Magazine - Real Life

Bro, this album is so... so... so... REAL.

______________________________


Allmusic: Howard Devoto had the foresight to promote two infamous Sex Pistols concerts in Manchester, and his vision was no less acute when he left Buzzcocks after recording Spiral Scratch. Possibly sensing the festering of punk's clichés and limitations, and unquestionably not taken by the movement's beginnings, he bailed -- effectively skipping out on most of 1977 -- and resurfaced with Magazine. Initially, the departure from punk was not complete. "Shot by Both Sides," the band's first single, was based off an old riff given by Devoto's Buzzcocks partner Pete Shelley, and the guts of follow-up single "Touch and Go" were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However -- this point is crucial -- instead of playing mindlessly sloppy variants of "Hang on to Yourself," "Search and Destroy," and "Virginia Plain," the band was inspired by the much more adventurous Low, The Idiot, and "For Your Pleasure." That is the driving force behind Real Life's status as one of the post-punk era's major jump-off points. Punk's untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic. The rapidly careening "Shot by Both Sides" (up there with PiL's "Public Image" as an indelible post-punk single) and the slowly unfolding "Parade" (the closest thing to a ballad, its hook is "Sometimes I forget that we're supposed to be in love") are equally ill-at-ease. The dynamism is all the more perceptible when Dave Formula's alternately flighty and assaultive keyboards are present: the opening "Definitive Gaze," for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in "The Light Pours out of Me," a song that defines Magazine more than "Shot by Both Sides," while also functioning as the closest the band got to making an anthem. Various aspects of Devoto's personality and legacy, truly brought forth throughout this album, have been transferred and blown up throughout the careers of Momus (the restless, unapologetic intellectual), Thom Yorke (the pensive outsider), and maybe even Luke Haines (the nonchalantly acidic crank).




HEAR

Mogwai - Young Team

Hey I like this! Yeah it's moody and measured! You got a problem with that?

________________


Allmusic: Young Team, Mogwai's first full-length album fulfills the promise of their early singles and EPs, offering a complex, intertwining set of crawling instrumentals, shimmering soundscapes, and shards of noise. Picking up where Ten Rapid left off, Mogwai use the sheer length of an album to their advantage, recording a series of songs that meld together — it's easy to forget where one song begins and the other ends. The record itself takes its time to begin, as the sound of chiming processed guitars and murmured sampled vocals floats to the surface. Throughout the album, the sound of the band keeps shifting, and it's not just through explosions of noise — Mogwai isn't merely jamming, they have a planned vision, subtly texturing their music with small, telling details. When the epic "Mogwai Fears Satan" draws the album to a close, it becomes clear that the band has expanded the horizons of post-rock, creating a record of sonic invention and emotional force that sounds unlike anything their guitar-based contemporaries have created.


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Squarepusher - Big Loada

Some drum n bass n acid, which is woefully underrepresented here. Whattya expect from a blog run by a bunch of straight white dudes in their 40s who are afraid to cut loose in front of anyone other than their toddler children?

Brain frying & mezzzzmerizing. _____________________________

Brainwashed Review: Squarepusher is Tom Jenkinson.

Overall impression: excellent. Nothing Records has finally bothered to put some Squarepusher out domestically in the States! "Big Loada" and the new album, "Music is Rotted One Note" are my first exposure to Tom's music and I'm very impressed by both even though these 2 discs are very different from one another. Nothing took the original "Big Loada" ep, rearranged the track listing a little and added the "Port Rhombus" ep ("Port Rhombus", "Problem Child", "Significant Others") and two tracks from the "Vic Acid" ep ("The Barn" and "Lone Ravers"), as well as tacking on the spiffy Chris Cunningham directed (see also Aphex Twin "Come to Daddy" video) "Come on My Selector" video in quicktime format. "Big Loada" is insanely complex, jazzy, hyperspeed drill 'n bass with the usual quirky samples and melodies (ala Aphex Twin, u-ziq, etc) and lots of bass guitar fills *played* by Tom. Each song is a hodgepodge, cut 'n paste smorbasbord of percussion, bass, bass guitar, and all sorts of miscellaneous bleeps, bells, whistles and keyboard sounds all tightly woven together in a brain numbing blast of sound. Occasionally the speed slows down here and there to slip into a nice groove, such as on "Massif", "Tequila Fish" and "Port Rhombus".

