I was discussing the almost total absence of interesting Korean music with a colleague the other day, and he mentioned a bar he used to go to which had an amazing collection of 60's and 70's western rock. Apparently there were some people clued in with Dylan, Zeppelin, the Byrds et al but during the dictatorship period this all got locked down, and culturally it seems to me that they are yet to recover (although the cinema is excellent, so work that one out). Bang on cue, I read out about the new album Pysch Funk 101 (buy it here), a collection of 60's and 70's freakery from around the world, including Kim Sun's 'The Man Who Must Leave":
Sorry Korea, I may have underestimated you.
Of course, we expect weirdness from the Japanese, and this is a terrific example:
All summer long, the songs that have have really lodged in my cheesebox haven't even been by musicians. I have written on here before about my love of the comedy song, and the best exponents nowadays for my money are Adam & Joe. Their Quantum of Solace themes, first broadcast last year and recently made available for download on their blog, are so catchy and superior to the actual theme that I think they've taken up about half of my vacant brain space in the last year.
Hello. I'm back. Having a job can really take up a lot of your time, can't it? So here's a new idea (to go with the new colour scheme). I'm going to post up whatever random song has entered my mind. It's a new series, and part of my plan to make this blog less considered and more random. Here's the first one.
I was at the world's largest indoor theme park the other day, queueing for 'the Pharaohs Fury' when four elderly Korean men, dressed in red trousers and stripey waistcoats, Dixieland style, came round the corner and performed a showtune on miniaturised brass instruments. I then imagined to myself what request I could make to stump and bemuse them. My first thought was play a Beatles song (obvious I know) and bang, quick as a flash they launch into this:
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
It should be easy nowadays to turn the Japanese psycho drum kings the Boredoms into dance music, after all their music is about as danceable and groove based as experimental ever gets. On recent Japanese only release Super Roots 10 (hunt it down, it's out there), they get a make over from DJ Lindstrom, who does a great job of transforming them into space disco. Unlikely I know, but it really works.
It's hard not to look back on the Electroclash scene of 2001 and 2002 without thinking about the people who liked it: preening, pretentious adrogonoids with angular hair, dayglo clothes and ambiguous incomes. Nathan Barley meets, well, no one really. People it's very difficult to like. Except, aren't all youth movements inherently irritating if you're on the outside? Just think of the scorn that must have been poured on the New Romantics in the early 80's, only later for them to be clutched to the nations bosom (admittedly after a little toning down on the eyeliner). Secondly, is this image even accurate? I used to go to Electroclash clubs all the time, and neither me nor my mates ever daubed ourselves in rediculously overpriced clothes that were designed to look like binliners covered in crisp packets, and I don't remember seeing that many people who did. The unfortunate result of this is that we forget the music, as if it was an after thought or a soundtrack to a fashion show of fools. By doing this we are overlooking some of the best and most influential dance music of the last 10 years.
It's easy to forget how much electroclash changed everything in dance music. As Kiran Sande explains in his recent Fact magazine article:
"It reconciled electronic and rock sensibilities, but with a sense of cabaret glamour a million miles away from the lager-fuelled indie-dance frippery of The Chemical Brothers. It was, more than anything, performance art – naturally attracting androgynous, stage-hungry figureheads like Fischerspooner and Peaches. In the UK electroclash restored character, confrontation and individuality to the rave after almost a decade of shallow “Cheers, nice one” camaraderie."
The main result of this sea change in attitude was that dance music became fun again. It had songs, ones you could sing along with while you danced (Sunglasses at Night, Deceptacon, Seventeen) as well as bangers (Silver Screen Shower Scene, Fuck The Pain Away, La La Land). This influence hasn't gone away, and dance music has been much more playful, experimental and extrovert ever since. Electroclash acted as a catalyst that begat Erol Alkan, Justice, Crookers, Hot Chip, and for better or worse, made Lady Gaga possible.
Mostly though, it gave us some cracking tunes. Here are some of my favourites, and for more see the Fact magazine top 20, it's a pretty good selection.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
There's something particularly abrasive and atonal about a donkeys bray, and therefore it seems like the most unlikely sound that you'd ever hear in a pop song. That's why I want to hear it more often. If you know any others, be sure to let me know.
Seems to me like there's a ton of new albums around at the moment, and good ones too, ones that deserve attention. I can't give them the track by track treatment, but here are some abbreviated random thoughts...
Tiga - Ciao! Mr Tiga knows his way around a pop song, and has been churning quality electro pop since the electroclash days of yore. The new album contains some corkers, Mind Dimension being a stand out. I'm also keen on any song that has the lyric "What's that sound? I like that sound. I love that sound. It's the sound of my shoes" as the song Shoes does. Who needs poetry? Not me guv.
