The Ivors celebrate excellence in songwriting and screen composition, across works released in the UK during 2018. Black Steel, later covered by trip-hopper Tricky, is a pummelling refusal to be co-opted into American’s Land of the Free mythology – a message arguably as pertinent today as when it kicked down the doors 30 years ago. But the Satanic majesty also flows from the lyrics – which spoke to the pandemonium of the era and the sense that civilisation could come crashing in at any moment. Beyonce had made politically charged statements before this, but “Formation” felt like her most explicit. The consensus is that it was written by Björn Ulvaeus about his divorce from band-mate Agnetha Fältskog, though he has always denied this, saying “is the experience of a divorce, but it's fiction”. The pain of the separation is laid out nakedly on the title track, where he unflinchingly chronicles the dissolution of the relationship. Few artists use surrealism as successfully as Kate Bush – or draw inspiration from such unusual places. EP, "Up for air from the swimming pool/ You kneel down to the dry land/ Kiss the Earth that birthed you Gave you tools just to stay alive/ And make it up when the sun is ruined." EP, “I got a letter from the government/ The other day/I opened and read it/It said they were suckers/ They wanted me for their army or whatever/ Picture me given' a damn, I said never.” Decades before Black Lives Matter, Chuck D and Public Enemy were articulating the under siege reality of daily existence for millions of African-Americans. Co-written with Pharrell and Tyler, the Creator, “Pink + White” stands out even on an album like Frank Ocean’s Blonde. (adsbygoogle = window.adsbygoogle || []).push({}); You have entered an incorrect email address! But this track from Sgt. EP, “Once there were mountains on mountains/ And once there were sun birds to soar with/ And once I could never be down/Got to keep searching and searching.” Which Bowie lyrics to single out? Has Kurt Cobain even more movingly articulated his angst and his anger than on the best song from their swan-song album, 1993’s In Utero? Yet there is no denying the glorious ache of this bittersweet groover – or the punch of Karl Hyde’s sad raver stream-of-consciousness wordplay. Start your Independent Premium subscription today. It’s one of the most coruscating anti-love songs of recent history – and a reminder that, Mumford and Sons notwithstanding – the mid 2000s nu-folk scene wasn’t quite the hellish fandango posterity has deemed it. True, the lyrics spew and coo and, written down, resemble something Robbie Williams might croon on his way back from the tattoo parlour (“And I don't believe in the existence of angels /But looking at you I wonder if that's true”). It’s about love, death, God and the dark things in our life we daren’t confront – the rush of words delivered with riveting understatement. But these are nonetheless amongst the most hypnotic lines in pop. Due to the sheer scale of this comment community, we are not able to give each post the same level of attention, but we have preserved this area in the interests of open debate. Many artists have tried to speak to the asphyxiating conformity of life amid the manicured lawns and two-cars-in-the-drive purgatory of life in the sticks. You can also choose to be emailed when someone replies to your comment. Our awards shine a light on the creative talent of music creators, raising their profile and celebrating their craft. Blur waxing clever, winking at Martin Amis etc, could never hold a candle to Oasis being gleefully boneheaded. This gave him an idea for the hook and he never looked back. EP, “You had chemicals boy/ I've grown so close to you/ Boy and you just groan boy.” The ironic “lager, lager, lager” chant somehow became one the most bittersweet moments in Nineties pop. Thus the portents of the song do not require deep scrutiny, as lust and yearning are blended into one of the most combustible cocktails in mainstream rock. Today, the credit for its uncanny power largely goes to Merry Clayton’s gale-force backing vocals. ', We use cookies to improve your experience on our website, assess how you use our website and for website security purposes. Whether or not he protests too much the impact is searing as Fältskog wrenchingly chronicles a separation from the perspective of the other party. RO, “I don't believe in an interventionist God / But I know, darling, that you do / But if I did I would kneel down and ask Him / Not to intervene when it came to you." EP, "When I get older losing my hair/ Many years from now/ Will you still be sending me a Valentine/ Birthday greetings bottle of wine?" But far from a ghoulish dispatch from the brink “Love Will Tear Us Apart” unfurls like a jangling guitar sonnet – sad and searing. The dispute is here restaged by Wainwright the younger as a raging row at the dinner table. Are We There. EP, “Well you know that I love to live with you/ but you make me forget so very much / I forget to pray for the angels / and then the angels forget to pray for us.” You could fill an entire ledger with unforgettable Cohen lyrics – couplets that cut you in half like a samurai blade so that you don’t even notice what’s happened until you suddenly slide into pieces. EP, "I'm the mild, money-getting style, rolling foul/ The versatile, honey-sticking wild golden child/ Dwelling in the Rotten Apple, you get tackled/ Or caught by the devil's lasso, s*** is a hassle" Nas addresses both himself and his future progeny on one of the best tracks from his faultless debut Illmatic.

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