Really fun stuff, but something I have to be in the mood for or my brain may either melt or explode. Now I see what all the hype is about ... Tom is one talented guy, whether it be pushing buttons on his machines or playing live bass guitar, drums and keyboards (see also "Music is Rotted One Note"). I'm very happy to finally get my hands on this at domestic prices and I'm looking forward to whatever else Nothing releases from the backcatalogue ...

HEAR

The Singing Nun - Soeur Sourire

Awash in obscurism and post-holiday stupor, I deliver unto you this gift - less for the music than the story.

The Singing Nun, Sister Luc-Gabrielle, (aka Jeanine Deckers) recorded souvenir records to be given away to guests of her convent in Belgium. Somehow she became a sensation in Europe as a result. In December, 1963, her single, Dominique, topped the US pop charts for 4 weeks. In the wake of JFK's assasination radio stations turned to softer and more religious themed music and the Singing Nun fit the bill. The song relegated Louie Louie to the #2 spot.

Shortly after the success she left the convent feeling the church was too conservative. She had never desired the limelight and also left the music business. But in 1966 she recorded a second album pointedly titled I Am Not A Star that failed disastrously, though it did take on several controversial subjects and included the ode to birth control, Glory be to God for the Golden Pill. When the album tanked she founded and ran a school for children with autism.

A sappy biopic about her starring Debbie Reynolds and Ricardo Montalban was released in 1966, though Deckers denounced it as complete fiction.

Throughout the 70's she fought the Belgian government over their demand for payment of back taxes. She claimed the convent and a former manager had taken most of her money. She also came out as a lesbian. In 1982, out of desperation she recorded Dominique again as sort of a new wave disco cover in hopes of raising the funds needed to pay the back taxes. It bombed. Three years later, citing the financial pressures she and her lover of the previous ten years committed suicide. Ironically, the very day of their deaths, and unbeknownst to them, the Belgian equivalent of ASCAP awarded her $300,000 in back royalties owed her - more than enough to have paid off her $65,000 in back taxes.

To this day she remains the only Belgian artist to ever top the US charts.

So settle back and sing along with the sister - just don't make it a habit.

Hear

And here's a vid of the 1982 disco version (very much a camp classic).

Butthole Surfers - Psychic... Powerless... Another Man's Sac

Must keep it a little weird around here or I start getting paranoid.

____________________

Wikipedia: The band embarked on a decidedly more psychedelic direction with their first LP. However, while the album's first half, and in particular "Cherub," have definite psychedelic qualities, elements of traditional punk ("Butthole Surfer"), blues ("Lady Sniff"), surf rock ("Mexican Caravan"), and country rock ("Gary Floyd") are also on display.

Dum Dum is also notable for being another song in the Butthole Surfers' catalogue to be based around parts of a Black Sabbath song whilst the lyrics revolve around an entirely different concept from the original. The drums are lifted in this instance, from Children Of The Grave, from the Master Of Reality album.

Many of Psychic...'s tracks were enhanced with extensive tape editing and, in some cases, the addition of non-traditional instrumentation, including the barrage of bizarre sounds (spitting, vomiting, Spanish radio station, etc.) heard in "Lady Sniff." Lead vocalist Gibby Haynes debuted a new vocal technique by singing through a bullhorn for some songs, and played saxophone and eardrums on "Negro Observer" and "Cowboy Bob." This was the first Surfers studio album to feature double drummers King Coffey and Teresa Nervosa, and the last with bass player Bill Jolly, who had also performed on the band's first two releases.

Approximately half the songs on this album, including "Negro Observer," "Lady Sniff," "Cherub," "Mexican Caravan," "Cowboy Bob," and "Gary Floyd," are staples of the Surfers' live shows.

