I was really surprised when I read about a new release from Galaxie 500 one of my favorite bands from this era. After the release of their debut they played a concert in New York's famous club together with Sonic Youth and others. This gig was recorded an was long time only available as a bootleg.
Now it was remastered and released on vinyl. It shows how great this band were. Their drawn-out, sometimes somewhat amateurish post-Velvet Underground guitar sound, accompanied by the delicate whispering of singer/guitarist Dean Wareham, is certainly not to everyone's taste but hit me from the first time I listened to their songs. It's a musical document of a time long gone by. For me just superb.
This weeks journey through the colors starts with Reverend Horten Heat, a psychobilly band form Dallas, Texas. Formed in 1986 by guitarist James C. Heath he became the godfather of modern rockabilly/psychobilly. He has been stoically playing his sound for decades, always loud and aggressive, and is a force to be reckoned with live.
I don't know if someone remembers Commander Cody and His Lost Planet Airmen but this series gives me the chance to do it. I liked their interpretation of country music, knowing were they came from and willing to break the circle. This cover version by an old song from Charlie Ryan is probably their well know song and this is good this way.
More and more Brighton's Higher Love Records get's the home of (new) Balearic music. Last week they released a new song by Kent's duo Puerto Montt City Orchestra and it is the perfect soundtrack for maybe the last hot summer days this year.
Tim Salter and Angus Murray still walk on the Balearic street but now they use real instruments. On this mid-tempo song a catchy bassline leads us through the song, a warm guitar takes over the melody and congas and bongos join in. Salter's daughter adds some spoken words about a family trip to the seaside. PMCO are getting better by any release. Looking forward what the future will bring.
Wolf Alice are an English indie-rock band formed in 2010 as an acoustic duo by singer Ellie Rowsell and guitarist Joff Oddie. After a few years with less success they decided to perform as a real band. Since that time they got a lot of critical acclaim for their sound somewhere between indie-rock, folk, pop and shoegaze.
This week they released the third single form their upcoming album The Clearing. And it seems that they developed their sound into another dimension. Drummer Joel Amey took over the lead vocals and Rowsell soprano is the backing voice. The song is built on an krautrock beat, 70's rock guitars and a little psychedelic touch. Sounds unbelievable but it works as a great single.
Sean Johnson is a phenomenon and a workhorse. When he's not busy DJing, he always finds time to work on new material in the studio. A few weeks ago, he released an EP under his moniker Hardway Bros.
Three new tracks and a remix fit seamlessly into ALFOS' musical concept. He creates an organic rave synth sound with pumping rhythms and basslines that sound like whip cracks. A short but intense and magnificent pleasure.
We start this week with a band I didn't expected to appear on this pages. The War On Drugs is an American rock band formed in Philadelphia 20 years ago. I know that they got lots of critical acclaim but every time I listen to them I have the feeling that they have no own sound. Most of the songs show different influences and sound like their role models. Best example is Red Eyes that sounds like another song by Bruce Springsteen.
There are few artists who survived the disco era and can still be listened to today without feeling embarrassed. Donna Summer is definitely one of them. Hot Stuff from 1979 is the crowning collaboration with Georgio Moroder and a highlight of this genre.
I first became aware of Julian Casablancas when The Strokes released their album, which many people agreed on at the time. In 2009, he released his solo debut, and this album also exudes the same enthusiasm and energy that his main band had.
Almost exactly 36 years ago, Joe Strummer released his debut single with the Mescaleros. This song, written together with David Holmes after Strummer left The Clash, clearly shows where he wanted to see his musical home in the future.
Joe's debut album Rock Art and the Y-Ray Style reflects the spectrum of his musical influences, including African rhythms, folk, electronic club music, reggae and a little rock. To be honest, I didn't understand the lyrics to this song, but I assume it's about his favorite topic – freedom. In that respect, Yalla Yalla is a terrific song. Let's go.
Today's song comes from Ciara Mary-Alice Thompson aka CMAT, an Irish singer, songwriter and musician. As far as I know she is successful in making music since a couple of years. I got aware of her when she released EURO-COUNTRY the lead single from her upcoming new album.
It is a kind of country-pop, with percussive beat and remarkable melodies. What makes the song extraordinary is that she denounces the injustices in Ireland in the early 2000s with her sweet voice. The boom in Ireland burst, houses stood empty, the economy collapsed and the number of suicides rose significantly.
Packaging complex topics and socio-political discourse in such a way that they still sound extremely catchy and easy to digest. That's pop at its best.
