I think that it would be fair to assume that Angus Stone likes the odd toke on a big, fat joint. Certainly, the music of his alter ego Dope Lemon has been infused with a hazy, hippy, laidback groove throughout both his previous albums, Honey Bones and Smooth Big Cat, and his latest release is no different.

After watching so many gigs through a computer screen, it was a joy to hear live music again in familiar haunts – from Ronnie Scott’s and the Southbank to Grand Junction, Paddington – in 2021. It made you appreciate anew not only the high-wire artistry and unfolding musical conversations happening on stage, but also the collective thrill of that shared "in the room" experience.

The title borrows from the lyrics of Siouxsie and the Banshees’s August 1978 debut single “Hong Kong Garden”: “Harmful elements in the air, Symbols clashing everywhere.” It also refers to Marcus Garvey’s prediction that on 7 July 1977 two sevens would clash with damaging consequences, a forewarning acknowledged that year by Culture’s Two Sevens Clash album.

If ever there were a year to cherish new music, 2021 was it. Lockdown v3.0 came with unwelcome updates (shit weather, structured home-schooling) and the only end in sight was of the nation’s collective tether.

It was two female artists who mainly soundtracked 2021 for me. And they couldn’t be more different. Although Off Off One by Kate Stables (aka This is the Kit) was recorded just before Covid changed everything, there are some ominous mentions in the lyrics of infection, coughing and hospital. But we’re not dealing with something maudlin or doom laden here, far from it. There’s a sly wit and quietly surreal joy to  Stables’ gorgeously melodic pop songs. Yes, ‘pop’ not ‘alt folk’ or whatever the critics call it.

Has there ever been a time when the music industry has had its gaze quite so firmly fixed on the past? Once the streaming stats started giving the message that revenue growth was going to come from back catalogues rather than current releases or new artists. all it took was a few back-of the-envelope DPV calculations, and humungous dollops of cash have been landing in the laps of Dylan, Paul Simon, Springsteen...and companies like Hipgnosis have raised more fistfuls to participate in the gold rush, and to ensure that it is prolonged.

The archive release which had the greatest impact, and still does, was Linda Smith’s Till Another Time 1988-1996. After it turned up, the reaction to a first play was instant. How could this have escaped attention? The compilation opened the door on a brilliant artist, one previously known to a particular audience.

Frida Hyvönen’s UK profile isn’t as high as it is in her home country Sweden. Over here, what she gets up to is less apparent than the activities of some of her more heavily marketed fellow Swedes. Hence Dream Of Independence coming as a surprise, and the choice of it as the lead here.

Katherine Priddy’s debut album came out in the summer, and it’s remained a high point for the rest of the year as 2021 plays out to the sombre drums and drones of resurgent pandemic warnings, fresh lockdowns, closed venues, silenced auditoriums. Her last gig of the year was at St Pancras Old Church on 16^th December. I intended to be there, but Omicron infection rates ballooned to the point that going anywhere seemed no longer possible. Hello, and goodbye, to 2021.

Is there anything more comforting to men of a certain vintage than the crunching guitars and wailing vocals of classic rock?

Not for me. This year, the genre transported me back to a musical era of sheer joy and wild, creative spirit; a time when musicians were as interested in letting the good times roll as saving the world. A time of bands like classic rock revivalists, Greta Van Fleet.