Super Furry Animals - Dark Days/Light Years. I love band, really love them. They've never let me down, never become too self indulgent or worse, lazy. So I hope this is album is awesome.
It's rockin', folky, glam, groovy, poppy, German, and Arabic. There are songs that sound like early 80's Bowie, and Trevor Horn productions. This mish mash works, because it's the Super Furries, and that's what they sound like. It's why I love them.
There's also a song called The Very Best Of Neil Diamond. Say no more.
St. Vincent - Actor. Like an indie Goldfrapp (that's a compliment, by the way) this album swaggers and veers in different directions, often catching you off guard with unexpected aural twists of heaviness and it's discomforting atmosphere. Coupled with her confident, intimate vocals, it's an odd and enjoyable experience.
PJ Harvey and John Parish - A Woman A Man Walked By. There I am thinking "great a new PJ Harvey album, I know what I'm getting, and I know I'm going to like it." This thought is only half right, because I have stupidly forgotten that none of her albums have ever sounded like their predeccesor, or any of her previous albums, and that isn't a just a new PJ Harvey album, but it's a new PJ Harvey and John Parish album, and his involvement should not be underestimated. This album doesn't have much relation to her previous, most fragile album, the piano led White Chalk (with the exception of The Soldiers) or indeed to the poppy Stories From The City, the rough around the edges Uh Huh Her or the sleekness of To Bring You My Love. If anything, it's closest at times to the raw visceral Rid Of Me, but then you get a slower, rather lovely song like Passionless Pointless. Parish's music is at times bluesier and at times more soulful that you associate with Harvey. I like the directions he has forced her into, and I hope this album won't be as neglected as their previous album.
Graham Coxon - The Spinning Top. The prospect of a new Graham Coxon album is more appealing to me then the Blur reformation, not because I'm naturally contrary (that's unrelated) but because I really liked his last solo album, and I hated britpop, even if Blur were the brightest diamonds in that particular morass of mediocrity. On his new one, he's toned down the chippier power pop of the previous album, Happiness In Magazines, and replaced with a more pastoral folky English sound. It works pretty well, although the shadows of Nick Drake, Davey Graham, Bert Jansch et al loom pretty large. It's ironic really, as Coxon always seemed the least Brit influenced member of Blur, and this album will probably receive no benefit at all from the forthcoming reunion, buried beneath an avalanche of questions about how they're all getting along. Shame really...
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
So, as u probably know, Prince has rel3ased his latest triple opus, and even though he is a g3nius of such magnitude that he should be given a castle in every nation as his own, the right to any first born child and that his fin3st creation is only equalled in human achievement by the wheel, fire and confectionery custard, I, like most people gr33t the idea of a new triple album with considerably less than 3nthusiasm. However, after some prompting by my go to guy 4 all things Prince, I gave it a go. Firstly, 1 of the albums isn't actually by him, but rath3r by a new protégée, Bria Valente, which meant I could leave that 1 until whenev3r. Secondly, the albums that are actually by him are pretty good. Not spectacular, but much b3tt3r than I expected, and there are a few tracks that really stand out. U should list3n to the song below, it's great. Then start building him a castl3.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
When I started writing about underrated bands and albums last year, I really should have started here. In my opinion, this is the most underrated album in all popular music. It's big claim, and I'm sticking to it. I recall reading an article in Q a few years ago about the biggest mistakes in music, or something like that, and there at number one was De La Soul Is Dead, proof if proof be need be that everything printed in Q is wrong.
A little background. In 1989, De La Soul released Three Feet High and Rising, a record that changed rap music, and therefore popular music, for ever. It contained a unique mixture of goofy humour, anti-violence and hip-pop hits that crossed over to the mainstream in a way that few rap acts had managed at that time. It's main influence, however, was the phenomenal music, created entirely through sampling (hat's off to Prince Paul's production) that showed how using other peoples music could be just as creative as picking up your own instrument. They were hugely successful.
So how did they follow that? Two years later they released De La Soul Is Dead, and with the new album they rejected the image that had been partly foistered on them as the hippies of hip hop (the cover was a strong assertion that their flower power phase was over, as was the title). The other common assumption is that the music and lyrics took a much darker turn. This process of deliberately alienating their pop fans worked, and the album was nowhere near as successful as 3 Feet High.
