ayatollahcm
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Post by ayatollahcm on Oct 14, 2017 15:21:15 GMT -5
Also, I see other have beaten me to the Vaselines. But did I overlook The Waterboys? Based in Edinburgh, but bridging that Celtic divide, so it might be a fun lark.
Either that, or I'd recommend you venture into latter day Snow Patrol, so I can witness you re-suffering "Chasing Cars", or into Pilot, that 1970s pop-rock band of "Magic" fame, because it'll probably be one of the weirder excursions you undertake.
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moimoi
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Post by moimoi on Oct 14, 2017 21:56:25 GMT -5
Also, I see other have beaten me to the Vaselines. But did I overlook The Waterboys? Based in Edinburgh, but bridging that Celtic divide, so it might be a fun lark. Either that, or I'd recommend you venture into latter day Snow Patrol, so I can witness you re-suffering "Chasing Cars", or into Pilot, that 1970s pop-rock band of "Magic" fame, because it'll probably be one of the weirder excursions you undertake. Waterboys were already scheduled, but I can add Snow Patrol (curse you!) and Pilot. This means I might have to start posting more than once a week to catch up for my earlier slacking, though. Or I could extend this series into January, but then it might conflict with "moimoi's W I D E World of Oceanic Music"
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Post by Lord Lucan on Oct 14, 2017 22:28:02 GMT -5
I don’t know how many you want to do, but I can suggest The Blue Nile. “A Walk Across the Rooftops”, perhaps, or whichever. Also, the Eurythmics and/or Annie Lennox solo.
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Post by Lord Lucan on Oct 19, 2017 20:51:57 GMT -5
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moimoi
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Post by moimoi on Oct 24, 2017 21:40:11 GMT -5
The Fire Engines - Lubricate Your Living Room Background: The Fire Engines are a post-punk band from Edinburgh, Scotland that was a part of the same literary art-punk scene as the Scars ( Dellarig, do you know them? Remind me of Big Country - I think you would like.) and Josef K. The band name was inspired by a 13th Floor Elevators song and it comprises David (Davy) Henderson (vocals/guitar), Murray Slade (guitar), Graham Main (bass), and Russell Burn (drums). The band recorded two sessions for John Peel's BBC Radio 1 show, the first in February 1981 featuring a cover version of Heaven 17's "(We Don't Need This) Fascist Groove Thing", and a second in November that year. Their most successful single was "Candy Skin", released in 1981, but after the follow-up, "Big Gold Dream" failed to repeat its success, the band split up on 31 December 1981. In 2004, the Fire Engines reformed to support The Magic Band at The Liquid Room in Edinburgh and released a limited edition collaboration single with Franz Ferdinand. The seven-inch single contained a Franz Ferdinand cover of the Fire Engines song "Get Up and Use Me" with Fire Engines covering Franz Ferdinand's "Jacqueline". The Fire Engines were an influence on many bands that followed, including Franz Ferdinand and The Rapture, with Meat Whiplash and The Candyskins both taking their names from Fire Engines songs. In August 2017 the band reformed to play a benefit for Leith Theatre along with Irvine Welsh and Ewen Bremner. Existing Prejudices: Postpunk really is my obsession. It's the one genre about which enough as been written and for which I have enough access to really dig and discover bands I was too young to experience the first time around. Some of my favorite discoveries include The Pop Group, This Heat, A Certain Ratio, and the Fire Engines - which I stumbled upon through Youtube a couple years ago. Track-by-track Impressions 1. Plastic Gift - Just a minute-long intro comprised of tribal drumming, buzzy guitars, solid bass. I'm psyched to hear what comes next. 2. Get Up And Use Me - Deconstructed and primitive, like a 2am drunken Devo. 3. Sympathetic Anaesthetic - Interesting. This band explored a lot of the same ideas as Joy Division: muscular bass, 'angular' guitar shredding, descending drum lines. However, the result here is far less grim. Perhaps its the jauntly little surf guitar riff they've worked into this. 4. Discord(Peel session) - The chiming guitar riff and the frenetic tempo make it sound like the song is being played sped up and in reverse. 5. New Thing In Cartons - An unhinged Orange Juice. This makes me wonder which band was first regarded as "lo-fi". According to Wikipedia, the term was coined by WFMU DJ William Berger in 1986 for certain American indie rock like Sebadoh. I think we have a candidate here though. This could pass for early Wavves or Guided by Voices. 6. Hungry Beat - The percussion on this is delightful. And it just keeps on going, mutating a bit after every few bars without losing any momentum. 7. Lubricate Your Living Room Part 1 - The fade-in is a bit odd and I feel like this goes on too long as an instrumental. They could have written a song over this. 8. Lubricate Your Living Room Part 2 - Part two is giving me Pretenders, in a good way. They need a Chrissie Hynde - or shit, Edwyn Collins - singing over this, though. General Impressions: I never noticed until now, but you can trace the lineage from the Velvet Underground through bands like the Fire Engines and Josef K on to The Vaselines and probably to Jesus & Mary Chain, whereupon it dissipates into that strangely resilient genre, shoegaze. I definitely hear it now. How good is it? Intriguing...unpredictable. How Scottish is it? Eh, it does sound drunken/unhinged. How about Henry Ian Cusick?
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Dellarigg
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Post by Dellarigg on Oct 25, 2017 4:03:52 GMT -5
Nope, never heard anything by them. I've heard the name, cross-filed it with The Blue Aeroplanes, and never gotten round to listening to either of them.
