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. 

Monday's Long Song

 

In the early nineties, grunge was all the rage and many American bands copied Nirvana’s raw guitar sound. Those who found that too easy retreated to the lo-fi scene to make great music there.  One of these bands was Built To Spill, hailing from the mountainous north-west of the United States. Doug Martsch, who remains the band’s only original member to this day, wrote songs that were usually over five minutes long, providing plenty of scope to let the guitars rip. 

They were promptly signed to a major label and recorded a number of fine albums before taking an extended break at the turn of the millennium. In 2006, they returned with their finest album, You In Reverse. Once again, Built To Spill proved that clanging guitars haven’t gone out of fashion. Add to that Martsch’s squeaky voice, and a highlight of alternative rock was born. Time to turn our attention once again to their timeless music.

Built To Spill - Goin' Against Your Mind

New Song On Sunday

 

If someone calls their new album Renascent, there must be some significance to it. For me, the significance lies in the fact that Vini Reilly has returned to the scene after a long hiatus. After suffering a minor stroke 15 years ago, playing the guitar no longer came as easily or as fluidly to him as it had before.

Enough has been written here and elsewhere in the blogosphere about the significance and influence of Durutti Column. Although only one track from his album, due out next month, has been released, he has remained true to his music without repeating himself or becoming boring. Here too, Vini blends delicate guitar playing with ambient sounds and piano to create an extraordinary, atmospheric sound in which his voice is not superimposed on the music, but rather woven into it. In the text, he reduces interpersonal relationships to just two three-word phrases: ‘I love you’ and ‘I’m sorry’. Hats off to him.

Music Leeds Us

 

At the start of the week, I flew to Leeds for a few days to take part in this year’s BlogCon 26 meet-up. As always, I had a wonderful time spending those days with the brilliant bloggers Alyson, Cee, Ernie, The Swede, John and their partners. Among other things, we visited an exhibition on the evolution of the music scene in Leeds, which inspired me to post a short round-up on the subject.

It’s rather unusual to start with Soft Cell, who have carved out their own musical niche with their synth-pop.

Gang Of Four are a fixture on the Leeds music scene with their politically charged new wave funk.

Leeds would be a much poorer place without the magnificent Mekons, and few bands have struck such an impressive balance between new wave and country.

The goth scene is represented by the Sisters of Mercy.

I saw for myself last year that The Wedding Present are still relevant and brilliant today.

Utah Saints represent electronic dance music with their blend of rock and synths. 

I’d completely forgotten that Red Lorry Yellow Lorry, with their dark wave sound, are also from Leeds.

The Kaiser Chiefs were at their peak at the start of the new century.

Post-punk is represented by Delta 5, who appeared briefly in the late 1970s and, sadly, disappeared again all too soon.

Clap Your Hands

 

Another Wednesday with songs which, in some way, incorporate hand clapping as a stylistic device in songs. Let's start with 12:51 the first single form the second album by The Strokes, an overlooked album by the band which has not received the same overwhelming acclaim as their debut.

Those sharp, percussive sounds in the intro and throughout the songs are actually snare drum rim clicks, played in such a way that they sound exactly like rhythmic handclaps. In my view, that justifies the inclusion of songs by the Violent Femmes and T.Rex in this series.

That's What It Sounded Like When He Started

 

In the early 1970's, as the hippie and psychedelic era was drawing to a close, music began to shift towards heavy blues, glam and, to some extent, the electrified folk of singer-songwriters. It was around this time that John Prine released his self-titled debut album.

Born in 1946 into a working-class family, he grew up in a suburb of Chicago. By the age of 14, he was playing the guitar and writing his first songs; to earn some pocket money, he delivered newspapers. After finishing school, he was called up for military service. He was lucky and was allowed to serve as a mechanic at a base in Stuttgart. Nevertheless, he naturally witnessed how inexperienced young people like himself ended up in Vietnam and returned as adults broken both mentally and physically.

And it is precisely this keen eye for detail that runs through many of his songs, which deal with loneliness in old age, Vietnam veterans and the lives of ordinary people. Musically, he draws on the traditions of folk, country and a touch of R&B. His voice was not particularly appealing: it was rough, nasal, gruff and unpolished. 

John Prine - Hello In There

John Prine - Sam Stone

John Prine - Angel From Montgomery

John Prine - Paradise

P Stands For Paddy

 

During the last weekend I found time I decided to have a look through my inbox full of promotional emails and delete most of them. As always, there was a surprise to be found. London’s Heavenly Recordings label seems to have a knack for releasing great new music at the moment. Just recently, they announced the new – and presumably final – LP by Dexy’s Midnight Runners and released the fantastic album by The Orielles. 

