked more stuff. From this – as well as having to work in some stuff I, as always, still completely forgot – I’ve managed to be a little more selective. I think they’ll be less kicking myself over forgetting something than previously.

(That said, I don’t see anything even vaguely embarassing about last year’s Top 10) so – pah!)

Also, the diktats of space meant that a few more tongue in cheek entries didn’t work their way in. I wanted to include the Iggy-Pop-featuring Teddybear’s Punkrocker as a one-minute loop of the song played for the four and a half long days of San Diego in the booth next to McKelvie and my. Even after the first couple of hours, I was shouting expletives at the screen. Also, I inched out Cox and Combes’ immortal Washington, despite the fact its’ the only thing I heard this year which I know every single lyric too.

Actually, thinking again, I probably should have. Foiled again.

Obvious things missing: No JUSTICE, no LCD Soundsystem, no Scroobius Pip. The former’s stuff I’m nowhere near as raptuous about as everyone else – I mean, I like it a lot, but – in probably a critical sin of some kind - I preferred last year’s We Are Your Friends far more than DANCE. The middles’ recent stuff I’ve actively disliked. The latter… I dunno. It just seems to be more than a little smug, in a way which I can only compare to the Beautiful South of all people. You don’t get on my list by saying stuff that everyone believes anyway. Eventually, you get a Daily Mail oh-why-oh-why column. Though, to give it its credit, not even a fraction as insufferable as GoodBook’s Passchendaele which is actively loathsome. Winner!

Anyway – Rules. 40 tracks, released this year. In any format and any place. Stuff which I missed last year and got a re-release will show their faces. They’re primarily singles, but I’ll reach for an album track when it struck harder. One track per band – if a band has had such a consistent year that they’ll have had several tracks in the list, they’ll work up a little above those single moments of genius. Unless they’re INCREDIBLE moments of genius, in which case they trump everything. That’s it. Any mistakes are me fucking right up, as always, but proper pedantry will be frowned at, because it makes you a right cunt. Oh – and I’ve tried to find a copy of the track to link to somewhere on that there internets.

Finally, this year I grew a beard. Looking down the list of records, there’s no sign of any beard-influence whatsoever. As always, this has to be considered a good thing.

ONWARDS!

40 – Rihanna, Umbrella
Went back and forth on this – as this year’s pop-song du jour, its’ been feted extensively by better humans than me. But it’s never quite clicked, except in the last week, when I’ve been listening to it compulsively trying to work out what I actually think of it – and this final rush made me fall for it enough to decide that I’d regret NOT including it. Glacial, cruel, mocking, coldly devotional, it’s quite the record. However, the nagging doubts - it strikes a critical sin for a pop song – it doesn’t want me to dance or fuck. I can only imagine dancing (or fucking, for that matter) cinematically to it – as in the appearance of dancing, the taking the pre-decided culturally decided positions that EQUAL dancing/fucking. In other words, its a little too perfect, too cold, too distant – and leaves it feeling like really expensive, gloss-coated furniture. But, as far as sideboards go…
[Youtube]

39 – Still Alive, Jonathan Coulton/Ellen McLain
Videogames have had a good year musically, and its finest musical hour was good enough to cross over into the real world. If it was just Videogame Journalist parties where it was put on and sung gleefully to, I’d have perhaps given it a miss, but that its youtube clips were passed around my non-games circle, who had no idea where it was from, only that it was brilliant… yeah, that deserves a place, for the good of all of us.
[Youtube]

(Except the ones who are dead)

38 – Good Shoes, Never Meant To Hurt You
Seemingly Plan B’s NME-indie-band it’s okay to like. I suspect it’s because Rhys Jones is the only one happy to admit to being a bit of a cunt.
[Youtube]

37 - Long Blondes, Giddy Stratospheres
Clearly, never as much as a cunt as here, whose “you’re pretty, oh so pretty, why waste your time just sitting here listening to this dead eyed bitch?” remains a perfect curl of the lip in pop-song form. A re-release re-version of the original, this is more of an honoury position, since the Long Blondes were last year’s No. 1, but I couldn’t face not including it, despite it being as monstrous a 2006 song as I could possibly imagine. Also, Kate Jackson is ridiculously hot in the new video.