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moimoi
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Post by moimoi on Nov 3, 2017 23:47:52 GMT -5
The Waterboys - Fisherman's Blues Background: The Waterboys are an Irish/Scottish folk rock band formed in Edinburgh in 1983 by Scottish musician Mike Scott. Scott has remained as the only constant member throughout the band's career. They have explored a number of different styles, but their music is mainly a mix of Celtic folk music with rock and roll. The early Waterboys sound was dubbed "The Big Music" after a song on their second album, A Pagan Place. This style was described by Scott as "a metaphor for seeing God's signature in the world." "The Big Music" either influenced or was used to describe a number of other bands specializing in an anthemic sound, including U2, Simple Minds, In Tua Nua, Big Country and the Hothouse Flowers. Fisherman's Blues is the 1988 album that marked a change in the band's sound, with them abandoning their earlier grandiose rock sound for a mixture of traditional Irish music, traditional Scottish music, country music, and rock and roll. Critics were divided on its release with some disappointed at the change of direction and others ranking it among The Waterboys' best work. The album was the Waterboys' best selling album, reaching a number 13 placing on the U.K. charts on release, and 76 on the Billboard 200. Existing Prejudices: I know virtually nothing about this band. It scored in the poll and the Wikipedia description does not sound promising. I should note I have a very low tolerance for Celtic-inspired folk whimsy, especially since I grew up in Chicago around 'plastic paddies' who glom on to their 'heritage' in a manner that's odd to an ethnic like myself. I noticed that one of my good friends has an email address, [fishermansblues@emailprovider], so I figured that was a good place to start. Track-by track-Impressions 1. Fisherman's Blues - This isn't bad. It kind of reminds me of Rod Stewart with a touch of Springsteen - kind of scruffy and homemade, but very tuneful. 2. We Will Not Be Lovers - Nice groove. I like the staccato strings and full bass. This reminds me of Stevie Nicks' classic solo period, specifically "Stand Back" and "Edge of Seventeen". I really like this. 3. Strange Boat - I'm not as into this. It gives me a Bob Seeger vibe, which I associate with the smell of stale cigarettes and the image of a poo brown Buick Roadmaster. Very working class dad/uncle. 4. World Party - I'm hearing lots of cool blending of electric guitar and violin tones, including e-bow. I'm really confused, because apparently the Waterboy's Welsh keyboardist Karl Wallinger left in 1986 to form the band World Party (famous in the U.S. for "Way Down Now" a staple of alternative radio) but this song came out in 1989. So is the band named after the song or the song after the band? Further down the wiki wormhole, Wallinger, who does not play on this song since he'd left the band by then, wrote the Robbie Williams ballad "She's the One". Williams is a perennial nominee for the UK's Ivor Novello Awards, having won five to date. At the 2005 ceremony, he picked up Song of the Decade for his other smash ballad "Angels" and crossed paths with Album award-winners Snow Patrol, the subject of our next installment. 5. Sweet Thing - I like loose, rakish quality of this one, including the random interpolation of "Blackbird". This probably sounds great live. I am impressed with how drummer is keeping it light but still getting a big, expansive sound. 6. And A Bang On The Ear - I'm getting Springsteen, if he sang traditional Celtic music. It's a bit long and I'm not sure about its cavalier attitude toward assault (unless a bang on the ear is some sort of euphemism?). 7. Has Anybody Here Seen Hank? - Boring honky tonk music. Moving on... 8. When Will We Be Married? - Okay, now we're listening to the Titanic soundtrack. What happened? This is what I was afraid the whole album would sound like. I mean, it has some contemporary touches, but it also starts to sound like my most-hated Decemberists. 9. When Ye Go Away - Right from the intro it's spacious yet intimate and quite effective. This is the sound that Dan Rossen brings to Grizzly Bear (also Department of Eagles and his solo work). 10. Dunford's Fancy - Obligatory music for reeling/jigging. A bit on the nose. Moving on... 11. The Stolen Child - Do I know this one from somewhere? I think they needed a softer voice for the spoken word bits. They also could have made this much darker, which would justify the length. General Impressions: This album is kind of awesome, though it gets patchy toward the end. I give it respect for making a generally uncool genre of music pretty listenable. How good is it? Quite good. How Scottish is it? It's this fine little Scottie.
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Post by Lord Lucan on Nov 5, 2017 20:06:00 GMT -5
I haven’t thought of The Waterboys for a long time and look forward to listening to this. I believe I first heard of them due to their contribution to the Waking Ned Devine soundtrack.
I wonder if anyone else has seen Hamish Macbeth starring Robert Carlyle, with its wheaten scottie? If I had two scotties, I’d likely call them Hamish and Alastair.
Withered Hand is an excellent Scottish singer-songwriter whose two albums released in the past few years I’ve enjoyed. Either are worth reviewing. I might have a slight preference for New Gods if memory serves.
