Just try and erase all trace of the mid-week Champion’s League heartbreak, it’s okay I’ll just escape into my favourite music threa… aaghhhh!!
Luckily, some AJ will steer me right again.
Such a shame I can’t find this version of the song in better quality. All the reissues of the album (the only downloadable versions I was able to find) have an alternative version for some reason.
For any fans of house… this is a banger!
Great track. I’m guessing that’s probably like a rare Japanese 7" or something? I hate it when that happens, one of the pitfalls of loving ‘old’ music, it’s great when you can hunt down a decent pressing of some elusive song/album, but so frustrating when you can’t!
It’s the one featured one the original vinyl but not CDs and other reissues for some reason.
Yeah, unfortunately that’s pretty common, sometimes even when they re-release them they’ll say it’s from the original master tapes, but it’ll still be the same version as a later CD/cassette one. Very infuriating lol.
(‘Music on Vinyl’ are big culprits of this )
There’s still 2 months left of 2018, but barring some total surprises then my Album of the Year list is liable to look something like this:
MØL - Jord
This savage yet beautiful debut from Danish quintet MØL is among the most confident first releases I have ever heard from a band. Deafhaven may have set the blueprint for shoegaze tinged black metal, but MØL are the ones to perfect it.
The 4 instrumentalists create a vast musical geology, the intricately layered guitars, winding structures and dense, thunderous drums are like a landscape which is constantly shifting under the pressure of its own sound. Jord’s raw production gives off a sense of instability, as though it could all come crashing down around us at any time, but it never fails to reign things in with a soothing, melodic undercurrent contrasting the harshness. Vocalist Kim Song Sternkopf bellows and shrieks like a vengeful demon, as though he were trying to tear through the solid mantle of the songs and drag the listener down to hell with him. His shrill, banshee-like vocal delivery will almost certainly alienate those who are more interested in the band’s shoegazey leanings, but MØL make it work through sheer will alone, making no compromises to their unapologetically bleak sound.
Jord is an advanced record, one that has a scary level of maturity for such a young group. Is not a casual listen, but an extremely rewarding one. There’s even an instrumental version of the album available should the demonic vocals terrify you too much.
Emma Ruth Rundle - On Dark Horses
Emma Ruth Rundle grows more splendid and majestic with each release, her songwriting more mature and unique and her lyricism more evocative and profound. Her sophomore album Marked for Death was near perfection, and she outdoes even that with her third release. The emotional trappings are more emotional, the droney, doomy riffs are more dense and heavy than before and the atmospherics are more nuanced. Despite this mix of sounds, the focus is never lost and her voice sounds as though she is bathing in her influences rather than drowning in them.
Album closer ‘You Don’t Have to Cry’ is titled as though it were a dare, a challenge to the listener to reach the conclusion of its shimmering and evocative 5 minutes with dry eyes. Some will succeed, many will fail - But only the coldest of hearts will be left unmoved.
IDLES - Joy as an Act of Resistance
Not just because they’re from my home town, not just because they’re unapologetic lefties, not just because vocalist Joe is one of the loveliest dudes you’ll meet - But because as an album, Joy as an Act of Resistance feels completely fucking vital. It is such a rare thing for pure honesty to be captured on tape, but this is precisely what this album sounds like. It is many things - Angry yet joyous, vicious yet concerned, confident yet vulnerable - And full of absurd humour. Songs titled “Never Fight a Man with a Perm” tell tales of small town bullies and contain laugh out loud lyrics to leave you rolling (“You look like a walking thyroid/you’re not a man/you’re a gland”) and the near-impossible to listen to “June” (about the death of Joe’s daughter) will leave you feeling broken and dejected.
They’ve had an amazing year selling out their UK and European tour and appearing on Jools Holland, but this hasn’t come overnight - It was hard earned and they’re veterans of the UK toilet circuit. In many ways IDLES have made the perfect Punk album for a post-Brexit Britain - It sounds both divided and united.
Talons - We All Know
Having formed a decade ago, Talons could be considered old hands of the post-rock Genre by now - But they’ve always been content to do things on their own terms and at their own pace. Post Rock is a dangerous quagmire to get caught in, with a handful of standout bands and a whole load of passionate yet formulaic copycats. Talons stand out though through their urgency and simplicity, droning and dense guitars provide a solid backbone for the dual violinists to weave intricate melodies over. Middle album piece Long Reading Room favours a filmic atmosphere, the dual violins building to a tense payoff, whereas album closer ‘Quiet’ is anything but - A riproaring rollercoaster of electronic drums and tremelo picked guitars that will leave you feeling pumped up for a long time after it has finished.
Talon’s two violinists take starring roles on the record, frequently providing the melodic centrepieces to the songs while the rest of the band are content with sitting back in a dreamy, drony groove. Definitely their strongest release yet.
A Perfect Circle - Eat the Elephant
What a lovely, surreal experience it is to hear a new album by A Perfect Circle in 2018. Spearheaded by Tool frontman Maynard James Keenan and Guitarist/songwriter Billy Howerdel, APC have soundtracked my life since my teenage years and inspired me both as a musician and on a personal level. I owe a large debt to their two albums Mer De Noms and Thirteenth Step, the former of which is an absolute undisputed masterpiece that everyone should listen to.
Their last release was 14 years ago, a hastily recorded covers album of protest songs to coincide with the 2004 US election - And then that was it. Their 3 album contract was done. and the members dissolved back into their other ventures - Reforming sporadically to do the odd tour, at which they’d occasionally perform a new song or two. Now though, they’re back with a new record that has focus, sincerity and purpose and I think is far better than anyone expected it would be.
The fact that Eat The Elephant isn’t a patchy, unfocused mess despite so many years in gestation speaks volumes of Billy Howerdel’s ability as a songwriter to wrangle in ideas that are on the verge of becoming unruly, and Maynard’s ability as a vocalist to weave profound melodies into the very fabric of songs that sprawl in all sorts of directions. Maynard himself is on top form - Some of the most ethereal and ghostly vocals he has ever recorded are on this album, with hushed delicate tones outnumbering the rousing bellows we are used to from him, and with lyrics ranging from politically scathing to compassionate and melancholic.
Honorable Mentions -
Thrice - Palms (An underwhelming record for the usually stellar genre-defyers, but still packs an emotional gutpunch on the slower cuts)
Pig Destroyer - Head Cage (Legendary American Noisemongerers bringing their metal tinged Grindcore kicking and screaming into the age of Trump)
Gulfer - Dog Bless (A punky, polyrhythmic and heartfelt sophomore effort from these Montreal emo-math darlings)
SHAME - Songs of Praise (Solid debut from a noisy young political punk band)
I’ve almost certainly missed some but these are the ones off the top of my head right now that I love.
OH SHIT I forgot Pianos Become The Teeth’s new album. Fuck. Ah well nevermind
I may not always share your same taste in music but I do admire your passion and love you have for it Quinn. But back on topic…