With the release of their debut album, they have made a complete musical turnaround and introduce us to Absolute Lilt. An Irish vocal duo comprising Lisa Canny and Niamh Hinchy, who breathe new life into the traditional Irish singing tradition within a modern framework. Two voices move in close, circling motion, creating something hypnotic, playful and deeply Irish, situated somewhere between folk, gently pulsating club music and vocal experimentation.

Another song that, once you’ve heard it, you just can’t get out of your head.

New Song On Sunday

 

Rostam Batmanglij is an American producer of Iranian descent. Some may still know him as a co-founder of Vampire Weekend, which he left after their third album in order to focus more on producing. He recently released a new album, American Stories, in which he blends Americana with Persian instruments. On his latest single, Hardy, he has replaced the pedal steel guitar with strings. 

Sampled strings feature prominently throughout, appearing regularly in the song and lending it a cheerful feel. Alongside violins, the cello and piano can also be heard, giving the song an organic sound. The song is named after the French icon Françoise Hardy – only the artist knows why. A beautifully arranged pop song that really sticks in your head.

Sixty Seven

 

Time flies, and once again a year has gone by far too quickly. Looking back, I have to say that the past year has given me far more wonderful moments than I could ever have hoped for. At 67, I continue to look forward to the years ahead with confidence and am eager to see what lies in store for me.

Charles Aznavour would have turned 102 today. He was an Armenian-French chansonnier, lyricist, composer and film actor, and I’ve always had a soft spot for his songs, which often featured poignant lyrics and made a real impact thanks to his distinctive voice.

On their third album, the Hamburg punk band Abwärts took a more laid-back approach and delivered a superb cover of Aznavour’s song.

Clap Your Hands

 

Clap your hands for a new round of songs and the good news that I’ve found a new flat since yesterday, right across the street from where I’ve been living. The seemingly endless search for affordable accommodation looks set to come to an end once I finalise the arrangements on Saturday.. Stealers Wheel was a band formed by Gerry Refferty in the early seventies. They performed as a British version of CSN&Y and reached the charts with Stuck In The Middle OF You that later became a torture scene in Reservoir Dogs, Quentin Tarantino’s debut film.

The legacy of Gil Scott-Heron was his last album I'm New Here, a spoken word document how that would sound today. A man in the prime of his life who still had something to say

In 1977 Meat Loaf released his first album Bat Out Of Hell, An album overproduced by Jim Steinmann, whose sound is reminiscent of Phil Spector. But he clearly struck a chord with this fine record.

THAT'S WHAT IT SOUNDED LIKE WHEN SHE STARTED

It doesn’t matter how you approach Patti Smith’s Horses – whether through the lyrics, the iconic cover artwork or simply the sonic experience. All paths lead to a magnificent album that embodies the spirit of 1975 in New York.

Patti Smith spent a lot of time in small, trendy clubs reciting her poems, which were mainly inspired by the French poet Arthur Rimbaud, who was all the rage at the time. Over time, she began accompanying her poems on the guitar, and it was only a matter of time before she recorded an album. 

The honorable task of producing this fell to John Cale, who knew how to offer something fresh in contrast to the FM West Coast sound that dominated at the time. Musically, she often draws on the old rock greats like the Velvet Underground, but her lyrics go further: using simple words, Patti Smith conjures up powerful images in the listener’s mind. Images of sex, anarchy, suicide, aliens. Her voice has neither a wide range nor a beautiful tone – but it exudes a kind of uncanny charm.

The album is often cited as a precursor to punk, which is a bit of a stretch. But it makes a statement about what is musically possible, and in that sense, it is indeed punk.

Patti Smith - Gloria (In Excelsis Deo)

Patti Smith - Redondo Beach

Patti Smith - Kimberley

Patti Smith - Horses/Land of a Thousend Dances/La Mer Dances

Kinetik

 

One of the most interesting albums was released a few weeks ago by Lines Of Silence, the project led by David Little, a musician from West Yorkshire. He has already produced several albums, and on his latest release he makes effective use of Andrea Parra’s voice. 

The sound isn’t new, but the way Little incorporates his influences from Kraftwerk and Neu! is exceptionally good. Motorik drums and percussion keep the structure tight, whilst synthesizers weave their way around the underlying layers of guitar. Psychedelic drone music as it should be.