But I never bought these arguments, and have never understood why the album has been so widely derided. Sure the album has darker moments (My Brother's A Basehead, Millie Pulled A Pistol On Santa), but compared to most albums, it's a comedy fest. One track is based around an argument in a Burger King (Bitties In The BK Lounge), and there are scores of ridiculous samples and silly voices scattered throughout. Most incredibly, this may be one of the few hip hop albums where the comedy skits are actually funny (also true of the first De La album).
There are some irresistible pop hits too. Let, Let Me In, Pass The Plugs and Ring Ring Ring (Ha Ha Hey) are as good as anything on 3 Feet High. The best song, however, is A Rolling Skating Jam Named Saturdays, as good a party jam as I've ever heard. The production is fabulous, built around a smorgasbord of samples:
And the amazing disco / piano breakdown in the middle? Oh, it's something else...
It's the kind of song that should be a classic, instead of something that people might remember as a minor hit from the early nineties. In fact, this could be said for the whole album. I think this is one of the greatest albums ever made, and the fact that it's so under-appreciated and often derided gets my goat. So get the album, and help me restore it to it's rightful place in the pantheon, not just of rap, but of pop music.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Firstly, let me apologise for the lack of proper blogging around here recently, I've been rather busy. But I'll be back in the saddle in a couple of weeks. In the meantime, here are some random thoughts I managed to squeeze in...
Track 1 (Zero): It begins with pretty dynamic synths, drum machines and Karen emoting away over the top. In fact it sounds like the entire thing was created synthetically, apart from the singing of course. This is not necessarily a bad thing, it's just that Nick Zinner's an amazing guitarist so he won't be wasted. I suppose Johnny Greenwood on keyboards didn't make Kid A a bad record, so...
Track 2 (Heads Will Roll): It sounds like an early 90's rave record at the beginning. This too is a splendid thing. Oh, this is pretty groovy, sounds a bit like DFA remix from 2005, which can only be good. A little more guitar in there , but none of the whirlwind that Zinner offer creates. This is very dancey, and rather fine.
Track 3 (Soft Shock): There's more of Karen's proper singing on this track. I like her voice a lot, she's got a great rock voice, expressive, individual and identifiably her own. Much like her wardrobe.
By the way, don't expect much lyrical focus in this. Unless I'm forced to, lyrics are not what I find particularly interesting. Music lives in my hips, not my brain.
Track 4 (Skeletons): She's crooning again, over an Autobahn era Kraftwerk electronic pulse. Then there's some drumstick action like Adam & The Ants, and some almost bagpipey action (I HATE BAGPIPES, but this is okay). They've got to make a video for this on a clifftop somewhere, November Rain style. I'd be dead impressed if they did.
Track 5 (Dull Life): So this is probably closer to what people expect from the YYY's, i.e. it's more indie. Still, they do this sort of thing really well. Really really well.
Track 6 (Shame and Fortune): Kanye would like this beat. Not sure he could do much with that thick guitar hook though, but he's a cool guy, so he'd probably dig it. Much like I dig that terrific cover. More eggs in rock, says I.
I have a feeling that this album is a grower. I like it, but it hasn't blown me away yet. There hasn't been a Maps or Date With The Night yet. There's still time though.
Track 7 (Runaway): Oooh, that's a nice piano sound, could be time for a ballad. This is rather lovely, and features some great shimmering guitar from Nick Zinner. I'll say it again, the man's a brilliant guiatrist, God knows how he makes those sounds.
Track 8 (Dragon Queen): Kudos for the title, anything that sounds like a C64 game sounds good to me. There is a element of 80's pop to this album, but don't be deceived, it's only a touch. Maybe it's all those synths, although this chorus is pretty breathy (an 80's sound, if ever there was one).
Track 9 (Hysteric): This track is pretty unremarkable. I mean, I like it, but it's probably the weakest so far. So next month it'll be my favourite.
Track 10 (Little Shadow): Church organs? Acoustic guitars. Check out the Arcade Fire over there. For about 5 seconds. It's end the album with an epic ballad time. The YYY's are different from other 'indie bands' (I felt dirty just typing it), in that despite their occasional forays into noisiness, especially live, they have a real pop sensibility. The album is crafted, with just the right balance of styles to keep everyone happy. Apart from the hipsters, but they're never happy.
Post-amble: It's definitely a grower. On first listen, although I liked it, it's a little underwhelming. But I'm going to give it time, and I would urge you to do the same. Unless you're a hipster, of course.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
I said to myself that there should be less David Byrne / Talking Heads stuff on this blog, but then he keeps releasing really good new stuff in obscure places and I feel a responsibility to provide a conduit for it. Okay, it's not as if he's really unknown and needs the help, but I can't help it. Blame him not me.
