Entry #19: Under Byen - Det er mig der holder træerne sammen

Just so you know, one of my pet hates is when people say there's no good music to be found anymore.  Usually, they try to support their argument by appealing to modern pop music; music in the top 40 and on the radio.  This somehow "proves" that good music has significantly declined, and isn't like the Good Old Days™ (i.e. their era of choice).

That argument fails spectacularly because bad music has always existed.  Furthermore, the top 40, radio or TV have never been the places to find good new music.  If it appears there, it is simply a matter of fortune.  To my mind, the proclamation makes even less sense in the internet age, when new music can be stumbled upon, sometimes by accident, by just a few clicks.

And this is exactly how I discovered Under Byen in 2008.

There are some bands and some artists whose music clicks with you almost instantly, and from the first few seconds of 'Samme Stof som Stof', I was already hooked.  What I heard instantly found its home somewhere within the centre of my being, and I needed more.

I therefore picked up the album from which the aforementioned song was derived and devoured it.  What followed was this album, by way of the single 'Plantage', followed by everything else I could get my hands on.

Det er mig der holder træerne sammen was the album I came back to again and again; sometimes you can hear flashes of Bjork, other times, Portishead and yet other times later era Talk Talk, but they sound like nobody but themselves.  The lyrics, delivered entirely in Danish make no sense to me (beyond occasionally googling translations), but that only serves to make the music more mysterious, alien and poetic.

As 2008's autumn turned to winter, the nights grew longer and colder, and Under Byen's music became the blanket in which I wrapped myself to stave off the cold.  Det er mig der holder træerne sammen in particular makes me think of winter sun, very probably because it was on such wintry but sunny days that I played the album the most.

Discovering this amazing band was truly one of the happiest accidents of my life.

                                                              Under Byen : Legesag

Entry #18: Mogwai - Come on Die Young

Interesting story.

What I first heard of Mogwai's 'Young Team' in 1998, didn't impress me all that much.  I went back to it a few years later (after getting into Mogwai proper) and loved it, but at the time, it just didn't grab me for some reason.  There was a lot of hype about Mogwai then, but I just didn't get it.

In spite of that, I ended up giving the follow up album (this one) a try and was instantly hooked.  One of the things I love about it the most is Dave Fridmann's production.  He has a habit of sometimes overcooking bands he's not affiliated with himself (i.e. bands that aren't Mercury Rev or Flaming Lips), but his production work on CODY was spot on.

Mogwai's appeal for me is their ability to convey a range of emotions without lyrics.  In fact lyrics would detract from their music, and the few times they appear, it seems odd; almost forced.  As with a lot of music I end up liking, CODY is darkly atmospheric, and as soon as I hear the opener 'Punk Rock', I immediately find myself in that place where only Mogwai's music transports me.

Shortly after CODY was released, I saw Mogwai at Bristol University with a friend.  It was a noisy, calamitous affair (in a good way), but the venue was so small it seemed to contain them sonically.  Fortunately, when I saw them again almost 10 years later at Field Day, the space and the open air certainly did them a lot more justice.

Another band whose music I've almost obsessively collected, and the music alone speaks far more than mere lyrics ever could.

Especially this track...

                                                            Mogwai : Helps Both Ways

Entry #17: Sonic Youth - Evol

I'm a huge fan of Sonic Youth.  If you know me, it's very likely that you already know this.   Of all their albums, this is the one that has stayed with me the most.  When I first heard it, I was already somewhat familiar with the band (I had both 'Daydream Nation' and 'Goo' on tape back then).  Up until that point, 'Daydream' was a definite favourite, but 'Evol' changed that and after getting this album way back when, I sought out nearly every Sonic Youth album I could find.

The ringing guitars and reverb-soaked production give 'Evol' an almost dreamlike ambience which really appeals.  Sound-wise, it's a direct evolution from the previous album 'Bad Moon Rising'.  The songs are very atmospheric, sometimes even gothic in places and the whole album carries a moody, surreal tone that they've never repeated since. 

An absolute work of art, and something I will never get bored of hearing.

                                                     Sonic Youth : Shadow of a Doubt

Entry #16: Spooky - Found Sound

 
Yet another album that turned out to be a huge influence on my own music long before I started making it.