Bonus marks for that, as always.
[YouTube]

36 – Scout Niblett, Dinosaur Egg.
Because: i) We understand that organising parties is always tiresome, so empathise. ii) She didn’t sue us. Thanks, Scout! Hope your dinosaur hatches soon.
[Youtube]

34- Burial, Ghost Hardware
34- The Indelicates, Sixteen
When arranging the list, these two were sitting by each other, and it struck me as somehow apposite – the two halves of what I love about music, entirely alienated from one another. The Indelicates try and force their entire brains AND all their snarls into a tiny, pressurised container marked tinny indie, Burial’s dubstep says nothing quietly at 3am, because there’s nothing to be said anymore, only felt. One comments on the world. The other describes it. And to truly make me adore you, you’ve got to do both. That said, clearly, both are thrilling pop singles – Burial sounds better and better the later you stay up (listening before 2am seems almost like sacrilege), while Sixteen’s panicked rush to the conclusion sounds like a sneer flying off a cliff, laughing at you, especially if you’re considerably further off its percipitous age-based cliff.
[Youtube – Ghost Hardware, Burial]
[Youtube – Sixteen, The Indelicates]

33 - Bat for Lashes, What’s a Girl to Do?
That, even before she was, she sounded like a Mercury Prize Nomination always annoyed me slightly. Still, if this is Dinner Party music, it’s a Dinner Party thrown by Black Box Recorder, which means that someone’s going to leave with a spoonful of poison in their Waitrose-bought wine.
[Youtube]

32 – Shellac, The End of Radio
No-one seemed to say anything about Excellent Italian Grayhound after its release. Does everyone else think it’s shit or something? Anyway – this specifically was excellent, especially if you can get the genuinely toxic Peel session version.
[Youtube – Live version]

31 – Slagsmålsklubben, Sponsored By Destiny
About three times a year, Triforce Ste will appear on my MSN and ask me if I’ve heard something yet. I say no. He points me in its direction. I listen to it. He insists I promise I don’t write any of my usual high-velocity hyperbole about it. I do. This was one of those. And, for once, I’ll keep my word.
[MySpace]

30 – Shy Child, Noise Won’t Stop
A quick google reveals not nearly enough people are making the obvious Neptunes link with this one.
[Youtube]

29 – Uni & Her Ukulele, See Your Face Again
Album was 2006, but I started listening when she took a day in Brighton to do a video in Dave McNamee’s garage for this particular tale of longing, the vagaries of cross-continental travel and a Ukulele. It’s lovely. I mention this to Walker, who tells me “The song seems completely unironic and without a cruel subtext. Are you sure you like it?”. Yes, yes I do. I’m as soft as a flaccid cock, me.
[Youtube]

28 – Electrelane, To The East
Talking about things happening in Brighton… au revoir to Electrelane, who end as they’ve always been to me – something I like rather than love. With this moment though, they pierce the veil between us with this lovely twice-referred circular piece of melancholy sweetened with euphoria and euphoria circling melancholy. It’s not so far away.
[Youtube]

27 – Blood Red Shoes, Boring By The Sea
Fuck it! Let’s get the Brighton contingent out of the way. The Blood Red Shoes’ sharpest, boredest, poppiest dual-sneer buzz.
[Youtube]

26 – Wiley, My Mistakes
As you may have noticed, this is a really fucking indie list, even for me. I suspect moving into a single apartment in Bath of all places has moved my head even further that way. But still: I liked this a lot.
[Youtube]

25 – Architecture In Helsinki, Heart It Races
I’ve always had problems with Architecture of Helsinki. I like the way they put together a record, their rhythms, their beats, their ideas. Their melodies are a pure irritant. Even here, where they’re fucking sublime musically, I’m within inches of throwing it out from the list disgruntledly the first time they yelp out HEART IT RACES! Get through that, and I’m fine, and it’s so fine.
[Youtube]

24 – Klaxons, It’s Not Over Yet
As was perhaps inevitable, the Klaxons spent the year growing ever more pompous (Worth comparing and contrasting the original Gravity’s Rainbow Video to the re-release. Er… if you can find it anywhere online) with only this inspired cover really catching my affections. I suspect it’s their reading being so epic – alas, not actually Stadium House – is why it works, with the circular riff chasing itself without resolution.
[Youtube]