Earlier this week the news arrived that a new album by John McKay was released, McKay was the leading figure behind Siouxsie and the Banshees and co-author of most of their songs. He was responsible for the band's dark and dangerous guitar sound.
He left the band in 1979 after their second album in order to focus on his own music. During the following years he recorded various songs but he never released an album. The tapes were stored at his home until they were retrieved and remixed last year.
The result is a journey through time that catapults you back to the late 1970's. The music is a logical progression from The Scream, the masterpiece by Siouxsie and the Banshees. He has a talent of playing the guitar like no one else. Not a guitar slinger like many others because he brought chords and rhythm to a unique sound that influenced many other band in the following years.
Stan Ridgway formed Wall Of Voodoo like many others in the late 70's in Los Angeles a underground band and released in 1981 their debut album Dark Continent. Wall of Voodoo were an unusual band. While synth-pop bands usually immersed themselves in the aesthetics dictated by the synthesizer, Wall of Voodoo underpinned its sounds with concise licks from 1960's garage rock. The guitar produced a slight twang, a fragile drama that clashed with the synth. On top of all this, they borrowed Ennio Morricone's sound, which complemented their feverish songs well.
In the late 60's The Byrds had passed their musical zenith, split from David Crosby and hired Gram Parsons. Parsons pushed them more and more in the direction of country, which ultimately led to a pure country album. Shortly afterwards, Parsons left again to record an album with the Flying Burrito Brothers that combined country with classic rock music.
Portugal. The Man are a band from Alaska and active since 20 years. Built from the ashes of a hardcore-punk band they tried different styles to reach their final destination in catchy, creative pop.
In 2003 British Sea Power released their epic debut album The Decline Of British Sea Power and I think it is time to remember to this. Formed by the Jan Scott Wilkinson in Reading at the beginning of the new century the relocated to Brighton in a search of a more active music scene.
After a live gig they were signed by Rough Trade records and soon their debut was released. It is an impressive record, inspired by The Cure, Joy Division and The Pixies. The album contains both short, red-hot up-tempo numbers and melodic, dreamy ballads inspired by post-punk.
Lately captures the essence of their sound. They slowly build up a harmonious, resonant structure that is thoroughly deconstructed at the end.
This week saw the hype of Good Neighbours, another young band from London. Formed last year as a indie-folk band their first single Home went viral in the social medias and the result was a contract with a major label. I found them nice but not worth to write anything about them. Now the released their new single an indie-pop song with clear vocals, airy synths and a tempo that makes you want to tap your feet without being intrusive. A song for summer, which has bid farewell to my region in recent weeks.
In recent days, Kombynat Robotron from Kiel, Germany, released their seventh album. I must admit that I have always enjoyed their music, which consists mainly of improvised psychedelic jams with motoric beats and heavy guitars.
For this album they signed to London's Fuzz Club label and developed their sound. They left the jams behind and gave the songs more structure. The sound moved away from krautrock a la Can to more riff oriented guitars and influences of stoner rock. There are still enough psychedelic elements in their songs and they remind me on Hawkwind. In their weakest moments, however, they sound like Rammstein for the poor. I'm not sure if I still want to follow their music. Maybe I should just listen to it again.
This week's compilation takes us back to the early Rock 'n' Roll, give a little soul, some singer songwriter, former hits and early British rock from 60's. Just for your pleasure.
This evening the sad news arrived that Ozzy Osbourne died at the age of 76. He was the head and voice of Black Sabbath maybe one of the first metal bands in history. For me their first album was epic, although their music is not my style but it was the sound of my youth. I loved their dark sound, their heavy guitars and their energy. Osbourne often named by his fans as the prince of darkness had a full live of rock and roll with all his hights and downs and later in a private novetly show. His legacy will be more than a few songs from this genre. A person who has left nothing out in his life.
The majority of this week's songs take us back to the early eighties in England. We start with The Fixx, a new wave band from London. Not really new wave, as they had already integrated strange synthesisers into their sound for this time, with short guitar riffs and a pleasing rhythm section. This is the last song on their debut album from 1982.
In 1983 Paul Weller decided to disband The Jam, as he was leaning more towards soul and jazz at the time. Together with Mick Talbot they released an epic debut album that made the sound of this summer. Long Hot Summer was the leading track on their third single released as an EP. There are still less songs that sound better to summer than this.
Let's go to the north. In 1996 Belle and Sebastian formed in Glasgow by Stuart Murdoch and Stuart David as part of a social project for the unemployed. With their jangle-pop and great melodies they got a lot of critical acclaim and they released one good album after another. This song from their seventh album The Life Pursuit shows once more why they are so great.