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moimoi
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Post by moimoi on Nov 6, 2017 21:45:54 GMT -5
Snow Patrol – Eyes Open as suggested by ayatollahcmBackground: Snow Patrol are a Northern Irish-Scottish rock band formed in 1993, consisting of Gary Lightbody (vocals, guitar), Nathan Connolly (guitar, backing vocals), Paul Wilson (bass guitar, backing vocals), Jonny Quinn (drums), and Johnny McDaid (piano, guitar, backing vocals). The band were founded at the University of Dundee in 1993 by Lightbody, Michael Morrison, and Mark McClelland as Shrug. After briefly using the name Polarbear and losing Morrison as a member, the band became Snow Patrol in 1997 and added Quinn to its line-up. Their first two studio albums, Songs for Polarbears (1998) and When It's All Over We Still Have to Clear Up (2001), were released by the independent record label Jeepster and were commercially unsuccessful. The band then signed to the major record label, Polydor, in 2002. Eyes Open is their fourth studio album, produced by Jacknife Lee. Six singles were released from the album, including top 10 hits "You're All I Have" and "Chasing Cars", the latter of which came to worldwide attention when it was featured during the season 2 finale of the American medical drama Grey's Anatomy. It went on to sell over 5 million copies worldwide and has spent a total of 166 weeks on the UK Singles Chart, more than any other song in history. Eyes Open was the best-selling album of 2006 in the UK, selling 1.5 million copies and 6 million worldwide. It was also the 15th best-selling album of the 2000s. Existing Prejudices: Following one of the roughest years of my life, I spent 2006 in grad school, watching the newly-premiered Colbert Report on Youtube, catching episodes of Lost whenever I could, and listening to Interpol, the Strokes, the Postal Service, the Shins, etc. on my iPod Nano. After hearing a snippet of Snow Patrol on TV, I concluded that they were not worth paying any attention to. Pretty sure that was the right call. Track-by-track Impressions 1. You Are All That I Have – The "woo"s in the back are endearing, but boy, this is some some American Eagle Outfitters music. We're talking sub-Gin Blossoms, with earnest, simplistic lyrics and a dumb chorus. I do not like the lead singer at all. 2. Hands Open – Better than Ezra. That’s not my assessment; that’s their sound. Please let this album be brief! When Lightbody sings, “put Sufjan Stevens on” I'm thinking "I wish!". And BTW, the J is silent. His name does not rhyme with “tough bum". Once again, the background harmonizing is the only part of this song that works. The rest is overwrought. 3. Chasing Cars – Oh yeah, this song. I think I’ve heard it in previews for various network TV shows. Why couldn’t those shows get Badly Drawn Boy? This is so bland. A waste of 3:41. 4. Shut Your Eyes – [...and think of another artist] The beginning evokes the Police, with its progressive jazz fusion... please let this go somewhere…Hey! They jacked Sufjan (soo-fee-aan)’s choir! God, I wish I could just stop this and listen to Illinoise. Yup, that’s what I’m going to do. I can't take anymore! 5. It’s Beginning To Get to Me – [me too, brother] I like the warped intro straight into the riff, but that’s one throwaway riff. What else ya got? Decent vocals and a chorus that doesn’t sound like all their other songs? I guess I’ll take it. 6. You Could Be Happy - [...listening to anything else] At least this has some interesting electronic effects burbling underneath a simple tune… please let this go somewhere…sigh…I guess that was tolerable. 7. Make This Go On Forever – [noooo!] Fuck, piano chords. Buddy, you’re no Phil Collins and this ain’t "Against the Odds". Are Snow Patrol Christian rock? They did name check Sufjan Stevens and they’ve brought back the choir. “Please just save me from this darkness…I don’t know where to look” ? 8. Set the Fire to the First Bar – [set fire to this record!] Martha Wainwright’s cool – what’s she doing here? Shut up, stupid Gary Lightbody, and let her sing solo! 9. Headlights on Dark Roads – Isn’t this just a sped up “Chasing Cars” with some woos thrown in? These guys need to learn some new chords. 10. Open Your Eyes – [...sheeple! This record sucks!] Have I heard this one before? Probably. Earlier on this record. Same fucking chords. Goes nowhere. Or rather, where it goes is very anticlimactic. This is basically Mumford & Sons plugged in. 11. The Finish Line – [Halleloo!] Another very simple tune that just kind of proceeds for a few bars. Glad that’s over. General Impressions: Who wants this music??? I can only guess its appeal is its 'band next door' quality: this literally sounds like your co-worker's band that plays shitty bars in the suburbs. This is what 3-5 years of practice and no creativity sounds like. It must be great to be in Snow Patrol, though, since you only have to learn four chords, tops. How good is it? Pretty shite. How Scottish is it? Wildly popular, smug, off-puttingly religious, it's this arsehole.
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Post by ganews on Nov 6, 2017 22:22:45 GMT -5
Aw, I love the Gin Blossums.
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Dellarigg
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Post by Dellarigg on Nov 7, 2017 2:23:28 GMT -5
I am guilty, as is everyone I know, of mispronouncing Sufjan. Not that I'm much of a fan - I try to avoid saying his name for the most part anyway.