23 – Robyn, With Every Heartbeat
FUCKING HELL! ROBYN IS NO 1 was the last thing I was expecting, but doesn’t make it any less sweet. She’s been our alternate-dimension pop-Empress for the last couple of years, and suddenly she’s sitting exactly where she should have always had been. The nagging annoyance is that it happened when we wanted more Robyn, and instead we have to wait for the world to catch up. Pah. While it’s not as transcendentally perfect as Who’s That Girl, is icily-sad as her latter-day triumph itself. More, lady.
[Youtube]

22 – Gowns, Cherry Lee
Kicking_K occasionally drops me a mail asking if I want to write a piece about a band I haven’t heard of. Gowns was the primary of these, and their noise/folk combination found in their Red State album is some of the most intense things I’ve wrestled with this year. Most notable is the closing track, Cherrylee, which plays against itself – an utterly mournful, broken, distorted, schizo-lament which descends to nothing… before reordering itself in the one clear, true, melody on the album, which just splits you in two with a rustic axe. Some bands sound cinematic. Gowns sound literary.
[MySpace – Not that it has Cherrylee. Just buy the fucking thing]

21 – Tall Pony, I’m Your Boyfriend Now
It Puts The Lotion On Its Skin.
[MySpace Fragment]

20 – Hadouken!, That Boy That Girl
It makes me sad that I’m twice as old as the Hadouken! As in, total ages of everyone. Plus the age of everyone in their average audience. Clearly, if I had any sense, I’d be embarrassed that I listen to this. Man! Who cares about sense. There’s pop music here, and I like rolling my eyes at Indie-Sindy’s with Polka-dot dresses.
[Youtube]

19 - Prinzhorn Dance School, Up! Up! Up!
Demands Minimalist Writing.
[Youtube]

18 – Malcolm Middleton, We’re All Going To Die
I liked the whole album – it was a toss up between this and Fuck It I Love You for inclusion, but he released this as a single, so making it easier to link to, so it wins. Caught him at a live gig at Fopp, about a week before it closed, with an audience about four people. I have no idea where he gets his material from.
[Youtube]

17 - Darren Hayman and the Secondary Modern, The Wrong Thing
As always from Mr Hefner, some cheerily manipulative, enormously clever shit embroidered with with a killer melody. Say what you like about Tall Pony – at least it’s honest. The sort of song which can only be really enjoyed by the sort of mosntrous guy who has a “passive aggressive” tag on his blog. Ah.
[Youtube]

16 – Marnie Stern, Every Single Line Means Something
Densely layered hypervirtuosic anti-virtuosism, saved from prog labels by its complete lack of ego – it has the sense of a note to self, the urge towards hubris an aim rather than an assumption. And the second when it comes into focus on the chorus (”And then it comes to me:” indeed), makes me set my shoulder, level my gaze, and start writing.
[Youtube]

15 – Future of the Left, Manchasm
Falco and co’s return worked best on the album and this non-single track was its finest three minutes fifty-four. Circular (which, yes, appears to be the word of the year) synths and guitars and vocals finds space past the end of what McLusky explored to spend some time discussing the serious matter of Colin being a pretty pussy, a very pretty pussycat. Which is the sort of lyric which the Arcade Fire could only dream of writing – at which point I remember I’ve actually forgotten to include Keep The Car Running from Neon Bible, but since it’s the only track I truly loved, fuck it. Take it as a warning, Win and Regine.
[Simon SweepingtheNation has the MP3, and you should read the rest of his run-down stuff when you’re there]

14 – Feist, 1234
That, even before it was, it sounded like an Apple advert always annoyed me slightly and.. oh, said something similar about Bats for Lashes. So why is this nearly twenty places higher? Well, Ipods are awesome and award ceremonies are shit. Go Capitalism!

(Also: “Sweetheart/Bitterheart – now I can’t tell you apart” slides a sliver right through me.)

