Since the inception of this blog, the end of December has been the domain of those intrepid and deeply personal end of year lists. Albums, gigs, songs and even festival sets have been subject to objective analysis during a comprehensive review of the previous twelve months. The longest running accolade has been favourite gig of the year, which dates back to 2012 when the blog was first launched. Album of the year quickly followed, and both reflective posts enabled a countdown that each year picked an arbitrary number to effectively rank. Even in the curtailed gig years of 2020 and 2021 there was sufficient incentive to anoint a show that elevated to first among equals. However 2022 sees a sea change in impetus, and perhaps a tilt towards the idea that art does not necessarily need some sort of numerical analysis to asses its worth. Therefore despite generating an album listening list nearing a couple of hundred releases, they will be left in their original form of primary enjoyment whether for a defined purposeful moment or locked in for ongoing listening. Similarly the gig list still contained a healthy number of shows attended, even if the sky high levels of the mid 2010s haven't returned. Maybe the lack of one record or gig to really make an unenforced move to the summit was the driving factor, but there is something liberating in leaving the rankings in the cupboard for a year.
While December 2019 was the right time to give this blog a rest, and July 2020 the right time to bring it back to life, there are no definitive moves on the horizon as we head into 2023. Things have been quiet on the published post front during November and December, but this is merely due to circumstance and a need to re-charge the batteries. There were over a hundred reviews posted during the past twelve months alongside countless other hours listening to fine music that didn't reach the pen (or keyboard). Plans are afoot to resume review content in the New Year, while always within the constraint of this being a single-person endeavour. There is still plenty of life in transferring the experience of music to personal literary reflection, and long may this hobby fire the inner passion of music fan.
Running this blog requires structure and that has been a feature of its longevity. From the early days of being sent a promotional copy for review consideration, this has been the de facto driver when choosing to write about recorded music. This privilege is humbly appreciated. Fortunately the supply line of good music within increasingly loose genre lines has rarely relented to the extent that it has always been humanly impossible to commit all to some sort of written reflection. If the supply line dried up the policy would need revision. That seems unlikely in the foreseeable future, so the structure of reviewing selected promotional albums will remain.
One evolving decision is how to reflect the overspill of submissions in the published world. Over the last twelve months each of the 120+ albums accepted were given a dedicated release or review post. Obviously the difference was whether any words were written with this being driven by the factors of time, inspiration or the onset of a barren period. These same factors will no doubt apply in 2023 with one alteration being the elimination of the album release published post that we can deduce probably adds little value all round and slightly clutters the blog. Submitted albums that have been acknowledged but fall short of review status will be referenced in the respective blog page with a link to some further information (a Bandcamp page where available) once released for folks to check out online. The blog page for albums will also contain non-submitted new music that is listened to and enjoyed throughout the year.
This blog was originally launched all those years ago to host gig reviews and they will always be the cornerstone of its existence. The vast majority of gigs attended have an attached review, give or take the odd rest period or defined hiatus, and the rare moments when circumstances leave the well dry. The gig and festival diary for 2023 is beginning to populate and the intent is still there to write some reflection in the review format. So look out for new and familiar names to grace the pages over the next twelve months.
The strapline to the blog contains the borrowed phrase 'personal vanity project'. A reminder that there is no agenda other than to focus on the positives of a wonderful hobby. Negativity can exist but is confined largely away from the published world. Editorial work is private. A commitment to post is made once sufficient merit exists. Rare occasions to divert from this ethos have never sat particularly comfortable and that will be left to others.
Over the years much praise and appreciation has headed in my direction and this is always appreciated. An overriding motive for producing this blog is deriving pleasure from the process of writing content and taking pride in the output. Once those two things are in the place the rest is purely the icing. What happens after is largely out of my control. The blog's journey in the digital world has been a roller coaster of interaction, unsubstantiated numbers and social media interest. Whatever the landscape in the blogosphere, the real world journey of listening and writing is really all that matters.
So happy blogging in 2023. Three Chords and the Truth UK is alive and kicking. The nature of the content may evolve, but the ethos, structure and intent remain largely intact. Independent hobby based music blogging is basically living the dream. We need the inspiration from professional artists, musicians and writers, but in our own little world we can create and cultivate a small corner of the Internet that is wholly owned.