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ayatollahcm
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The Bringer of Peacatollah
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Post by ayatollahcm on Nov 7, 2017 3:10:19 GMT -5
Snow Patrol – Eyes Open as suggested by ayatollahcmBackground: Snow Patrol are a Northern Irish-Scottish rock band formed in 1993, consisting of Gary Lightbody (vocals, guitar), Nathan Connolly (guitar, backing vocals), Paul Wilson (bass guitar, backing vocals), Jonny Quinn (drums), and Johnny McDaid (piano, guitar, backing vocals). The band were founded at the University of Dundee in 1993 by Lightbody, Michael Morrison, and Mark McClelland as Shrug. After briefly using the name Polarbear and losing Morrison as a member, the band became Snow Patrol in 1997 and added Quinn to its line-up. Their first two studio albums, Songs for Polarbears (1998) and When It's All Over We Still Have to Clear Up (2001), were released by the independent record label Jeepster and were commercially unsuccessful. The band then signed to the major record label, Polydor, in 2002. Eyes Open is their fourth studio album, produced by Jacknife Lee. Six singles were released from the album, including top 10 hits "You're All I Have" and "Chasing Cars", the latter of which came to worldwide attention when it was featured during the season 2 finale of the American medical drama Grey's Anatomy. It went on to sell over 5 million copies worldwide and has spent a total of 166 weeks on the UK Singles Chart, more than any other song in history. Eyes Open was the best-selling album of 2006 in the UK, selling 1.5 million copies and 6 million worldwide. It was also the 15th best-selling album of the 2000s. Existing Prejudices: Following one of the roughest years of my life, I spent 2006 in grad school, watching the newly-premiered Colbert Report on Youtube, catching episodes of Lost whenever I could, and listening to Interpol, the Strokes, the Postal Service, the Shins, etc. on my iPod Nano. After hearing a snippet of Snow Patrol on TV, I concluded that they were not worth paying any attention to. Pretty sure that was the right call. Track-by-track Impressions 1. You Are All That I Have – The "woo"s in the back are endearing, but boy, this is some some American Eagle Outfitters music. We're talking sub-Gin Blossoms, with earnest, simplistic lyrics and a dumb chorus. I do not like the lead singer at all. 2. Hands Open – Better than Ezra. That’s not my assessment; that’s their sound. Please let this album be brief! When Lightbody sings, “put Sufjan Stevens on” I'm thinking "I wish!". And BTW, the J is silent. His name does not rhyme with “tough bum". Once again, the background harmonizing is the only part of this song that works. The rest is overwrought. 3. Chasing Cars – Oh yeah, this song. I think I’ve heard it in previews for various network TV shows. Why couldn’t those shows get Badly Drawn Boy? This is so bland. A waste of 3:41. 4. Shut Your Eyes – [...and think of another artist] The beginning evokes the Police, with its progressive jazz fusion... please let this go somewhere…Hey! They jacked Sufjan (soo-fee-aan)’s choir! God, I wish I could just stop this and listen to Illinoise. Yup, that’s what I’m going to do. I can't take anymore! 5. It’s Beginning To Get to Me – [me too, brother] I like the warped intro straight into the riff, but that’s one throwaway riff. What else ya got? Decent vocals and a chorus that doesn’t sound like all their other songs? I guess I’ll take it. 6. You Could Be Happy - [...listening to anything else] At least this has some interesting electronic effects burbling underneath a simple tune… please let this go somewhere…sigh…I guess that was tolerable. 7. Make This Go On Forever – [noooo!] Fuck, piano chords. Buddy, you’re no Phil Collins and this ain’t "Against the Odds". Are Snow Patrol Christian rock? They did name check Sufjan Stevens and they’ve brought back the choir. “Please just save me from this darkness…I don’t know where to look” ? 8. Set the Fire to the First Bar – [set fire to this record!] Martha Wainwright’s cool – what’s she doing here? Shut up, stupid Gary Lightbody, and let her sing solo! 9. Headlights on Dark Roads – Isn’t this just a sped up “Chasing Cars” with some woos thrown in? These guys need to learn some new chords. 10. Open Your Eyes – [...sheeple! This record sucks!] Have I heard this one before? Probably. Earlier on this record. Same fucking chords. Goes nowhere. Or rather, where it goes is very anticlimactic. This is basically Mumford & Sons plugged in. 11. The Finish Line – [Halleloo!] Another very simple tune that just kind of proceeds for a few bars. Glad that’s over. General Impressions: Who wants this music??? I can only guess its appeal is its 'band next door' quality: this literally sounds like your co-worker's band that plays shitty bars in the suburbs. This is what 3-5 years of practice and no creativity sounds like. It must be great to be in Snow Patrol, though, since you only have to learn four chords, tops. How good is it? Pretty shite. How Scottish is it? Wildly popular, smug, off-puttingly religious, it's this arsehole. I did recommend it for your suffering. I'm still sorry you suffered.
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monodrone
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Post by monodrone on Nov 7, 2017 7:56:54 GMT -5
That was unbelievably mean. No one should have to listen to any Snow Patrol album, never mind the interminable shitpile that is Eyes Open.
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moimoi
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Post by moimoi on Nov 10, 2017 17:54:19 GMT -5
Arab Strap - The Red Thread as suggested by dwarfoscarBackground: Arab Strap are a Scottish indie rock band whose core members are Aidan Moffat and Malcolm Middleton. They were a central part of Glasgow's influential late 1990s music scene and were signed to independent record label Chemikal Underground. The band split in 2006. The Red Thread is their fourth studio album, and fifth altogether, released in 2001. Aidan Moffat has commented on the title of the album, saying, "it's an Eastern belief that you're connected to your life partner by an invisible red thread and by that you will always find each other. It works both as a romantic thing and a comfort just in case it all goes wrong because you've still not followed the thread. It's relevant to the doubts that are expressed in some of the songs." Existing prejudices: Obviously I heard of them through the title of Belle & Sebastian's third album. I knew they were another Scottish band and I recall once or twice asking other music fans if they were any good. The responses were mixed, so I've held off. Track by track Impressions 1. Amor Veneris - Oh dear, is this slowcore? I never got slowcore at all. Like, Palace Brothers, American Music Club, Red House Painters have zero appeal to me. The piano is pleasant, but overall, I'm finding this tuneless and boring. 2. Last Orders - OK, this is more like it. We have some goth keyboards and drums. Really, the only thing that isn't working for me is Aidan Moffat's voice. He's not singing so much as mumbling to himself. But it's not sexy or raw; just kind of...self-indulgent. Like Badly Drawn Boy on a cocktail of booze & Ambien. 3. Scenery - I guess this one has a chorus; it's just really half-arsed about it. Things improve when the drums kick in. 4. The Devil-Tips - Starts slow...I'm checking my phone...interesting gusts of noise that pass back into slow verses....Really Mr. Moffat, if I want to slit my wrists, I'll put on Elliot Smith. 5. The Long Sea - There is a tune here - a slow, deliberate, and ponderous tune. And there's lots of interesting drone in the mix, much like Mogwai. I can at least see the appeal of this one. Live, it's probably hypnotic. 6. Love Detective - Groovy. I dig the shaggy drumming and organs - like they've got Stereolab sitting in. 7. Infrared - I recognize these opening chords from Pavement. Kind of underwhelming, this one, especially given its length. 8. Screaming in the Trees - I dunno. I'm just not charmed by this guy. I'm trying to appreciate the lyrics or even just the brogue, but it's so lackadaisical. Doesn't really transcend the bedsit vibe until the last minute or two, when the orchestration gets lush. Whoever produced this album is doing his darndest to save it from complete navel-gazing. 9. Haunt Me - Okay, he's finally started singing. It's okay. It sounds like some effort went into this track, so I'm pleased. 10. Turbulence - It's a beat! And I can dig it! This is pleasant and inconsequential, like The One AM Radio. General Impressions: What am I missing here? I'd say this was underwhelming if I had any expectations, but I didn't so...yeah...that was an album of music. How Good Is It? It's not bad; it's just not my thing. Sorry! How Scottish Is It? Quite Scottish, not terribly interesting. I'd stay it's Kevin McKidd (aka Tommy from Trainspotting and apparently a doctor on Grey's Anatomy)
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dwarfoscar
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Post by dwarfoscar on Nov 10, 2017 18:32:48 GMT -5
If there's one thing I can get, it's being nonplussed by Moffat's singing. I have to admit I like it, it participates in the overall mood, as is the somewhat 'half-arsed' aspect that you describe. This is not a polished album, it's all foggy and it's clumsy and it's earnest, I love it. My favorite track is 'The Long Sea' too.