Oh yeah - 5-6-7-8! 7-fucking-8! Feist? F-minus in Maths, more like.
[Youtube]

13 - The Teenagers, Homecoming
It’s Grease’s Summer Loving for the Facebook generation with added misogyny!
[Youtube]

12 - Gruff Rhys, Lonesome Words
While the SFA album had its moments, Gruff’s solo Candylion album was a more memorable piece of dreamy, sad psych-pop. Lonesome Words was its finest moment, the Wicker Man resettled to a Sci-fi arthurian future, with the king come again, now leaving.
[MySpace]

11 - Frightened Rabbit, Sing the Greys
Another Ste Curran Special, but he’s not going to get out of me ranting this time. The drunker I get, the more I like this – I think it may file into the same mental slot depressed/rhapsodic as Six By Seven’s beautifully downbeat/furious Second Album. I’ve only just looked now, and I’m actually amazed that it’s a mere two minutes forty long – its the musical equivalent of looking away from a clock at work, looking back thinking an hour has passed, and two minutes have trickled painfully by – except it DESCRIBES that, so GLAMOURISES that so makes it ETERNAL. And the whole bit from “the world may be a more colourful place but… It’s still! just! grey!” at around the two-minute mark is golden, but washed at the wrong heat, so grey. Golden Grey.
[Youtube]

10 - Patrick Wolf, Accident & Emergency
Was released as a single last year, of course, but got I approached it as part of this year’s album and… fuck you! It’s my list. Okay – the line I recall from the Plan B interview was talking about wanting to make the new album feel like a funfair. That’s exactly it. From the opening DIS-SS-SSS-SSSTTTTAAAAARRRRRTTTTTED scream, it’s a ride. That pugnacious first verse (”SO COME ON! Gimme the worst and then again – I’m feeling braver than I’ve ever been. From the skull, down to the feet – all out for sweat and blood and meat”) which sounds like I remember feeling when I walked out of hospital all those years ago.
[Youtube]

9 - The Ting Tings, That’s Not My Name
It starts as Betty Boo and it ends as the Jesus and Mary Chain. In terms of perfection in both concept and and execution, a pop-song hasn’t come close enough to my Gold Standard since Johnny Boy’s …Generation… (In passing, their album finally came out in the UK this year. So you can buy it). And it’s a song about people forgetting your name. I HATE PEOPLE WHO FORGET MY NAME. THE FUCKS. At least with this one, you can dance to. As Chuck D once said, Believe the Hype. Or, at least, I think he did. I wasn’t paying that close attention.
[MySpace]

8 -MIA, $20
Kala bedazzled allcomers, but it’s here where she manages to pull of her “Rather than talking politics, I feel I am politics” stance best. When she drawls out “I put people on the map… who’ve never /seen/ a map” it should be laughable, but is utterly shameless and vicious and punks us all out. And then she waltzes off with the Pixies and whatever else shiny she sees, and gets pissed with them. It’s music that you can only talk about in mixed metaphors, because it /is/ mixed metaphors. Which makes me think - Politics derives from “City”. Of all the stuff in the Top 10, $20 is the one which sound like like the 21st century as a whole rather than just in a specific brilliant minutiae (Men getting old, Boys wanting girls, Ping Pong).
[Youtube]

7 - Operator Please, Just a song about Ping Pong
I’ve previously described this as Bis plays the Arcade Fire, but I can’t work out where, so I’ll pretend it’s a new line as it’s still the right one. If it was a videogame, it’ll be Godhead. If it was a confectionery, it’ll be a chomp bar. If it was a plot of a film, it’ll be the one about the teenage losers who form an unlikely group to enter the school battle of the bands compo, and – after a series of misadventures, suddenly get good at the last minute and win the fucking thing. AND THAT ONE’S ACTUALLY TRUE. Just a song about Ping Pong makes me so excited, it makes me wish capital letters were bigger.
[Youtube]