1997, I'd not long returned to my home town having previously moved away for university.  I'd heard about this album from a friend before I'd left, but other than the lead single 'Bamboo' I'd not heard anything from it.  Based on what I'd heard, I decided to buy the album and I'm so glad I did.

As per an earlier entry, Aphex Twin's 'Selected Ambient Works' had already turned me on to experimental electronica, so this continued my foray into territory that would eventually define my own music.

                                                                  Spooky : Bamboo

Entry #15: Low - I Could Live in Hope

The album that got me into Low back in 2003 was 'Things We Lost in the Fire', but it was this album that struck a chord with me the most.

Now despite what hipsters and credibility seekers may assert, I don't always find the cliche about a band's first album being the best to be true.  IMO, it sometimes takes another record or two before a band truly finds its feet and substantially develops its sound, few get it right first go, and those that do typically burn out too soon.  Low certainly is certainly an exception in this case, and as much as I enjoy their discography in general, I don't think they've ever come close to bettering this.

'Hope' has been my soundtrack to long, dark nights at home in front of the computer or a good book, and it has accompanied me on nightly journeys.  To me, it's a very nocturnal album, and expresses so much with so little.  The song I've chosen to feature below is not just my favourite from the album but one of my favourite Low songs in general.  It encapsulates everything that makes this album what it is and never fails to get me right in the feels every single time.

                                                                      Low : Lullaby

Entry #14: ...And You Will Know Us by the Trail of Dead - Source Tags and Codes

Of course, pretty much everyone who likes this band likes this album the best, and for good reason.  It's fucking fantastic.

For me, it also holds enormous sentimental weight.  I bought it around the time it came out, and I was beginning a huge personal upheaval.  2002 was a year of constructive destruction, a beautiful Tarot death.  Things as I had previously understood them had changed, and at the time, I didn't know if I was even ready to change with them, but knew that it wasn't a matter of choice.

This album's energy allowed me to channel my own emotions into something that made sense.  As I fought inner battles that nobody I knew could ever perceive, this is one of the albums that helped me through it all.

The day after I bought it, I traveled by coach to visit an old friend who lived out of town.  I played this on the way and remember reading through the lyrics in the CD inlay and admiring Conrad Keeley's artwork.  At the time, it almost felt as if this album had been made just for me.  It was May and the sun was shining, 'Source Tags' was played to death all summer, and to this day, not only does it remind me of sunshine, it does not sound right under any other conditions.

The song 'Source Tags and Codes' is probably one of my all-time favourites, but I've chosen something else below as it seemed to fit better.  The former can be found on YouTube though so do check it out.

                         ...And You Will Know Us by the Trail of Dead : How Near How Far

Entry #13: Sebadoh - The Freed Weed

Back in 1996, I picked up a Sebadoh tape called "The Freed Man".  I had already gotten into lofi music earlier that same year thanks to Beck albums like 'One Foot in the Grave' and 'Stereopathetic Soulamure' which, in turn, endeared me to that particular album.

A few years later, I discovered  'The Freed Weed' which, I was pleased to learn, featured many of the same songs as 'The Freed Man' but with an extended and slightly different track listing, and it was this album that grabbed me the most.  That particular summer (1999?), I played this a lot for some reason; I think Lou Barlow, and to a lesser extent Eric Gaffney's candid, broken, messy love songs struck a chord somehow.  I had also started making my own 4-track music and found it inspiring (even if my own music was very different).  Either way, it recalls a period of burgeoning creativity, and I will always remember it for that.

Some might argue that the songs would benefit from "proper" production, but I say bullshit to that.  This is how they are meant to sound and how they should sound.  This is the point.

                                                             Sebadoh : Perfect Power

Entry #12: Efterklang - Tripper

Arguably, this album wouldn't even exist were it not for Bjork's 'Vespertine', which is somewhat ironic as despite being one of my favourite albums, it does not appear anywhere in this rundown. 

That said, quite how 'Tripper' has managed to is a mystery to me.  It first came to my attention circa 2005 (or maybe 2006), a chance purchase from an Amazon recommendation.  I was immediately captivated by the moving string arrangements and glitchy electronics.  The songs were sprawling, grand (yet measured), but not particularly memorable (not immediately anyway).  Nevertheless, I fell in love with the album, it's almost as if it's reservedness made it more compelling.