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Debarge - In A Special Way

Undoubtedly a perfect example of it is what it is. Pure and sincere and I really don't use that many (different) drugs anymore... unless you call sweet cleans soul some kinda jenke then geddemn hook a brother up, na mean!?

This forces to remove you from your hepster barriers, your kool suspenders. Jyst listen.

______________________

From the Dean of American Rock Critics, Robert Christgau: When first I fell in love with the austere lilt and falsetto fantasy they've pinned to plastic here, I thought it was just that I'd finally outgrown the high-energy fixation that's always blocked my emotional access to falsetto ballads. So I went back to Spinners and Blue Magic, Philip Bailey and my man Russell Thompkins Jr., and indeed, they all struck a little deeper--but only, I soon realized, because the superior skill of these kids had opened me up. I know of no pop music more shameless in its pursuit of pure beauty--not emotional (much less intellectual) expression, just voices joining for their own sweet sake, with the subtle Latinized rhythms (like the close harmonies themselves) working to soften odd melodic shapes and strengthen the music's weave. High energy doesn't always manifest itself as speed and volume--sometimes it gets winnowed down to its essence. A+

LINK REMOVED

S.O.S. Band - On The Rise

Debarge may fill somebody's pipe, but this is my wayback crack.

Jimmy Jam and Terry Lewis slapped this shit around till it got enough groove to sell some records, but kept the funk that made it honest.

Go ahead, just try to keep your ass in one spot when it busts out with Just Be Good To Me. Go ahead, I dare ya.

Get up on this.

Hear
Password = 80sonspeed

Art Pepper - Meets The Rhythim Section

Chet Baker always gets the nod when the whole West Coast Cool scene gets talked about. He could play, had a distinctive voice, was movie star pretty, and his self-destructive mythology makes for good copy. Never mind that Baker actually loved the myth and loved being a junkie even more.

Art Pepper was a different cat. He was as cool, but his self-destruction was not his delight. He didn't like being a junkie, fought his addiction and its negative affects with on and off success throughout his life. And unlike Baker, he became a better musician by the end.

After a couple of stints in the clink in the mid 50s, he was really trying to get clean when he got the chance to record this piece, a comeback of sorts. It was arranged for him by his wife, though she kept it a secret from him so as not to send him spiraling down. He was only informed of the session the morning of.

He hadn't played in 6 months. His horn was broken and he had to fashion a working instrument from borrowed pieces. Packing a dried-out cork taped to his sax with a bandaid he stepped into the studio shaking like a leaf. It only got worse for him. The sidemen were Miles' guys, men he had idolized, but never met (and had not been told would be there): Red Garland, Paul Chambers, and Philly Joe Jones. They were the epitome of East Coast Hot. The first number they laid down, You'd Be So Nice To Come Home To, Pepper literally forgot the melody and was forced to figure it out as tape ran. Everything said this session would be a disaster.

Nothing could be further from the truth.

It is precisely the looseness/tension. the Cool/Hot, the desperation/ahh, fuck it feeling that makes this Pepper's best recording from his early years. He grows and gains confidence throughout the record. You can hear his bandmates challenging him on, popping him forward. It is at times dazzling as in Tin Tin Deo when he rips away the cool and swings it hard before dropping it back into an ocean of ease.

Out of context it's a stand out recording, but with its history this record is a testament to brilliant musicianship, courage under fire, and a man beating back his demons, if only for a while.

Hear

The Templeton Twins with Teddy Turner's Bunsen Burners - Trill It Like It Was [1970]

I found this little oddity after an evening of drunken discussion wherein I made asinine statements along the lines of, "I could always hear a little Van Halen in Clear Spot after I discovered Ted Templeton produced it." The next morning found me browsing Ted's production oeuvre over the years. Beyond that brief stint with the Captain and VH, I wasn't that familiar. Amidst many mediocre albums the following stuck out on his wiki page:

"That same year (1970), Templeman recorded what is now considered a cult classic. Using doubletracking, he appeared as "The Templeton Twins" backed by "Teddy Turner & his Bunsen Burners," recording contemporary hits of the time such as "Hey Jude" and "Light My Fire" in a pseudo-1920s style."

