1981 was that year when a lot of new bands appeared on the scene. Most of them had their roots in post-punk and new wave and many of them didn't made a bigger career. Not because they weren't good enough but probably because they sounded similar to other bands that made it big or they didn't got the right promotion. One of those bands were Manchester's The Chameleons. Their music has the same gloomy mood like The Cure and Joy Division but they always tried to involve pop into their sound. I bought their debut Script Of The Bridge and was fascinated of their songs. All of them are timeless and I can hear their influence in today's bands like Slowdive or The National. This is a great legacy for an underrated band.
Now it is November, the leaves are changing colors and windy and rainy weather will appear. Time to reduce and focus on different things. When I was thinking about a song with November in it's title or lyrics my first thought was November Rain, a song by the much overrated Guns 'N Roses and only another boring mainstream rock song. So I go to a song by The National from their third album. A song that shows how good they are - in their arrangement and lyrics. At this time The National were many's favorite and not wrongly.
In 1972 Neu! released their self titled debut and after 50 years a box of the 50th anniversary will be released soon. A remix album of this album will also be released. The National remixed the first song of the album and other contributors like Mogwai, Idles and New Order's Stephen Morris show their work work. It is good to see that this legendary krautrock album still has a massive influence to today's artists. Songs that can't be destroyed by no one.
The dogdays and summer are almost over and we turn slowly into autumn and the time when melancholic songs will return. I don't know why but during the last years sentimental songs were released mostly in the last months of the year. And so I wasn't surprised when I first listened to the new song by The National. A beat, a gentle chord sequence: Weird Goodbyes is at first simple and minimalist, nothing groundbreaking, until then Matt Berninger's vocals appear: „Memorize the bathwater, memorize the air / There’ll come a time I’ll wanna know when I was here“. Less singer can sing about separation and pain like him. Together with Bon Iver's Justin Vernon they made the an anthem for people who want to leave their past behind and looking forward to something new.
A few days ago the latest album by The National was released and it is a very good record like the other ones before. There are still songs with a lot of melancholy on it and the baritone of Matt Berninger rules the songs. You can surely say: Another record with the same ingredients I have heard before and I say yes, this might be true but it is like my favourite meal: I ate it a lot of times but I can enjoy it every time again.
In advance a new song announces the upcoming new album by The National. It is a couple of years ago since their last album and I wondered if they developed their sounds or is it still on high level. I think it is both of them. Most of their songs were slow built but now they are not wasting any time. The songs sounds heavy, urgent and surprisingly aggressive. Here they sound more energized, jutting forward but always with the elegance we know from them.
4AD was founded in 1980 by Iv Watts-Russel and Peter Kent as an alternative to their Beggars Banquet label to test something new before they were signed to BB. Kent sold his shares after a year to go his own way. The label started with the release of Bauhaus' In The Flat Fields and I noticed them as another label for new dark wave. During the next years they released bands that are totally different to their first release and found a distinctive identity of new sounds in music.
Cocteau Twins released their first record on 4AD as well. They burst onto the scene with their debut Garland with their Cure-like sound that could be described as a sum, deep heavy mood verging on doom and gloom. It is as dark as Cure's Pornography and PIL's Metal Box.
Another band riding on the gothic/doom wave came from Australia. Dead Can Dance released their first album on 4AD as well. Thinking about them now I should grab this record out again.
The first American band 4AD signed were the Throwing Muses with one of the best female voices in these days. Kristin Hersh could sing what ever she wanted - it sounded fantastic to me.
I still remember the day back in 1988 when I went to my local record shop checking the new entries I stopped when I saw Surfer Rosa by The Pixies. Some kind of topless Spanish dancer in front of an old wall made me want to listen to this record. After a few songs it was clear for me to buy, not knowing what career they will make.
While the label concentrated on American underground music they had a number one in UK-charts with a collage/sampling by M|A|R|R|S formed by A.R. Kane and Colourbox. They coined the sound of the 90's.
During the 90's I only remember the releases by Red House Painters on 4AD. I liked the sad sound of slwocore, indie and alternative sound they made these days. Especially The Rollercoaster was a record I listened often.
Then our ways didn't cross any more until 4AD released The National's High Violent in 2010. A great record that combines a lot of their early releases and the later released American alternative records.
Lnzndrf (it's an Austrian town called Lanzendorf without vowels) is a side project by the brothers Scott and Bryan Devendorf from The National and Ben Lanz from Beirut. Touring in New Zealand back in 2011 The National's support act have been short-terminated. The The national rhythm department (bass, drums) realises ad hoc that the chance has come to give to her slope to motor-psychedelic herbal rock excursions. Together with Beirut-trombonist and The nNtional collaborator Ben Lanz as a guitarist one names himself to a picturesque Austrian village and fills the Opener slot. A few weeks ago Lnzdrf released their fist full length record with the same name. I got it and it was on heavy rotation during the last days. All members have a slope to Krautrock, instrumental jams, post rock and post punk. Last year they locked themself in a church in Cincinnati and recorded in two days their first record. Based on a steady drum groove they celebrate old heroes like NEU!, Can and sometimes Mogwai. A very special and unique sound that can make you addicted to. Probably one of the best records in 2016 so far.
