That's What It Sounded Like When They Started

 

2005 saw the first internet craze surrounding a band of which only a handful of songs could be found online. Their concerts were sold out without a single song ever having been officially released. That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record label and released their debut album.

That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record label and released their debut album, Whatever People Say I Am That’s What I’m Not. That all changed overnight when Arctic Monkeys, four lads from Sheffield, were signed to a record deal and released their debut single, I Bet You Look Good On The Dancefloor. The album eventually shot to number one in the charts, leaving the likes of Robbie Williams and the Sugacubes trailing behind.

What did the Arctic Monkeys have that others didn’t? Many bands have incorporated the sound of days gone by into their music, but the Arctic Monkeys were the first to blend wave-pop, non-indie rock, and – above all – 1970's funk and soul with crashing guitars and vocals reminiscent of a hoarse Johnny Rotten. What’s more, they brought back memories of perfect bass lines, driving drums and long-forgotten guitar solos. They subsequently moved away from this style, adopting a more earthy sound and more sophisticated songs.

Arctic Monkeys - Red Light Indicates Doors Are Secured

Arctic Monkeys - I Bet You Look Good On The Dancefloor

Arctic Monkeys - Dancing Shoes

Arctic Monkeys - Fake Tales Of San Francisco

The Breath Of Now

 

It seems that more and more songs are coming onto the market whose basic structure consists of spoken words. Martin Jenkins, with his project Pye Corner Audio, was no exception. Together with the excellent crime writer Ian Rankin, he has now recorded a song. Rankin’s metaphors about the darkness surrounding us and its hopelessness are accompanied by equally dark, drone-like guitar passages. If it’s going to be like this, then this is the way to do it.

Broken lives, empty streets

Dust of ages, the breath of now

Low-rise, high rent

Blood sucked from every stone

A villain’s stealth and silence

No heroes come out at night

No heroes come here at night.

Stealing your way through the empty streets

Echoes of footsteps, and hours wasted

The creep, creep, creep of shadow-filled shoes

No one is near

No one can hear,

The creep and the breathing

The breathing that creeps

No heroes come out at night

No heroes come here at night

Everywhere looks like a tunnel

The dark won’t take your hand and lead you home

So you drive,

And you drive

And you drive

And everything looks like a tunnel

Your life, your kids, your job, your friends

A tunnel

Which way did you come in?

No lights, no signal, no exit, no turns

The dark won’t lead you home

No lights, no signal, no exit, no turns

The dark won’t lead you home

No heroes come here at night

No heroes come here at night

Monday's Long Song

 

If you know Jim O'Rourke, you'll probably associate him with his work as a producer and occasional member of Sonic Youth. Born and raised in Chicago’s experimental improvisation scene, the producer, composer and singer-songwriter has rarely allowed himself to be pigeonholed into a single genre. He moves effortlessly between ambient, noise and minimalism, as well as rock styles such as indie rock and post-rock.

Shortly before the turn of the century, he released what is probably his best-known album, Eureka. At first glance, Eureka sounds like warm, harmonious 70's folk and soft rock. But beneath the smooth surface lie complex, avant-garde structures. The best example is the opening track, Woman Of The World. The song begins with a gently plucked acoustic guitar, and gradually more instruments are layered on top. Piano, brass and string arrangements drive the track forward, culminating in a compelling pop orchestral arrangement. It is certainly no masterpiece, but it is an album that was ahead of its time and, over 30 years on, has lost none of its beauty.

Jim O'Rourke - Woman Of The World

New Song On Sunday

 

Bands all over the world are searching for the perfect pop song. The Australian duo Pamela. have come a good deal closer to achieving this goal. Josh Kempen and Sarah Ellen tell yet another break-up story, but with a positive undertone, because it can certainly be liberating to be yourself again. Musically, they draw on guitar chords that we’re already familiar with from The Strokes, yet they have a distinct character all of their own. A perfect song for the summer. 

Clap Your Hands

 

After taking a short break last week, we’ll now continue with a round of clapping hands. First one today's selection features John Fogerty. Centerfield is the title track from his third album and contains everything that made CCR famous.

Beck released Where It's At in 1996 as the lead single of his best album Odelay. The Dust Brothers produced this album that is full of great samples. And they did the same high class production they did on Beastie Boys Paul's Boutique.

The Cure released this song 1985 and moved to a brighter sound.

That's What It Sounded Like When She Started

 

Every musical trend has its time. Some last a few years, others fade away quickly. In 2015, a 28-year-old Australian singer-songwriter released her debut album, on which she clearly drew inspiration from the music of her childhood, which was evidently heavily influenced by grunge. 

But Courtney Barnett hasn’t been content simply to copy her idols; she uses distorted guitars more as a stylistic device to accompany her songs. The focus is more on the lyrics, which she sings in a spoken style, much as Lou Reed did in many of his songs. 

As the title of the LP, Sometimes I Sit And Think, And Sometimes I Just Sit, suggests, Barnett possesses remarkable lyrical power. It is rare for a newcomer to have compiled such incisive songs about everyday events and observations – some of them so sarcastic – on a single album. 

Put me on a pedestal and I’ll only disappoint you

Tell me I’m exceptional, I promise to exploit you

Give me all your money and I’ll make some origami, honey

I think you’re a joke, but I don’t find you very funny

The only thing one could possibly find fault with regarding this album is that it is virtually perfect and hard to beat.

Courtney Barnett - Nobody Cares If You Don't Go To The Party

Courtney Barnett - Pedestrians At Best

Courtney Barnett - Depreston

Courtney Barnett - Elevator Operator

On Board

 

Sometimes it takes a re-release to discover a musical gem. Yesterday, the excellent Swedish label Höga Nord Records re-added a 2014 single by Tross to its catalog. Tross is a Swedish instrumental group and active since over 20 years. Their instrumental music is deeply rooted in early 1970s krautrock and is most comparable to Neu!. With a pulsating bass, repetitive drums and understated guitar, the quartet embarks on a wonderful cosmic journey.