I'm a sucker for glum in general, and I like Arab Strap because it holds an interesting spot in the spectrum of sad music. It's what we French call "le cafard" (cockroach). Cockroach music (musique cafardeuse) is too dark to be called just melancholic, but not dark enough to be called depressing. Arab Strap is for me the epitome of cockroach music. Their last album, The Last Romance, is a little chipper, but just a little. Other cockroach artists include : Lisa Germano, These New Puritans, Piano Magic...
Thank you for doing that. I feared that you'd hate it more. A 'heh, it's not my thing' is alright to me. And I'm relieved to see they're deemed Scottish enough.
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Deleted
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Post by Deleted on Nov 15, 2017 10:55:42 GMT -5
Thanks, dwarfoscar, for nominating this. I'd been anticipating this feature touching on Arab Strap, one of the favorite bands of my adolescence. I personally wouldn't have recommended The Red Thread, probably their album I listen to the least, because it's a transitional record between their early lo-fi material and the more polished sounds of their last two albums. moimoi made an interesting observation that the production on The Red Thread seems to be trying to offset Aidan Moffat's navel-gazing. While I'd argue that navel-gazing is a core component of this band (probably why they spoke to me as a sullen teenager), it is true that they buffed up their production to appeal to a wider audience at a certain point.
For me, the exemplar Arab Strap album is their second, Philophobia. It's got the strongest set of songs of their early career, replete with some super-frank Aidan Moffat stories of sex and substance abuse while Malcolm Middleton works diligently to break through the grotty, lo-fi production with some beautiful instrumental work.
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moimoi
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Post by moimoi on Nov 15, 2017 13:16:48 GMT -5
Aw, I love the Gin Blossums. It has recently come to my attention that the Gin Blossoms and the Goo Goo Dolls are entirely different bands, so perhaps I meant the latter? Despite having a fairly vivid memory of the 90s, those two sets of scruffy alt-rockers have inextricably fused in my mind, much like so many post-Oasis combos: Cast, Keane, Embrace, Elbow, et. al.
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Post by Lord Lucan on Nov 18, 2017 22:22:31 GMT -5
I listened to most of the last three and don’t diverge from any of your incisive descriptions and verdicts.
I wonder at your elision of Gin Blossoms and Goo Goo Dolls, however; I remember them sounding very different.
Might something prove to be as Scottish as Alastair Sim and a tin of shortbread for Christmas? If so, I might forget I made the suggestion by then and be pleasantly surprised.
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moimoi
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Post by moimoi on Nov 18, 2017 22:51:48 GMT -5
I wonder at your elision of Gin Blossoms and Goo Goo Dolls, however; I remember them sounding very different. If only I could take the labels off the cans Exhibit A: Exhibit B: Exhibit C: Exhibit D: Exhibit E: Exhibit F: I rate Gin Blossoms a little better, though.
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Post by Lord Lucan on Nov 18, 2017 23:22:30 GMT -5
Tu as raison! The evidence is conclusive. And yeah, the Gin Blossoms are tolerable.