6 – Grinderman, No Pussy Blues
Thinking what to write about this, I recall last time Kid-with-Knife was in Bath. As I was hammering out some shit before we could go get mindless, he amused himself reading AMP’s phenomenal Plan B interview with Grinderman. And, as a testament to what AMP was doing with it, this non-music reading guy was loving the shit out of it. Then he hits the middle section where she just breaks from being intimidated and skips to the internal dialogue and lashes out everything she thought and felt, and the ink runs red. Kwk looks up, “Does she hate men?”. “No,” I say, “She just knows them”. Grinderman feel a lot like that – it’s simultaneously a joke, but it’s pitched as such because, honestly, it’s something that scares the hell of you. As a Manopausal rampage (The quote from Grinderman which sticks from Amp’s piece is Cave speaking of his regret of “becoming invisible to women” in age) No Pussy Blues is the albums finest moment, all black honey, and DAHYUUUUM and the best feedback guitar solo I can remember ever hearing. Viagra Priapism at its finest.
[Youtube]

5 Those Dancing Days, Hitten
You may want to have a shower after that one, and this will wash away all those cares. It’s a pop song, just sad enough to be true, just brave enough to resist feeling sad, just great enough to find a place in my top 5 records of the year (Note: Find. Not demand. It’s not that sort of record).
[Youtube]

4 - Gallows, Orchestra of Wolves
Yeah, you probably should have waited for that shower. Hard luck. You knew whose neighbourhood you were in. Obviously, late 2006, but Gallows re-release brought it to a whole new audience. Including, obviously, yours truly (Creative decision I least regret this year: Deciding NOT to interview Frank Carter as my old alter-ego Minister Drill-cock! Would NOT have worked). Anyway – the title track and obvious single, which will never be just because it tending to dwell on wanting people to remember your name when you’re washing their cum off their fucking face and not wanting them to pass out when sucking my dick doesn’t secure radioplay. Frighteningly honest and frightening in equal measures, a great one to play on headphones when walking around town, knowing that if they knew what you were thinking, they’d inch away and/or have you chemically castrated.
[Youtube]

3 - Battles, Atlas
Which proves anything can be pop music, and anything should be.
[Youtube]

2 - We Throw Parties, You Throw Knives – Los Campersinos!
It started with it started with a Mixx, and I was in love with it by the end of the first couplet.

(”Trying to find the perfect match between pretentious and pop” will go on my gravestone. And Los Campesinos! Too, I suspect)

They still sound the sort of band we’ll have made up in the back of our notebooks. I had a load of them, dream-pop collisions of things which COULD have worked (I still think Agents AD’s Wu-tang Vs. Mogwai is a great alt.pop band idea. It’d have worked if only we could have kept all our members sane and sober). In the case of Los Camp! they’re a collision between Bis, Hefner and something far more symphonic (They’ve probably got some of the most astute influences list in the entirety of myspace). They’re, conceptually, seems like some kind of Revenge Squad from the whole 97-98 fanzine scene thing, as if we could craft our favourite bits of those bands into one and send them out to fucking show the world how right we were, and how something can be incandescently brilliant whilst still human, transfiguring while danceable, intelligent while funny and… oh, God. You know, these are the sort of things endless pritstick and glitter packages died for, don’t you know/

Okay – put it like this. All the music I listen to, I love as who I am and how it fits in my life. Occasionally, if only for a second at a time, made me wish I was 19 again, to discover how they’d have fucked with my head and how I’d have ended up. Because Los Campesinos! are a band that, fundamentally, requires a tattoo of devotion. That is, on the inside your head.

As it is, I just love them. Three singles, and the position’s a toss up between You! Me! Dancing! And We Throw Parties, You Throw Knives. If today was the end of time, I’d go for You! Me! Dancing! as undeniably the greater record, and enormous expansive thing with some of the angriest lyrics about the reasonable things (”And it suddenly seems a good idea to dance in the fountain… because it is a good idea”)… but it’s actually on the album next year. Conversely, We throw parties, you throw knives exists forever in 2007 as a single and it was its – rather than Mixx’s - first lines I moved from love to actual devotion.

They’re as beautiful and as doomed a pop-band as I’ve ever seen.
[Youtube]

1 - Kate Nash, Birds
Don’t start me about the Slide-guitar.

Even more so than Robyn, hearing that Foundations had gone in at Number 2 was a complete fucking shock than left me telling friends this new and bizarre fact. Which usually lead to the response “Who’s Kate Nash?”. One minute, minor indie singer/songwriter with a neat vein in observational/dialogue based songs who McKelvie bounced a few MySpace messages with and I was planning to go and see at the 100-person-or-so Louisiana the month previous before she cancelled with a cold. Next, she’s the new Lily Allen. WTF!?!?!?!