Monday's Long Song

 

Normally, I wouldn’t repeat myself here, but whenever I think of a long song, Ellis Island Sound regularly springs to mind. EIS was founded 30 years ago by Pete Astor and David Sheppard as an instrumental band. On their early albums, they broke down their krautrock-inspired songs into their constituent parts, only to reassemble them on a polyrhythmic foundation.

In 2014, they released their third album, Regions – which I consider their best – combining African vibes with the motoric rhythms of Can and a dubby bassline, resulting at times in a gloomy sound that was, however, brightened up by bursts of guitar reminiscent of Fela Kuti.

Ellis Island Sound - The Letting Go

New Song On Sunday

 

At the moment, the music press is once again hyping up a new band that’s supposed to save or revolutionize indie pop. Man/Woman/Chainsaw are a six-piece band from London who play art-punk (whatever that may be) and are set to release their debut album this coming August. To me, their music sounds more like experimental pop. On their new single, they largely do away with guitars, relying instead on pulsating synths which, enhanced by violins, create a hypnotic, danceable sound. A thoroughly enjoyable song, but certainly not a reinvention of indie pop.

Clap Your Hands

 

Welcome to a new series featuring songs that use clapping hands either to emphasize the rhythm or simply because it suits this song. 

Almost exactly 50 years ago, Steve Miller released his masterpiece Fly Like An Eagle, on which he moves between blues rock, country and atmospheric sounds. Take The Money And Run stands out from the rest of the excellent material.

That’s exactly how old Rose Royce’s Car Wash is – a funky disco hit that was played everywhere back in the day. 

John Mellencamp, who was still known as John Cougar at the time, reached the top of the charts with this simple song.

That's How It Sounded In Their Beginnings

 

Legendary hip-hop groups are a dime a dozen. N.W.A are considered the toughest, Gang Starr are the perfect duo for many, Native Tongue fans regard A Tribe Called Quest as the gold standard, whilst the alternative scene swears by the Beastie Boys or Cypress Hill. Yet many fans, despite their prolonged dry spell, still regard the political rappers of Public Enemy as ‘The Greatest Hip Hop Group Of All Time’. I agree with that to a certain extent, because as far as I’m concerned, the Beastie Boys are a cut above the rest. 

In 1986, Def Jam was the music label of the moment, and Rick Rubin made his breakthrough as a producer with the Beastie Boys, introducing a distinctly heavier sound to hip-hop for the first time. Shortly afterwards, he signed a band that had recently been formed by Chuck D and Flavor Flav. Public Enemy took their hard-hitting sound a step further. Melodies were left out; heavy drums and an electronic wail set the rhythm, which is enhanced by samples.

Lyrically, Public Enemy pick up where the Black Movement in the US left off with the Black Panthers. They describe everything that is wrong with the country – issues that were only taken up again years later by the Black Lives Matter movement.

Their debut album was far less successful in the United States than in Europe, and it was only with their second album that they achieved cult status. After a few years, it was all over and the band called it a day. 

Public Enemy - You're Gonna Get Yours

Public Enemy - Yo! Bum Rush The Show

Public Enemy - Miuzi Weights A Ton

It wasn't until years later that they returned to the limelight when they were commissioned to write the soundtrack for Spike Lee.

Billericay Dickie

 

Ian Dury would have turned 84 today had he not died far too young from bowel cancer 26 years ago. I think this is a good time to remember him here.

He was an exceptionally talented singer, songwriter, actor and artist who refused to let his disability – polio, which he contracted at a young age – stand in his way.

Together with some fellow students from an art school, he formed his first band, Kilburn and the High Roads, in the early 1970's. They became local stars with their pub rock, and even back then he incorporated various influences and instruments into their songs that were rather atypical for that sound.

However, he didn’t really get his career off the ground until he signed a record deal with Stiff Records. Alongside Elvis Costello, Nick Lowe and Wreckless Eric, he was part of the first wave of bands on the label, which was set to herald a new era in music. Drawing on classic rock, Ian Dury incorporated elements of jazz, funk and new wave into his songs. He often sang in a North London Cockney accent, which made it difficult for me to understand some of his lyrics. Ultimately, his debut album brought together a host of timeless songs that are still well worth listening to, even after almost fifty years.