First up, is a duet with Brazilian genius Tom Zé on his new album Estudando A Bossa. Unfortunately this album is only available in Brazil, so you can either buy it on eBay, or steal it off the Internet:
Secondly is his participation in the N.A.S.A. album. It's not too surprising to find him on the album, as it does feature half of the people who have ever released a record. In the world. This track also features Chuck D, Ras Congo, Seu Jorge, Z-Trip, the Outhere Brothers, John Lennon, Alvin and the Chipmunks, Miles Davis, Chaka Demus and the Everton football squad of 1984.
Thirdly, he's on backing vocals on a new track by the Dirty Projectors. It's on the new Red Hot Aids charity album, which I would obviously beseech you to buy. But here's a taster:
Preamble - So around the time of Britpop it was decided, in a board room somewhere, that indie music was to become the new pop, and in the last decade or so, the distinction between guitar bands and popular bands ceased to exist. And, as it has seemed to me that British indie rock has been god awful since that day, I have subsequently looked to the other side of the Atlantic to provide me with my guitar based pleasures. There have been a few, well, very few exceptions to this rule, most notably for me are Super Furry Animals and Franz Ferdinand (who are the last really good English indie band? Discuss). The former weld indie pop sensibities with 60's psychedelia, folk, electronica and anything else that happens to be lying around. Franz Ferdinand are a different proposition. Their early stuff was thought of as part of the whole new post punk movement, but unlike their peers Bloc Party and the Futureheads, they had the ability to combine this aesthetic with the dynamic of 70's pop-rock, your Bowies, Bolans and Ferrys. Seeing them live was more akin to witnessing Ziggy Stardust (without the wardrobe) then Gang Of Four, undoubtedly, because while they used some of the latter's sonic effects, it was the formers swagger and bravado that made them so captivating.
So I'm very interested in this new album, because by the third album the hipsters have decided that you are no good no matter what you record, and the public are seemingly losing interest in British rock, and who can blame them when the best that could be mustered was Razorlight. But I get the feeling that Franz Ferdinand are not too worried about clinging on to past glories, and more concerned with making a great record. I hope they have.
Track 1 - The single, Ulysses, kicks things off. It's got a really nice synth sound, and lalala singalong chorus, so it was a good choice of first single I think. You know it's them instantly too, they have developed their own sound which of course means that eventually they will have to reinvent themselves. Or split up.
Track 2, Turn It On, has another of my favourite things in pop music, distant group backing vocals. Listen to it and see what I mean. More nice synths and a yeah yeah yeah chorus.
Track 3, No You Girls, remember folks, that this is a pop record, so don't go digging around here for lyrical depths and references to Can, it's all about waving your hands, guitar solos, and singing along. Don't be deceived by their sharp suits and skinny ties, their Guardian columns, and definitely by their age. This is a terrific glam rock stompathong.
Track 4, Send Him Away, is slower and vocally reminds me of the Mama's and Papa's for some reason. There's some excellent production here too.
Track 5, Twilight Omens, is a bit spooky, and a million miles away from the bland indie pop that dribbles out of the rest of the British isles on a regular basis. Is that a banjo I can hear?
Track 6, Bite Hard, begins as a ballad. Just Alex and a piano. Then, bang, here comes the pop. When that decision to make indie the new pop was made, this is what they should have insisted upon. Dynamic, sexy, catchy and fun, inspired by David Bowie, as great a pop star as ever existed.
Track 7, What She Came For. The production on this album is superb. It's crisp and tough. The quality of the drumming, the character of Alex's voice, the guitar hooks, and the synth squeals are emphasised and add to the songs, which were pretty good to begin with.
Track 8, Live Alone. I guess some people will criticise this album for being samey, and it's true to say that there isn't much variety from one track to another. However, this has to be a minor complaint, when you consider how good the songs are. This is one of the weaker songs thus far, and still I can imagine myself singing along at a gig like someone half my age.
Track 9, Can't Stop The Feeling, shows the influence of dance music on the album. It has a bizarre hook straight from some kind of crunky Turkish electro (anyone wishing to capitalise on this new genre should feel free), and a killer bassline, straight from the disco. God I love a killer bassline, they get me every time.
Track 10, Lucid Dreams, stands out because it's nearly 8 minutes long, breaking their 3 minute rule (the next longest track is 3:52). He just mentioned Istanbul, so maybe I was right about that Turkish influence. So far, this track is another indie pop winner, over a pretty juddering electro background. It's a fine combination, and I'm keen to see where it's going to keep going after the 3:52 mark.
