This Weekend I’ll Mostly Be Listening to… some new songs and some old ones. October 26, 2013Posted by WorldbyStorm in Culture, This Weekend I'll Mostly Be Listening to..., Uncategorized.
Just a round up of stuff I’ve been listening to in recent months that hasn’t made it into previous TWIMBLT’s…
“Bud” – Honeyblood
Honeyblood is a Scottish band and Bud was released this week. I know nothing at all about them, but it’s a great song and the B-Side ‘Kissing on You’ is even better.
“Forbidden Planet – Main Title” Bebe and Louis Barron
I think this is remarkable in its own way, Bebe and Louis Barron were early electronic composers, according to the wiki page on them, he built the circuits and she composed the music from snippets of sound. The score for Forbidden Planet from 1956 is perhaps their best known work, and that this does work as music is fascinating. I throw the following in, from Joan Baez and Peter Shickele for Silent Running, as a completely different way to approach SF film music, though note the undertow of electronic beats and synth.
‘This Lonely Morning’ – Best Coast
One of a number of tracks from their new album. A tougher sound than the last album, smoother than their first. I like it. More on them soon.
“Mindless Ones” – Monster Magnet
Fresh from their new album released this week, Wyndorf and Co. shift back towards the psychedelia tinged rock of their early years. Light show and Hawkwind style synth sounds obligatory. Great stuff.
“The Last Dance (Modulate Mix)” – Covenant
The original track, drawn from Covenant’s new – and in places excellent – Leaving Babylon album, I can take or leave though no end of reviewers are keen to describe it as a modern classic, but this remix is great with the addition of the driving trancy keyboards.
“Fly Feather Fly” – Donita Sparks & The Stellar Moments
I mentioned L7 a couple of weeks ago and here from lead vocalist Donita Sparks is a great single from her extremely impressive solo album released in the late 2000s. Eschewing metal punk, although an hint of it here and there, the album is in an electropop style all her own.
“Closer to Real” – Iris
Synth driven pop from US outfit Iris. They’ve been going for years now, and appear to be on an hiatus, but this, from their most recent album from 2010, is pretty great.
“I Wouldn’t Know” – Steve Kilbey & Martin Kennedy
A slice of Antipodean pop/psychedelia from Kilbey and Kennedy. The album it’s drawn from is excellent. A significant advance on their previous two.
“Delusional Waste” – SPC-ECO
Excellent bit of dance/shoe gaze from SPC-ECO who were first referenced on the CLR all the way back in 2009.
“Nix” – Dawn of Midi
Using traditional, non-electronic, instruments they take a similar line to Brandt Brauer Frick, albeit in a slower, more meditative fashion.
“1234 feat Ragga Twins” – Mark Pritchard
One half of Global Communications yet, this – out now as part of the Lock Off EP, is very different to his previous excursions.
“Private Road” – Bent
A great ethereal slice of electronica/soul from the now defunct Bent, sampling pranksters turned more serious musicians. It reminds me in some way of Cuba’s magisterial Starshine, they’re not the same, but there’s an element of the latter in the former. I throw it in just ‘cos.
“Feral Days” – Hey, Hello
Hey, Hallo, aka singer Victoria Liedtke and Ginger from the Wildhearts whip up a storm with the latter’s trademark blend of punk/metal/pop but with the vital addition of Liedtke’s vocals high up in the mix. Anyone familiar with the Wildhearts won’t find this a massive departure, big singalong choruses – check, crunchy guitar riffing – check, melodic to a fault – check. But it’s great stuff, and if you like this check out the not quite vainglorious and clearly autobiographical ‘How I Survived the Punk Wars’.
“Boulevard of Broken Dreams” – Hanoi Rocks
Never thought they sounded as good in practice as they did in theory, but this song is pretty great.
“Broadsword” – Jethro Tull
Many years ago I heard this on Tommy Vance’s metal show on BBC radio. It stuck in my head. It’s not rock, and it’s not quite folk so God knows what it was doing on the show. Apparently the eponymous album from which it’s drawn is no great shakes, lyrically it’s awful sub-Tolkienesque stuff, the kind that makes Zeppelin’s ‘No Quarter’ seem like high art, but to my ears the melody is great and I can just about forgive the none-more-pomp rock 1980s keyboard that intrudes at 1.28 or thereabouts.