Monday's Long Song

 

Another song in this series, which has been running for over 50 years. The Allman Brothers Band released Jessica on their forth album Brothers and Sisters back in 1973. This song is atypical for the band, which has made a name for itself with its blues-infused Southern rock and often improvised jams. Lead guitarist Dickey Betts saw it as a tribute to Django Reinhardt, who popularized gypsy jazz 90 years ago with his guitar playing. Jessica is a timeless work that is unrivalled in its virtuosity, melody and build-up of tension.

Allman Brothers Band - Jessica

New Song On Sunday

 

To be honest, I’m not sure whether to write about the music video or the song. On the one hand, the video is the most breathtaking I’ve seen in a long time; on the other hand, whenever I hear the song, the images from the video always spring to mind.

Romain Gavras, the son of French director Constantin Costa Gavras (“Z”, “Missing”), also makes films and, from time to time, music videos. Gavras has now directed the video for “Storm” by GENER8ION, a project by musician, producer and DJ Benoit Heitz, who also goes by the name Surkin. At the heart of the video/song is Swedish rapper Yung Lean, who plays a school bully in the ‘Storm Class of 2034’. In the first half of the clip, all hell breaks loose at the school, after which choreographer Damien Jalet takes over, and the whole package is bloody impressive, with associations raining down on the audience (Dead Poets Society, The Wall, A Clockwork Orange). Despite the setting, nothing feels like the future; in fact, it’s just business as usual at an English school with a few lads who just want to be lads.

The music complements the video. Aggressive synths, most reminiscent of Underworld, a rumbling bassline and Yung Lean’s voice blend seamlessly with the images on screen.

Shake It To Bits

 

A few weeks ago a new album by Broken Chanter was released. It is the stage name of David MacGregor, former principal songwriter of the fabulous indie band Kid Canaveral. Once again, it’s clear just how much musical potential Scotland has to offer. *This Could be Us, You, Or Anybody Else* is a classic indie rock album featuring top-notch tracks that could easily have been released 30 years ago. Sparkling guitar riffs and a band that really drives the rhythm forward are its hallmarks. Occasionally, the songs have a funky edge, which suits them down to the ground. I’ve only recently discovered this band, but I intend to delve deeper into their catalogue.

Harmonica Day

 

Welcome to the last round of featuring songs that didn't leave out the harmonica. Let's start with an old song by Ewan MacCall which has been covered by many artists over the years. One of the finest versions is by The Pogues.

At the start of his career, there was hardly a single photo of Neil Young in which he wasn’t seen playing a harmonica.

It’s hard to believe that ‘Tangled Up In Blue’ is already 50 years old and still sounds as fresh as it did back then.

I’ve never really been into Canned Heat’s blues rock/boogie, but this song had to be included in this series.

The same goes for the pop-rockers Supertramp.

Next week will probably feature a series focusing on hand clapping.

That's How It Sounded In Their Beginnings

 

In the early 90's, grunge reached its peak. A lot of new bands appeared and many of them wanted to sound like Nirvana or Pearl Jam. Really good new and innovative bands were hard to find. Fortunately, after releasing a few EP's, Pavement put out their debut album, Slanted and Enchanted, in 1992. 

Originally, Pavement was just another garage band from California, but Stephen Malkmus, the band's frontman, had bigger plans. He had a knack for hiding brilliant melodies behind a massive wall of noise. The guitars cut through the songs, the bass rumbles, and you’d think Moe Tucker was playing the drums. At first listen, it all sounds discordant, and Malkmus’ lyrics are so cryptic that I still don’t understand them to this day. But anyone who gives the music a chance will realize that this is a band that has far more to offer than just noise.

Pavement - Our Singer

Pavement - Zürich Is Stained

Pavement - In The Mouth A Desert

Pavement - Summer Babe

They're Coming To Take Me Away

 

When you’re browsing social media, it’s inevitable that you’ll eventually come across clips that try to make that orange-haired and, unfortunately, dangerous lunatic from America look ridiculous. Most of them are AI-generated and generally not worth mentioning. I recently came across one such clip and would have long since forgotten it if it hadn’t been set to a song I’ve liked since I was young.

It was recorded 60 years ago by Jerry Samuels, an American singer-songwriter performing under the pseudonym Napoleon XIV. In the song, he narrates in the first person how he is slowly losing his mind because his love has left him, and how he is looking forward to being admitted to a psychiatric hospital. To top it all off, he reveals at the end that it wasn’t a woman but his dog. As if that weren't crazy enough, he had the same song pressed on the B-side of his single, but it plays completely backward.