Made of Bricks – and that’s a very Nash piece of demystification fuck-youing, which reached its apogee on the confrontational in its banality of later single Mouthwash - was a patchy album, with not enough material and some fucking terrible production (Seriously, don’t mention the Slide Guitar), but the best stuff… well, it’s some of the best stuff. Foundation is an entirely justified success, cruel and human and painfully insightful. As a friend who I spent much of the year swapping e-mails on Nash argued, the difference between Allen and Nash (putting aside musical ones. Their music is simply from completely different places) is that – at the time of their song writing – Allen was an early twenty-something who wrote with the perceptions of a teenager while Nash was a teenager writing a few significantly years older.

The key lyric which gained comparisons between the pair said everything, if only anyone was paying attention. Allen’s was a hymn you glorious annihilation of the other – just simply revelling in the revenge fantasy, smiling at the tears of the Ex. Nash’ was about feeling bad when she smiles at the upset lover. This is the world of difference, as one is a fun fantasy – I like Smile – and the other is a utterly pitiful, utterly precise piece of pop-surgery on a relationship. In Foundations, the juxtaposition between the mounting irritation and snarls of the verses and the chorus’ regret is the terminal point of a relationship nailed through the chest with a pin, and left to squirm.

Foundations is a great single. In other years, it would have been top 10. Hell, in some other years, it could have been #1. I’m glad it’s not those years.

Instead, it’s Birds.

Not the album version of Birds, but the one on the AA-side of her first limited edition single, on the flip of the joke-track Caroline’s A Victim. (As an aside, the NME’s lambasting of Nash for releasing such a terrible single made me laugh often and snarl a bit more. Listening to the flip was just too much effort, yeah?). The album version, while acceptable enough, kills some of the key aspects of the song. And the Slide Guitar, which I’m not talking about.

Like Foundations, Birds is a dialogue song, sung between two relatively inarticulate characters. It’s a love song, but positioned at the other end of a relationship. In that, it’s a capital-L Love Song. It’s about being in love, not that any of the characters would admit as much.

(I suspect I’ve said it before, but trying to write an authentic love song is the hardest thing for a songwriter to attempt. Because, unless the audience is hopelessly uncynical , they won’t buy into it and the lyrics will be at worst a total turn off and at best, just a noise to the tune, the equivalent of going la-la-la.)

The arrangement is simple – guitar, and occasional plonky things (Music Critic term, don’t you know). It allows the story to sit by itself, slowing down on the exchanges between the characters, to give natural pauses and allow the punchlines to connect – which Nash sells elegantly, giving each character space to be themselves.

The key moment is when, after a series of problems, they’ve eventually got to talking, and he explains, at great length how he feels about her. The section follows the verses melody,, which wanders hopelessly, and sounds desperately unconvincing with his faux-sensitive vocals.

There’s a pause.

Her reply: The most perfectly timed WOT?

Okay, he says, Let me try to explain again.

And then we have the chorus, which uses the simplest metaphors which takes detours into shitting-on-head bathos, before turning to his point. And, to make it all the more perfect, it starts with a “Right”. And making it more perfect than that, it hits its own climbing increasingly elated melody. And making it even MORE perfect, we have the plonky things join in, as immortal as Acetone. From then on, it’s all pay off. She’s Wotting, but sounds weakening, and he’s persisted in his YOUS, uncaring, devoted, honest. Eventually, she’s convinced: “Thanks – I like you too.” To which, he can only responds: “Cool”.

To quote the bard: Can I make it any more obvious?

Birds is carefully measured in its inarticulacy, measured enough for us to fill the gaps, knowing we’d be no better, and being any better is a lie. And Birds is a song brave enough not to lie, about being brave enough not to lie, and listening to it makes me think I can be brave too, and believe that bravery is worth something and that people are worth being brave over.

As such, Birds has to be my song of the year.

[Youtube User Video Of Single Version FFS don’t watch it and just listen to the soundtrack]