This is just 100% electro now. Very Justice. No vocals at all, this is pretty admirable stuff. Actually reminds me of when the Super Furry's The Man Dont' Give... collapses into a techno frenzy. As an electro fan, I'm very impressed, but I'm not sure what the rockists will make of it. The criticism of repetition can no longer be leveled, that's for sure.
Track 11, Dream Again, calms us down after our rave nation exploits, a bit like when the Flaming Lips put one of those lovely instrumentals in the middle of their albums, but more pop. It even has a theremin in it. It's a bit like Susan's House by the Eels.
Track 12, Katherine Kiss Me, is the first acoustic lead track and the albums closer. A tale of romance in a sordid environment, it's a fine song and shows that Franz Ferdinand know how to write a pop song, in all it's various guises.
Post-amble. I think this album is very, very good, possibly their best. You're going to hear these tracks around, and when you do, be grateful that you are listening to something which is so much fun, instead of all that mediocrity that pervades our lives. Hat's off, says I. Franz Ferdinand - Ulysses (Beyond The Wizards Sleeve Remix)
Prelude: There's been a buzz around this new Animal Collective album for a while now, and I have to say I am expecting big things from it. I thought their last two releases were very fine, and they have been improving year on year. Here goes:
Track one - Mmm, dense and spooky. In comes a lighter melody. It reminds me immediately of old Mercury Rev, as they always do. This is a very good thing. Great, loud drumming and distant spacey vocals is always a winner.
Track two follows straight on from track one without any audible spaces, I hope the whole album does that. There are lots of vocal tracks here, all singing different things, just like the end of by the Beach Boys. It creates that wonderful effect of feeling underwater, and of being surrounded by the sound. Sorry if that sounds a bit new age, but it's true.
Track three - As, primarily, a fan of popular music it's thrilling when a band as experimental as Animal Collective marry their amazing sonics to pop songs. It's what they are doing here. Layers of sound and dense and loud drums are coupled with hooks and harmonies. This is exciting me.
Track four is See You On The Other Side era Mercury Rev, but with a singalong chorus. It's backed with a driving electronic pulse. Damn, this is funky, and could make me dance about like an old hippy, all arms swirling and bendy legged. What a beautiful sight that would be.
Track five begins like an amazing pinball machine. This is the first slow-jam, and it's real pretty, with multilayered distorted strummy guitars and echoey vocals.
Track six. I'd love to hear someone to a cover of this. Underneath all of these layers is a really pretty song, possibly quite romantic by the sounds of it. The chorus is particularly lovely. These were not adjectives I was expecting to use.
Track seven. So you may have noticed some recurring themes here. Density, multi layered vocals, distortion, catchy melodies, loud drums, early to mid period Mercury Rev. These themes are repeated throughout the album (thus far), but that shouldn't be taken as a negative thing, that's the Animal Collective SoundTM and I love it.
Track eight has got a popping sound in it that is identical to the new message noise in Yahoo messenger. I'd like to think that this is some sort of elaborate ruse to wind up anyone listening on a computer. It worked on me.
This repetition I mentioned before means that this is one of those 'proper' albums that need to be listened to all the way through, from beginning to end, without any interruption if you want the full experience. That said, I'm just going to make a cup of tea.
Track nine. Ahhh, that's better. I've just realised that that popping noise was, in actual fact, Facebook messenger and I am silly. Sorry. This is the track with the strongest vocals, which have impressed me throughout. Characterful and unique.
Track ten. I was lucky enough to see Animal Collective in 2003. It was just Avey Tare and Panda Bear, at their first ever UK show, and just a pair of acoustic guitars. They were amazing as you can see below:
Track eleven. I feel fortunate to have watched them grow from that to now. They have advanced their sound with every record, twisting, adding new dimensions, never standing still, constantly challenging themselves and their audience. This final track is magnificent, continuing the feeling that this is a very satisfying sonic experience, just like our parents listening to Kraftwerk's Autobahn echo around their living room. Play it out and play it loud. Fantastic.
Two things that are customary at this time of year: new years resolutions and best of lists. For me these two things are colliding this year. My resolution is to listen to less music, and listen to it more often. Because it is ridiculously easy to acquire new music, I seem to have been on a one man mission to listen to every new release by any band or artist who has even the remotest chance of being interesting, and while in theory it sounds great, what has happened in practice is that I never listen to an album more than once. I also never get to listen to any old music. It's become frankly stupid, and needs to stop.
Subsequently, how can I list my albums of the year? I haven't had time to develop a relationship with any of them, to fall in love or become tired of them. But I do know these things:
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