That same year, Bryna Raeburn, an American radio actress, released a response as Josephine XIV.

I know it's total nonsense, but the mix of a thumping snare drum, bass drum, tambourine, and siren still works and rightly became a one-hit wonder.

Monday's Long Song

 

Regular visitors to this site probably know that I have a soft spot for Nottingham's Coyote. Timm Sure and Richard Hampson, the DJ's and producers behind this project, have been consistently releasing new takes on the Balearic sound for years. They recently released another six-track EP titled The Higher The Sky, The Deeper The Ocean. On this EP, they expand their signature sound with psychedelic elements, celebrating an almost meditative downbeat sound and ambient house. On this EP, they expand their signature sound with psychedelic elements, celebrating an almost meditative downbeat vibe, dubby bass lines, and ambient house. There are few artists today who create music as relaxed and beautiful as these two.

(Not-So-New) Song On Sunday

 

At the end of last year Nick & June released their last album New Year's Fear which I only became aware of last week. Released after Nick Wolf and Suzie-Lou Kraft had ended their long-term relationship but still working as a band. Both are from Nuremberg, Germany, and currently live in Berlin. It’s worth noting that her songs aren’t solely about the pain of heartbreak. Despite this, her sound has a melancholic, contemplative undertone that is most reminiscent of Bon Iver and Mazzy Star. You could describe it as indie folk that captivates with reverb-soaked guitars, gently pulsating beats, and harmonized vocals. It’s an album I’ll be listening to a lot more.

Take Me To The Grave

 

There are still artists out there who couldn't care less about which musical genre is currently in vogue. One of them is Fay Fife, who has just released her new album under the moniker Countess Of Five. On this album, she clearly pays homage to her love of country music, but she also really lets the guitars rip. It’s in a league of its own compared to when she left her mark on The Rezillos/Revillos’ songs with her voice decades ago. Her duet with Kirsten Adamson (yes, Stuart’s daughter) alone makes this album worth checking out. An unexpected but compelling comeback by an almost forgotten singer. Thanks to the folks at Last Night From Glasgow for this.

She Did It Again

 

Last autumn Hollie Cook released her last album Shy Girl, another fine reggae-pop album in the tradition of the so called 'Lover's Rock' sound. An album full of wonderful melodies carried by Hollie's clear voice.

Just as she has done in the past, she’s once again taken the entire album to a whole new level with plenty of dub, just in time for Record Store Day. Just as she has done in the past, she’s once again taken the entire album to a whole new level with plenty of dub, just in time for Record Store Day. She gives the songs a deeper, darker quality that’s much more rooted in soundsystem culture. An album that’s perfect for summer days like the ones we’re already enjoying.

Harmonica Day

 

The harmonica is typically associated with blues and folk music as a key instrument alongside the acoustic guitar. This makes it all the more surprising when musicians from the indie and electronic scenes use it.The harmonica is typically associated with blues and folk music as a key instrument alongside the acoustic guitar. This makes it all the more surprising when musicians from the indie and electronic scenes use it.

Matt Johnson released what is perhaps his best album, Dusk, as The The in 1993. Its success is largely due to Johnny Marr, who, in addition to playing tasteful guitar parts, also plays the harmonica, which carries nearly the entire album.

The French electronic duo Air has regularly expanded their sound by collaborating with guest musicians. This was also the case in 2001, when they worked with Beck on their album 10,000 Hz Legend in addition to vocals, Beck also contributed harmonica.

Camper Van Beethoven, who helped pioneer indie rock in California in the early 1980s alongside bands like Black Flag and Sonic Youth, released their final album in 1989 before disbanding. As on their earlier albums, they remained true to their surrealistic, humorous folk rock.

More Yeah Yeah

 

In the comments section of my post from yesterday, Ernie mentioned another band with a similar name that he likes better. Yeah Yeah Noh was an indie band formed in Leicester in 1983. They were jangly and lo-fi, with a singer sporting a distinctive bald spot who spoke rather than sang. They sound like a mellow Midlands version of The Fall. Their lyrics were ironic, sardonic, and silly, and they had the audacity to embrace psychedelia, which wasn’t particularly in vogue (with all due respect to  Televison Personalities). A good but sadly forgotten band.

Yeah Yeah Noh - Another Side To Mrs. Quill

As I was typing these lines, I was reminded of the Yé-Yé music of the early 1960s in France. This genre is said to be named after the “yeah” often heard in British pop music. I wouldn’t go that far, but would rather call them chansons interspersed with pop references. The best example is Michel Polnareff, who combined these elements in his songs.