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moimoi
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Post by moimoi on Nov 19, 2017 18:34:48 GMT -5
Orange Juice - You Can't Hide Your Love AwayBackground: Orange Juice was a Scottish post-punk band founded by Edwyn Collins in 1976 in the Glasgow suburb of Bearsden as the Nu-Sonics. Named after a cheap brand of guitar, Collins was joined by his school-mate Alan Duncan as well as James Kirk and Steven Daly. The band became Orange Juice in 1979 and released their first singles on the independent Postcard Records label Collins co-founded with Alan Horne. This line-up signed to Polydor Records to record their first album, You Can't Hide Your Love Forever. However, internal tensions led to Kirk and Daly leaving in early 1982 and for the next two album releases the core line-up was: Collins and David McClymont leading with Malcolm Ross on guitar, vocals and keyboards, and Zeke Manyika on drums. They are best known for the single "Rip It Up", which reached number 8 on the UK Singles Chart in February 1983 and was the first hit to use the Roland TB-303. Following Orange Juice's breakup in 1985, Collins embarked on a successful solo career and produced records for Space, Terrorvision, Vic Godard, Robert Forster, The Cribs, and Hooton Tennis Club, among others. In 2005, Collins suffered a series of cerebral hemorrhages which left him unable to speak except for the phrases: "yes", "no", "Grace Maxwell" (his wife's name) and "the possibilities are endless". A 2008 BBC Scotland documentary, Edwyn Collins: Home Again, narrated by Franz Ferdinand frontman Alex Kapranos, followed Collins's progress in recovering from his illness and his return to live performance. A documentary on his recovery, titled The Possibilities Are Endless, was released in 2014. Existing prejudices: I believe I've already written about how I tracked down an Orange Juice import compilation at Reckless Records in the late 90s after reading about them in Uncut or NME or something. What I can't emphasize enough is how astounded I was by that first listen to " Rip It Up". The song is nothing less than a pop manifesto - an arch and funny meta-commentary on its era. Unsurprisingly, Simon Reynolds used it for the title of his (very good) book on new wave and postpunk. It also made a great personal theme song for a young music snob like myself. (Plus they're a huge influence on Franz Ferdinand in both look and sound) If I recall correctly, the first OJ album is more straight-ahead jangly than later albums with their African drummer, Zeke Manyika, but still pretty groundbreaking. This is a band that richly deserves its cult status. Track-by-track Impressions 1. Falling and Laughing - This was the most Smiths-sounding song I had heard to date that wasn't by the Smiths. I was immediately drawn in by its depth: the dancing bass, piano touches, all kinds of jangle in the mix and THEN...the whole thing shifts into a rave up Paul Weller would envy. They really knew what they were doing. 2. Untitled Melody - I feel like this could have been written in the 00s during they heyday of indie labels like Fortuna Pop, especially with lyrics like "I bought you some sun specs from the local hipster store." 3. Wan Light - Ah yes, a couple of these have a different vocalist. It still sounds contemporary, except for the un-ironic horn section. It's all just so bubbly and fun. If it had a chorus, I think it would be a hit. 4. Tender Object - I realize Edwyn Collins' voice is an acquired taste - he's clearly influenced by Pete Shelley of his beloved Buzzcocks. This has great percussion and Big Country - level complexity, but again it's lacking the propulsion of a chorus. The flirtation with dance rock toward the end is probably how they should have done the whole song. 5. Dying Day - I wonder how they sounded live. There's so much going on in the mix, it seems like it could go very wrong in certain venues with bad acoustics. This one particularly hearkens Broken Social Scene toward the end (who sound great live, but are composed of 8 musicians, frequently performing in open air stadium/festival settings). 6. L.O.V.E. Love - I'll take this over a Rod Stewart Motown cover any day (and to be clear, Al Green never recorded for Motown - he was on Hi Records). I find Collin's cracking voice endearing. 7. Intuition Told Me, Pt. 1 - Somebody's a fan of Gershwin. They just need to stick with 2-3 good ideas per song, instead of 8. This makes for a confusing/overwhelming listening experience. It's like listening to Wilco and Guided by Voices AT THE SAME TIME. 8. Upwards and Onwards - This song is only one minute, which kind of makes it a prelude to the next one. It's another bit of Tin Pan Alley tune-smithing, with a hint of Lou Reed. 9. Satellite City - There are elements of a single here, they just need to cut back a bit. From a production standpoint, they're like the opposite of Josef K. Or perhaps Postcard learned its lesson from Josef K's abysmal production and over-corrected here. This is like, Wham-level production. 10. Three Cheers for Our Side - As much as I love Edwyn Collins, I think he should have let this other vocalist do more. Maybe they could have switched things up like the Eagles (though they are way better than the Eagles). 11. Consolation Prize - Another single that approaches early Morrissey's level of endearingly humorous self-deprecation. And here's another one that takes an awesome left turn at the end. 12. Felicity - If you took away all the fancy arrangement and sped this one up, it could be the Buzzcocks. This is a favorite. 13. In a Nutshell - Every once in a while, I get a touch of Lou Reed in this band. Collins has a similarly wry, confessional way with a lyric...plus the colored girls singing... 14. Intuition Told Me, Pt 2 - This one builds toward a great chorus, stops, and starts over. They didn't need to do that! Instead of verse-chorus-verse, we get verse-chorus-chorus-verse. A bit too clever, if you ask me. 15. Moscow - A groovy instrumental that reminds me of the Velvets. Also the Vaselines. I could definitely see those guys touring together and hanging out. 16. You Old Eccentric - Oh yeah, I forgot about this one. Another one I recommend for fans of the Vaselines. 17. Two Hearts Together - Sounds like Culture Club and General Public, foreshadowing Zeke's later contributions. The lyrics are just too sarcastic to make this a pop hit. It actually borders on parody. 18. I Can't Help Myself - This one is a little too K.C. and the Sunshine Band for me. I also think they laid on the 'meta' a bit thick here, with the interpolation of motown melodies and direct reference to the Four Tops. 19. Tongues Begin to Wag - Starts heavy and kind of goth, but crossed with funk. I like the groove, but I don't particularly like the melody they have going over it. Sounds like a failed of Montreal experiment circa Skeletal Lamping. Or if George Benson scored the Dante's Inferno musical in Staying Alive. 20. Barbeque - I think they were determined to use every instrument in the studio. They are clearly fucking around here, but it's still pretty funky. General Thoughts: This is one of the most musical music groups you will ever hear. We're talking 20 tracks in 60 minutes. God knows how many key changes. I mean, this band puts baroque pop artists like of Montreal and Jens Lekman and Sufjan Stevens to shame with its audaciousness. The 80s were not ready for Orange Juice. How good is it? Fucking classic. How Scottish is it? It's funny and cosmopolitan and super irreverent. Peek Craig Ferguson.