If I was ever to die peacefully in a bed surrounded by loved ones, I'd definitely want this album to be the last thing I ever hear.

                                                                Efterklang : Swarming

Entry #11: Pavement - Wowee Zowee

Now, in my ever so humble opinion, this album is a work of oblique genius.  You have to admire a band who, at the height of its popularity, chooses to release an album that completely curveballs everyone's expectations.

Like most, I expected something that followed the trajectory of 'Slanted' and 'Crooked Rain', so I was initially underwhelmed.  However, this album, in C90 cassette form, would provide the soundtrack to countless journeys and trips, and as it did, the songs started to make sense, the off-kilter melodies, arrangements and lyrics cemented themselves in my consciousness, and the album began to open itself up to me, as it if were rewarding me for my patience and perseverance.

And yes, I later bought the CD. :)

 

                                                     Pavement : Rattled by the Rush

Entry #10: Boards of Canada - Geogaddi

Shortly after I started making my own music circa 1999-ish, an old friend introduced me to Boards of Canada by means of their 'Music Has the Right to Children' album.  I liked what I heard and bought the CD some time later, but as enjoyable as it was, 'Geogaddi', the follow up disc was the one that really impressed me the most.

I've always posited that 'Geogaddi' is a more focused album (i.e. it has none of the filler that padded out 'Children').  It's also darker, but more than that, I just think its tunes are generally better overall.

So there's no real story to this one, it's just a cracking album and one I enjoy very, very much.

                                                       Boards of Canada : Gyroscope

Entry #9: Truly - Fast Stories from Kid Coma

I discovered this one back in 1996.  It came to my attention when I learned it was the band  Soundgarden’s original bass player joined having left his former band.  This alone was enough to pique my interest.  And I’m so glad it did.

Obviously, in ’96 there were no online download or streaming services, so getting this album from my local record store meant submitting an order request and waiting weeks for it to arrive.

It became an album my housemate, and best friend at the time would regularly put on when we were having a smoke, and hearing it takes me back to those simpler, carefree days.  I instantly fell in love with the brooding, sinister atmosphere; sitting somewhere between grunge and psychedelia, the album combines thick, fuzzy guitars with eerie, slightly detuned mellotron keys and dark, off-kilter interludes that reminded me of someone getting drugged in an episode of Columbo.  I read somewhere that it’s supposed to be a concept album, and it does appear to follow a loose theme of the acid-fuelled flashbacks from a guy in a coma (in my head, I have an idea for a very surreal movie based on this record).

I love this album because despite being very much mired in the grunge/alt-rock territory of its time, it’s not a typical “grunge” album at all.  In fact, at times it borders on progressive (though thankfully not in a self-indulgent, showboaty kind of way), which was an anathema for such music back then.  It’s no wonder it was completely overlooked.

To me, ‘Fast Stories…’ is a very unique album and one that deserves a wider audience.  If you’re reading this, whoever you are, do yourself a favour and seek it out.  You’ll thank me later, of that I am certain.

                                                                                Truly : Hot Summer 1991

Entry #8: Mos Def & Talib Kweli are Black Star

If you'll pardon the pun, Hip-Hop gets a bad rap these days.  It is such a rich, varied genre, but most of what filters to the mainstream is utter dross.  The trite motifs of guns, bitches, money and bling are the only things people typically associate with Hip-Hop, and it seems like barely being able to string a sentence together, having a weak flow and no sense of wordplay are what's needed to make it big.  As such, so much quality Hip-Hop gets completely overlooked.

When I first heard Black Star, it was already 7 years old, and I hadn't even heard of it before then.  It was on constant rotation on my mp3 player when I visited Japan in the summer of 2005 and to this day, its songs bring back memories of that particular holiday.

But of course, as well as being a soundtrack to some great memories, it is also one of the best Hip-Hop albums I've ever heard.  The rhymes are on point and delivered with effortless abandon, and in 2016, it still sounds fresh.  The track I've chosen to include below is the very last one of the album and features a selection of guest emcees, ALL of whom deliver phenomenal verses.  There's no way I could do an all time favourite album list and not include this masterpiece.