In 1988 Spacemen 3 released Performance, their first live album, recorded during a gig in Melkweg, Netherlands. It shows them at the climax of their musical work between their studio albums The Perfect Describtion and Playing With Fire when they gave as their great combination of distorted guitars and maybe the best psychedelic music since the Velvets.
The concert was more dedicated to the likes of Pete Kember and Jason Pierce than promoting their last album because they played cover versions of their likes. Songs by MC5 and Roky Erickson. Their version of Rollercoaster shows everything Spacemen 3 were famous for.
This week came another song from Austria to my ears which I couldn't get out of my head after listening to it for the first time. Jo The Man The Music is the project of a mid twenty singer/songwriter whose real names I was unable to research. It doesn't really matter if the young woman's music is right.
A few days ago she released her first EP and Skinny Dipping is the leading song and takes listeners for a swim in the deep end with the sun-drenched indie pop rock track that takes listeners for a swim in the deep end with a sund-drenched indie pop rock track.
From time to time I need to listen to traditional rock music and mostly I come back to Ry Cooder. I like his kind of music that is deeply rooted in the songs and mood of Woody Guthrie. From his early days as a well known session musician over his first albums with eclectic song collections to his steps towards to world music and soundtracks he always made the songs he played on unique.
Almost 50 years ago he celebrated another kind of music with his Chicken Skin Revue a melange of classic folk songs and new ones played with Mexican and Hawaiian musicians and it shows all the abilities a guitar player could have. Listening to these songs again he is one of the most influential and underrated guitar player ever.
This week's look back mainly takes us back to the time before punk changed everything, but also includes a Bruce Springsteen track that is one of my favorites of his.
In today's installment of the theme, we set off on paths that couldn't be more different. Let's start with David Sylvain and the first single from his debut album from 1984. After he split from Japan, nobody knew which musical direction he would drift in, but he more than convinced many with his idiosyncratic mixture of art-rock, jazz, ambient and a voice reminiscent of Brian Ferry.
Next stop is Georgia. The Allman Brothers Band were well known for their interpretation of Southern Rock. But for me it is more than playing heavy guitars. They always included elements of jazz and prog-rock to their sound. Hot 'Lanta describes it very well. Excellent guitars moving over rolling drums that makes this song timeless.
In 2006 The Charlatans released Simpatico, the probably best album of their late history. There sound included still massive guitar and the voice of Tim Burgess but was extended with fantastic grooves and reggae rhytms.
A couple of years ago Jah Wobble released with Metal Box-Rebuilt In Dub! an unexpected album. 42 years after the first release with PIL he took the songs and reworked them. The result was a reinterpretation of post punk classics. Most of the songs were composed around his phenomenal bass lines and supplemented with sawing guitars and a little piano.
He deliberately refrained from replacing John Lydon's voice, which, in combination with Wobble's monotone, made the original work so incomparable at the time. A highlight of the album is Swan Song, in which he has integrated the music of Tchaikovsky's famous ballet into his sound. Still disturbing but wonderful.
Three years ago Wet Leg appeared on the scene with their debut that was featured at this place with benevolent words. I liked the way they how they performed songs with great hooks and cheeky guitars.
Last Friday they released their follow-up album and I asked myself if they whether they can reach the bar they have set themselves again. And yes, they did. Although they try to bring more variety into their songs, the album sounds well-rounded and doesn't get lost in the no man's land between glam-punk, bedroom pop and indie rock. Well done.
This remix made me want to listen to his debut album again. It is full great songs, relaxed and reduced to the minimum. Mostly González' voice and an acoustic guitar. On his warm and atmospheric songs he combines the best of Elliot Smith and Nick Drake.
It's hard to imagine that he played in a hardcore punk band at the beginning of his career. But this is probably the reason why he dares to play a cover version of Joy Division and doesn't fail. Perhaps the best cover version of this song.
It's summer and the number of publications has slowed down. This is also reflected in my inbox, which hasn't been overflowing for a long time. Every now and then I find some real gems in these emails, which should not go unmentioned here.
Duncan Lloyd released today his new album Unwound. He is the lead songwriter and guitarist of the art-rocker Maximo Park and he presents us an guitar lead album full of great songs somewhere between shoegaze, indie-pop and songwriting. Swim is one of those songs which creeps into your ears with its sparkling guitar and reduced drums and doesn't want to disappear. Rituals could be one of the best indie-pop song this year so far. Get more here.
The weekly journey into color and temperature takes us back to the eighties and the noughties. Let's start with a song from 1983 by Prince. With his album 1999 he became known to a wider public. Not so much because of his idiosyncratic interpretation of funk, but also because of his sexual innuendo in Little Red Corvette.