Yé-Yé is, however, primarily associated with female singers, as the French in continental Europe were more willing to accept pop music in their native language. This allowed artists such as Françoise Hardy, France Gall, Sylvie Vartan establish themselves in the charts during those times. Much like Rita Pavone did in Italy at the same time.

That's How It Sounded In Their Beginnings

 

The new century was barely two years old when a band emerged from the United States that took garage rock to a whole new level. With Karen O., they had a wild front woman whose vocals, in the broadest sense, were reminiscent of PJ Harvey, but who could also strike a softer note. Nick Zinner contributes impressive guitar passages to the songs, which, taken as a whole, no longer have much in common with the punk attitude of the debut EP. The fact that YYYs manages without a bass is thanks to Brian Chase’s accentuated drums. 

In addition to the upbeat tracks like “Rich” and “Man,” it’s the longer songs that really stand out—thanks to Karen’s voice and the breaks and tempo changes that would suit Sonic Youth just fine. The fact that they pay homage to their roots at the end makes them all the more endearing. “Modern Romance” could easily be an outtake from Velvet’s debut album.

Yeah Yeah Yeahs - Maps

Yeah Yeah Yeahs - Y Control

Yeah Yeah Yeahs - Pin

Yeah Yeah Yeahs - Modern Romance

Monday's Long Song

 

In 1973 Roxy Music released their second album For Your Pleasure after causing a sensation in the glam rock scene with their debut. A few songs on this album Editions Of You and Do The Strand lived up to expectations for further chart success. Much more interesting, however, were the songs in which they took an experimental approach. The Bogus Man is about a mentally deranged sex offender. Ferry delivers the vocals with a similarly deranged intensity. For ten minutes, Roxy Music turns it into a playground of madness. The saxophone oscillates between delirium and free jazz, shifting from the left to the right channel. Eno uses the then-novel idea of looping to create his effects. Manzanera’s guitar weaves in psychedelic sounds, and the drums, symbolizing the stalker’s restlessness, echo the motoric beats of Can and Neu! A masterpiece far ahead of their time.

Roxy Music - The Bogus Man

New Song On Sunday

 

I'm back from a few days in Budapest and would like to introduce a band from Brighton that's new to me and I first heard them in a wonderful pub that used to be a factory building. Lime Garden is a four piece all female band and they play some kind of indie pop. With a driving beat and rockin' guitars paired with a catchy melody, they've written a song that isn't anything out of the ordinary, but one that will always remind me of my days in Hungary.

Harmonica Day

In 1970 Black Sabbath released their self titled debut album. It was a monument in heavy metal and screaming guitars combined with a bluesy harmonica.

David Bowie released this song in 1973 on his album Aladine Sane when glam rock was at its peak. A timeless classic even though people keep claiming that the song sounds too much like Blockbuster by The Sweet

Ten years later Elton John released another highlight of his later work, in which he dared to incorporate a harmonica that sounded as if it were being played by Stevie Wonder.

By the time you read this, I’ll have already been in Hungary’s capital, Budapest, for a few days. It’s a city I’ve wanted to visit for a long time, but Orban’s regime has kept me from going until now.

Birthday

 

During the last weekend I found a song in the back of my hard drive. Shortly before The Sugarcubes broke up, they released It's It, an album of remixes from their debut album Life's Too Good. The standout performance came from Justin Robertson, who demonstrated just how much potential Birthday has. The standout mix came from Justin Robertson, who showcased Birthday’s potential. He transformed the new wave track into a dub gem.

The Sugarcubes - Birthday (Justin Robertson 12 Mix)

Years later the brothers Reid did also an excellent Rework of Birthday.

And finally some songs with more post-punk power from their early days. Remember when I saw them live in summer 1989 on an open-air festival playing these songs.

The Sugarcubes - Motorcrash

Monday's Long Song

Nothing has been posted here by Andy Bell for several years, and it's time to change that. 2019 saw the debut Andy Bell under his moniker GLOK, Dissident. It was an album I played often at this time because I was impressed by it's sound. Inspired by krautrock and house Bell layered guitars and synths on top of each other, letting them flow from the speakers in seemingly endless waves. It’s all so understated, and every note is perfectly placed. The songs have a hypnotic quality that draws you right into them. Yeah, it sounds corny, but I still love this album.

GLOK - Pulsing