                                              Mos Def & Talib Kweli : Twice Inna Lifetime

Entry #7: Metallic Falcons - Metallic Falcons

It's hard for me to pinpoint exactly why I love this album so much.  It's certainly not for everyone; 14 sparse, lo-fi songs that invoke images of blistering sun and ghostly heat hazes, oftentimes sounding like they were recorded in the pit of a yawning desert chasm.

I discovered the album not long after getting into CocoRosie (relevant given that MF is comprised of Matteah Baim and Sierra Cassidy, the latter being one half of CocoRosie), whom I'd gotten into through someone on a music forum.  Anyway, I saw a review for Metallic Falcons in Plan B, which was the best music magazine I've ever read.  This was just before the days of so-called "web 2.0" so there was no chance of popping onto YouTube, Spotify or Soundcloud to listen to a few tracks - all I had to go on was the review itself which, along with the enigmatic cover (look at it!) was enough to pique my interest.  I was the most surprised person to see a solitary copy of this sitting in HMV in the town where I lived (almost as if it was waiting for me to come along), so I picked it up without hesitation.

I have a habit of only playing certain albums during specific times of the year or when certain weather conditions apply, and this is one that I only play in the summer, lounging around on a hot day with little to do. 

Metallic Falcons is, for me a magical album that transports me to a place I never want to leave every time I visit.  Also, for some reason, it also reminds me of the Spirit Temple in Legend of Zelda: Ocarina of Time, and that's not a bad thing at all.

                                                         Metallic Falcons : Four Hearts

Entry #6: My Bloody Valentine - Loveless

The whole shoegaze thing passed me by in the 90s.  The music I was listening to at the time (particularly the guitar music) was a lot heavier and more aggressive.  Fast forward many years later, shorn of the teen angst and prickly tension of those earlier days, I was in a different place entirely.  It was then that I discovered 'Loveless' for the first time, thanks to the same friend who introduced me to Suicide.

This same friend let me borrow his CD which I played solidly.  What got me about this album was the same thing that gets everybody: the dense, textural sounds, the wispy vocals and dreamlike ambience, the sounds that do not resemble guitars (and whatever else is buried in that mix) in any discernible way.  As records go, 'Loveless' is truly not of this earth, and noise has never sounded more beautiful.

'Loveless' is yet another album that influenced the architecture of my own music.  What Kevin Shields et al did with guitars, I later attempted with electronics: toy keyboards, drum machines and strange, homemade loops fed through a myriad of effects pedals.  I can safely say that my music would've followed an almost entirely different trajectory had I not been introduced to this album.

An obvious choice perhaps, but seriously, what's not to like?

                                                 My Bloody Valentine : Come in Alone

Entry #5: Aphex Twin - Selected Ambient Works Volume 1

This album came to me when I was mostly listening to metal and alternative rock, a predilection that was slowly starting to melt as my tastes broadened (the consumption of certain substances may have played a role in this too...).

Either way, this album was a turning point for me.  Throughout the early to mid-nineties, electronic music was pretty much synonymous with so-called "dance music", which wasn't really my thing back then.  However, SAW1 displayed a more experimental and richer side to electronica that I'd previously not been aware of, opening my eyes and ears to a whole new world.  'Selected Ambient Works' was something of a gateway record that lead me to lots of music that would later shape and influence my own creations, and I will always fondly remember it for that reason.

To this day, hearing the opener 'Xtal' (video below) reminds of the first time I heard it: high as fuck, lying on the floor in my friend's flat (he only had one sofa and he was on it), entranced by the beautifully dreamlike soundscape and soft, yet insistent kicks.  For those 5 minutes, I was somewhere considerably less mundane and prosaic than my surroundings suggested.  Nothing could ever be the same after that.  Something new had awoken.

                                                                 Aphex Twin : Xtal

Entry #4: PJ Harvey - Is This Desire?

It probably goes without saying that PJ Harvey is a phenomenal artist with an impressive body of work behind her.  I can honestly say that I don't think she's ever released a bad album.

Now, an obvious choice might be 'Dry' or 'Rid of Me' (the latter of which is one of her best, IMO), but the album that has stayed with me the most is this one.

The languid melancholia of the songs and the desperate yearning in Harvey's voice really gives the album emotional weight.  This album also continues the experimental theme that begun with her previous record 'To Bring You My Love', which is something that personally appeals since I always appreciate artists who are not afraid to try new things.