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Post by Lord Lucan on Nov 21, 2017 21:24:19 GMT -5
My attention never wanes. Excellent album.
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Post by ganews on Nov 22, 2017 12:53:09 GMT -5
You know a Franz Ferdinand or an Of Montreal mention is going to be enough for me to listen.
This was pretty fun. The singer isn't quite to my taste, but it's all nicely lighthearted. Like a post-punk Christmas album.
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moimoi
AV Clubber
Posts: 5,002
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Post by moimoi on Nov 27, 2017 12:17:57 GMT -5
Runrig - The Cutter and the Clan as suggested by Lupin AddamsBackground: Runrig are a Scottish Celtic rock group formed in Skye, in 1973 under the name 'The Run Rig Dance Band'. Since its inception, the band's line-up has included songwriters Rory Macdonald and Calum Macdonald. The current line-up also includes longtime members Malcolm Jones, Iain Bayne, and more recently, Bruce Guthro, and Brian Hurren. To date, the band has released fourteen studio albums, with a number of their songs sung in Scottish Gaelic. Runrig's music is often described as a blend of folk and rock music, with the band's lyrics often focusing upon locations, history, politics and people that are unique to Scotland. Songs also make references to agriculture and land conservation. Since 1999, the band has gained attention in Canada, following Nova Scotian singer Bruce Guthro's entry to the band. In 2016, the band announced that it would retire from studio recording after the release of its 14th studio album, The Story. Their fifth album, Cutter and the Clan, was the band's breakthrough, taking them from cottage industry to the international stage. Originally recorded on the band’s own Ridge label, it was taken on by Chrysalis Records in 1987 as part of a major recording contract. The album features keyboards from Big Country's Pete Wishart and highlights include the song "An Ubhal as Àirde", the first and only Scottish Gaelic language song to reach the UK Top 20, which was used in an ad for Carlsberg lager. Existing Prejudices: Never heard of 'em. Track by Track Impressions 1. Alba - Okay, we have big stadium rock. It's reasonably catchy and there's even a nice hook in the fade-out (that they could have incorporated into the rest of song better). 2. The Cutter - A bit twangy and overproduced, is my first impression. Damn, these vocals are earnest and almost embarrassingly Scottish. I'm reminded of how my friend from Belfast has described his feelings about Riverdance. Or for that matter, how I, as an American, feel about shit like Lee Greenwood. It's just too much. Like, this kind of patriotism is rather misplaced and problematic. 3. Hearts of Olden Glory - Oh, I hear the bagpipes a' blowin'. This is cheesy. School assembly material. Good thing it's short. 4. Pride of the Summer - I don't know why they didn't name this one "Beat the Drum". Anyway, it's fine. 5. Worker for the Wind - Aw shit, a cheese ballad? Actually, it has some fine harmonies...overall, that was not as bad as I was expecting. It was simple; not too overwrought. 6. Rocket to the Moon - I like the peripatetic guitar line, but the chorus is pretty basic. This is background music at the (fake Celtic) pub. 7. The Only Rose - This is getting repetitive. They need to stop sticking the good riffs in the outro. 8. Protect and Survive - Decent chorus on this one. I feel like this is probably the only Runrig song I ever needed to hear. 9. Our Earth Was Once Green - This one is upbeat and preachy, very 80s. 10. "An Ubhal as Àirde" (The Highest Apple) - Oh dear, we have a choir. General Impressions: This is what I feared Big Country would sound like. It wasn't a total slog, but its appeal is limited, shall we say. How good are they? Sonically, they are proficient and made for stadiums. How Scottish are they? Scottish AF and extremely appetizing or unappetizing, depending on your perspective: they be haggis
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monodrone
Prolific Poster
Come To Brazil
Posts: 2,551
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Post by monodrone on Nov 27, 2017 12:55:53 GMT -5
Trying to remember the context for me being forced to learn of the existence of Runrig earlier in the year but it's escaped me. I'm sure it would have been insightful and entertaining. Ah well.
Click Post Quick Reply.