The Cure released in 1987 their first double album Kiss Me, Kiss Me, Kiss Me a record whereupon The Cure impressed with an unprecedented wealth of facets. The addition of new instruments and the sometimes unconventional song structures annoyed one or two fans in black outfits. Many of the songs are sunnier than everything they recorded before and after. And on Hot, Hot, Hot they played a superb funk-pop.
Blue Orchid was the opening track from Get Behind Me Satan the fifth album by The White Stripes. The song shows exactly what you could expect from the whole album: minimal played, raw blues with great hooks.
I can hardly believe it's been 12 years since Kevin Rowland and the Dexy's appeared on stage again with a great album. To be honest, I loved them since they released their debut Searching For The Young Soul Rebels. Rowland was the one that brought us back soul music in times where new wave ruled the sound. Classic songwriting and superb brass section was their style. And of course Rowland gambled with styles and outfits. From New York dock workers to ragged Irishmen, everything was there.
After two albums he kicked out the brass section to play more introverted songs. The fans couldn't follow this good music and he vanished in the darkness of the music scene to return in 2012 with a brilliant comeback album One Day I'm Going To Soar. The horns and especially Mick Talbot are back and Roland wrote songs about love, self-analysis and self-acceptance. Many of his words seemed to be pathetic but for me they were true and full of wisdom
Yesterday, the Anlo-Italian producer and musician Gaudi released a new single. Gaudi has been working as a producer for decades, mainly in the dub, electronica and reggae genres. He has also made a name for himself as a remixer and his collaboration with The Orb.
For his latest collaboration, he has teamed up with Italy's longest-serving DJ, Daniele Baldelli, and completed an EP. A foretaste of what is to come can be heard on the pre-released song. A conglomerate where elements of psychedelic funk, tribal dub and electronic disco come together.
Today the sad news arrived, that Michael Madsen died yesterday on a heart attack at the age of 68 in Malibu. Madsen was an actor for more than 40 years in Los Angeles. He got well known by the movies directed by Quentin Tarantino. To be honest I first recognized him on Tarantion's first movie Reservoir Dogs when he performed as Mr. Blonde, the biggest sociopath in the whole movie. What perhaps remains is his improvised and bloody foley scene in which he awkwardly dances through the scene to the music of Stealers Wheel.
Today Vince Clarke turns 65 and it is time to pay tribute to his work here. Born in Essex he studied violin and piano. Influenced by Sparks, Human League and Fat Gadget he formed with a schoolmate a short lived band which became Depeche Mode after Martin Gore and Dave Gahan joined the band. Clarke wrote the most of the songs for their debut album Speak & Spell, a record that changed everything in synthpop. Not only that they were an all-synthesizer band, they were clever enough to write songs with great hooks.
Shortly after this album he left the band, because the sound of them got a darker touch and he formed with Alison Moyet, another schoolmate, Yazoo. They released two albums and with Upstairs at Eric's they reached the charts. Since then, it has become clear that Clarke's songs need a great voice to come to full fruition.
As erratic as he appears, he dedicated himself to a new project after the second album and founded The Assembly. But not much more than Never, Never, in which Feargal Sharkey is allowed to sing, remained.
With his next project he found a destination for the next years. In Andy Bell, he found a voice that would shape the sound of Erasure through an advertisement in Melody Maker.
In 2003 Erasure released Other People's Songs an album with cover versions in which the cover version by Steve Harley stands out above all (because it is also a great song).
As announced last week, a small series of songs with Red, Hot or Blue in their titles starts today. As always, the selection is eclectic and, apart from the color, has no further context.
Let's start with Nick Cave and a song from Peaky Blinders a British drama series set in Birmingham around 100 years ago. The song fits perfectly with the gloomy mood that this series exudes.
When I was rummaging through my record collection to find another long song, I came across an old record by Louis Tillet. Tillet was an Australian musician, singer/songwriter, pianist and saxophone player who came to my attention in the early eighties when he was part of Ed Kuepper's Laughing Clowns.
At that time, a wave of Australian bands came to Europe, some of which were great or just very good. The Go-Betweens, Birthday Party and the Triffids are just a few to mention here. While many of these bands wrote catchy or brute songs, Louis Tillet turned to the darker side of music. Many of his songs are rooted in the blues and are performed with piano, saxophone and a sparse guitar and dominated by his voice, which sounds like an aged Nick Cave. This song is from his 2001 live album Live @ the Basement and is typical of his sound.