There have been times in my life when this album resonated, providing the music to things I couldn't express with words, and for that reason, it will always have a special place in my heart.

                                                               PJ Harvey : The River

Entry #3: Cynthia Dall - Untitled

I first came across this album in a record shop in Coventry while I was at university.  The thing that intrigued me the most was the enigmatic cover; it gave absolutely nothing away about the content of the album, let alone the band or artist.  In spite of my curiosity however, I left it on the shelf.

It was not until I saw the same album in another record shop back home several months later that I decided to get it, but rather than taking a complete leap of faith, I asked the guy behind the counter to play it for me.  Within the first 30 seconds, I already knew I wanted to hear more so I bought it there and then.

This was a case of love at first listen.  In fact, I don't think I can even count how many times I've played this album.  Dall weaves spidery guitars, minimal piano and ethereal soundscapes together with her ghostly voice to create one of the most beautifully haunting and atmospheric albums I have ever heard.  Something about it really strikes a chord.  For me, it's best played when it's gloomy and overcast, and has been the soundtrack to many such a day whilst stuck indoors with nothing to do but get lost in a good book.  And I absolutely love it for that.

                                                             Cynthia Dall : Bright Night

Entry #2: Suicide - Suicide

An old and extremely valued friend of mine introduced me to this album many, many years ago, just before I started making music of my own. I cannot even begin to articulate the influence it had on my early, lo-fi compositions and consider it instrumental in shaping my approach to music, especially then. It was this album that really epitomised the fact that less really can be more.

With just a reverb-soaked slightly distorted Farfisa organ and a microphone, Alan Vega and Martin Rev created music far heavier and crushing than any rock or metal band has ever been able to achieve with a million guitars. The minimal pulsing electronic rhythms invoking a constant atmosphere of uneasy menace, as do Vega's vocals, snaking between nervous crooning, yelps and truly blood curdling shrieks. It also contains what is arguably one of the scariest songs ever recorded.  I won't spoil it for you by including it below, you'll know when you hear it.

                                                                     Suicide : Che

Entry #1: múm - Summer Make Good

Interestingly, this album didn't grab me on first listen.  The songs seemed like rambling, forgettable whimsy and failed to make any kind of impression whatsoever.  Having previously enjoyed 'Finally We Are No-One' and 'Yesterday Was Dramatic...', this one seemed completely lost on me.

And then one day, it just clicked.  The songs that previously seemed so obtusely impenetrable suddenly started to make sense, and with repeated listens, 'Summer Make Good' became not only my favourite múm album but one of my favourite albums ever.

The beauty of 'Summer' lies in its subtlety.  It is a grower, that much is certain, but once its hooks have sunk in, it bewitches and intrigues in equal measure.

                                                                 múm : nightly cares

About this blog: An introduction

This blog is something I've been meaning to do for a long time.  As a music lover, it felt only right to put something like this together.

A few years ago, I was at a friend's party and he showed me a list of his all time favourite albums, which inspired me to attempt my own list.  However, I felt that a dry list wasn't really enough, so I decided to do this blog instead, which would give me the opportunity to write a little bit about why the albums I've chosen have stayed with me.

There's no real order or format to this; I'm just going to add entries as and when I feel like it, and perhaps you as the reader will derive some enjoyment from this whether or not my choices appeal.  My aim is to focus on albums that are personally special to me, and not my favourite albums by bands and artists that I enjoy listening to (a subtle, but important difference).  Paradoxically, this means that albums from some of my favourites won't make the cut.

As for me personally, there's not really that much to say.  I like music (obviously), listen to lots of it, and have fairly eclectic tastes.  The first music to really make an impression on me came from my childhood computer, a Commodore 64, whose sophisticated audio hardware allowed for music way beyond that of any other machines at the time.  My affinity for electronic music in particular stemmed from the music I enjoyed on this computer.  However, throughout my life, all sorts of music has appealed, and you will find a small cross section of it here.  I also make my own music, some of which I may share (though this blog isn't about my stuff, so I don't really want to make a big deal of it here).

Beyond music, my hobbies include gaming, reading (David Mitchell and Haruki Murakami being two of my favourite authors), photography and watching Anime (I just ignore the charmless teen dross that now floods the genre).  None of that really has anything to do with the contents of this blog, but it gives you a bit of background.

Now with all that out of the way, on with the show...