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moimoi
AV Clubber
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Post by moimoi on Dec 1, 2017 1:09:09 GMT -5
Bert Jansch - Bert Jansch as suggested by Lord LucanBackground: Herbert "Bert" Jansch was a Scottish folk musician and founding member of the band Pentangle. He was born in Glasgow and came to prominence in London in the 1960s, as an acoustic guitarist, as well as a singer-songwriter. He recorded at least 25 albums and toured extensively from the 1960s to the 21st century. Jansch's work influenced such artists as Al Stewart, Paul Simon, Johnny Marr, Elton John, Ian Anderson, Bernie Taupin, Bernard Butler, Jimmy Page, Nick Drake, Graham Coxon, Donovan, Neil Young, Fleet Foxes, Devendra Banhart, Neil Halstead, and Roy Harper. His self-titled debut album was recorded on a reel-to-reel tape recorder at engineer Bill Leader's house and sold to Transatlantic Records for £100 and went on to sell 150,000 copies. The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die and features Jansch's best-known tune - "Needle of Death", which was inspired by the death of his friend, folk singer Buck Polly. Existing prejudices: He's an influential cult figure that I've read about, but I've never sought him out. I'm afraid British folk never did much for me, as much as I had high hopes for it. During my real heavy aspiring muso days, I was once compelled to download a Fairport Convention album, but I only lasted 4 songs before getting bored. Track by Track Impressions 1. Strolling Down the Highway - Twangy. He has a better voice than Dylan or Donovan, for that matter, though Donovan has a certain je ne sais quoi. This opening track has a jaunty quality that holds my attention, despite its simplicity. 2. Smoky River - This has some rather intense finger plucking that veers into jazz. That's promising. 3. Oh How Your Love Is Strong - This didn't do much for me upon first listen. The vocal melody is somewhat lacking in dynamics/contrast. Plus his voice is a little flat, I think. But the guitar work sticks with you. 4. I Have No Time - I should probably start focusing on lyrics, because this doesn't have the tunefulness of say, Nick Drake, and I know very little about playing guitar. In that respect this is...fine. Plainspoken. Folky. 5. Finches - Intricate, with interesting rhythms. The kind of thing that would impress strangers. 6. Rambling's Gonna Be the Death of Me - Jansch both plays and sings with conviction, which is something lacking in many strummy acoustic types. He also manages to invoke the blues and jazz without embarrassing himself. 7. Veronica - Short, pretty instrumental. 8. Needle of Death - Apparently Bert Jansch was anti-heroin from way back. This one is a bit too literal for me, though. It's a heartfelt and fitting tribute to his friend, but kind of inessential otherwise. 9. Do You Hear Me Now? - I'm more familiar with the Donovan version...which I prefer. This one is kind of whiny, whereas Donovan's rendition is militant. 10. Alice's Wonderland - This is jazzy. I like it. 11. Running from Home - This has the detached sophistication of Kings of Convenience, which is a good thing. It's lovely and hypnotic - my favorite so far. 12. Courting Blues - Starts out like Nick Drake/Donovan...good sign. I could see this scoring a scene of seduction in some indie film. Wes Anderson or P.T. Anderson. 13. Casbah - Noodling. I don't really know what he's doing here. 14. Dreams of Love - Just not a lot of color to this, though it does have a slightly Belle & Sebastian feel. It's just too brief and doesn't build up to anything. 15. Angie - So this is the big influential 'single'? Meh. Maybe it was groundbreaking for its time, but now it just sounds like some nice fretwork. General Impressions: From the snippets of other albums, I sense this might not be his best work, but I couldn't find another good entry point to his 25-album solo discography. I think he probably did better with collaborators, such as in Pentangle or with a proper producer. How good is it? Technically, very good. How Scottish is it? It's sober and serious. Perhaps Iain Glen?
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ayatollahcm
TI Pariah
The Bringer of Peacatollah
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Post by ayatollahcm on Dec 1, 2017 4:02:54 GMT -5
12. Courting Blues - Starts out like Nick Drake/Donovan...good sign. I could see this scoring a scene of seduction in some indie film. Wes Anderson or P.T. Anderson. Noah Baumbach actually did use it in The Squid & The Whale. So your instincts are right on! I love Jansch, me-self, and "Finches" is one of my favorite acoustic tracks, if only because that, too, sounds like it could be film scoring. I'd suggest listening to "Come Sing Me A Happy Song..." off of his Birthday Blues album if you wanted to get a sense of his poppier side.
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
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Post by Dellarigg on Dec 1, 2017 4:10:50 GMT -5
Trying to remember the context for me being forced to learn of the existence of Runrig earlier in the year but it's escaped me. I'm sure it would have been insightful and entertaining. Ah well. Click Post Quick Reply. Is it because one of the ex-members (he was also in an early, aborted Big Country line-up) is now a politician? The aforementioned Wishart.
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
Posts: 7,499
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Post by Dellarigg on Dec 2, 2017 8:57:01 GMT -5
15. Angie - So this is the big influential 'single'? Meh. Maybe it was groundbreaking for its time, but now it just sounds like some nice fretwork. I read somewhere that Angie was the big song you had to master if you wanted to call yourself an acoustic guitar player in certain earnest circles back in the olden days. It was written by Davy Graham. It turns up as Anji on an early Simon & Garfunkel album. I also read a book in which a modern-day, Guardian-type journalist decides to devote a portion of his life to his teenage dream of learning the guitar, with his end goal being a live performance of an unflubbed Angie. I can't remember if he made it. As for Bert Jansch, Led Zeppelin fans should listen to The Waggoner's Lad and Black Water Side on his album Jack Orion.
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ArchieLeach
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I talk too much, I worry me to death
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Post by ArchieLeach on Dec 2, 2017 21:23:17 GMT -5
I'm afraid British folk never did much for me, as much as I had high hopes for it. During my real heavy aspiring muso days, I was once compelled to download a Fairport Convention album, but I only lasted 4 songs before getting bored. Fairport has been around an awful long time, and not all albums are created the same. To lead you in the right direction with minimum wordage: What We Did On Our Holiday is a late-60s folk-pop record, their first with Sandy Denny, when they incorporated trad songs with modern rock styles. My favorite of theirs, not pure folk. Covers of Dylan and Joni Mitchell are featured. Unhalfbricking is the follow-up, similar but with a looser, boozier feel. It has the 11-minute traditional "A Sailor's Life" and three Dylan covers. Liege and Lief was their first album of mostly trad songs played rock-style. Most consider this their ultimate album - Denny is impassioned, and Richard Thompson writes a few gems. The band was hanging around with Led Zeppelin at this time - they influenced each other, with Denny appearing on LZ IV. Full House was the first album recorded after Denny left. Thompson and violinist David Swarwick really turn up the Olde Englishness energetically. The anti-war "Sloth" is stunning. But the best record of this genre is the first one Richard Thompson made with his wife Linda. Called I Want to See the Bright Lights Tonight, it features Thompson's original songs about peg-legged women, tightrope walkers, and women who steal from the beds of good friends, all written and performed in a clear as cut-glass, precise style. It's a masterpiece. I know a few more but will stop now with just this one thing (from Liege and Lief):
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