My interest piqued, quick research found this long out of print, but "available" out there as a relatively clean vinyl rip. It's quite goofy, dripping with pastiche, but technically very refined and occasionally inspired. Spinning Wheel really stands out for me, as does Everybody's Talkin'.


I'm not certain on the editions released of this album, but I've found a few candidates for album art which I hope covers Baywatch's ecru/chartreuse marble vinyl Swedish version.

Light up a bunsen burner in your speakeasy.

(merely because Don was mentioned we must pay tribute with one of his straight up finest ballads. I always thought Nassau era Sea and Cake should have covered this.)

Van Dyke Parks - Song Cycle

So I've spent a lot of tonight and yesternight listening to this and Debarge's "In A Special Way" and yes I'm super close to losing my shit... in a good way. I may post this Debarge record because, for what it is, it is perfect. But for now, here's Parks' best. This is like the voice in your head. You know the one you hear when you want to shoplift Starburst and tape mirrors to your shoes.

_______________

AMG: Van Dyke Parks moved on from the Beach Boys' abortive SMiLE sessions to record his own solo debut, Song Cycle, an audacious and occasionally brilliant attempt to mount a fully orchestrated, classically minded work within the context of contemporary pop. As indicated by its title, Song Cycle is a thematically coherent work, one which attempts to embrace the breadth of American popular music; bluegrass, ragtime, show tunes -- nothing escapes Parks' radar, and the sheer eclecticism and individualism of his work is remarkable. Opening with "Vine Street," authored by Randy Newman (another pop composer with serious classical aspirations), the album is both forward-thinking and backward-minded, a collision of bygone musical styles with the progressive sensibilities of the late '60s; while occasionally overambitious and at times insufferably coy, it's nevertheless a one-of-a-kind record, the product of true inspiration.


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Karlheinz Stockhausen - Gesang Der Junglinge, Kontakte

A great collection of Stockhausen's classic and well-crafted electronic music. An electronic composition realized on tape during the years 1955-1956, "Gesang der Jünglinge" is perhaps the best-known of Stockhausen's compositions. It was originally scored for five loudspeaker groups, but has been most widely heard in the mono and stereophonic versions prepared for vinyl records by the composer. The basic sound and emotional image described by the title is that of the well-known story of the youths who miraculously survive being thrown into the fiery furnace, from the Bible, Book of Daniel, chapter three. Stockhausen successfully combines the sound of the natural sung voice with beautiful electronic sound, in what today would be termed audio-morphing, as the voice and electronic tones subtly interchange and blend. "Wherever the music's audible signals momentarily become human speech, it is always in the praise of God"


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Walter Wanderley - Rain Forest

Don't we owe this here forest a nod, an ass grab, a low five, a salut for its almost daily enrichment of our otherwise sordid and unfulfilling lives filled with torment, dread, unanswered anticipation and high fructose corn syrup?

Doing a little research on Wanderley releases I came across the following blog post on this record. I think this says way more than intended and does this record a fine honor. Sexy music, I say!

from LORONIX blog: This amazing cover shows a Toucan, a Ramphastos. They are not social like zecalouro but are really beautiful. Perhaps only a few Loronixers had the chance to touch a Toucan and take a closer look. An angry Toucan can make serious injury to each other when there are fertile females around. Their beautiful big peak is hot like the body with a thin tongue.

Well, this is a music blog and zecalouro is going nuts! Let's go back to business...



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Julius Hemphill - Dogon A. D.

(Best AMG review ever): This historic album features four then-unknowns on three lengthy avant-garde explorations that were quite influential not only in St. Louis (where they were recorded) but eventually on such diverse players as altoists Tim Berne and David Sanborn. Julius Hemphill (on alto and flute), trumpeter Baikida Carroll, cellist Abdul Wadud, and drummer Philip Wilson are in superb form, both as soloists and in ensembles where they react instantly to each other. This important music is better to be heard than described.

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John Lee Hooker and The Groundhogs - Hooker and The Hogs

Just the right thing for when you're tired, when your bed squeaks, when your woman don't come home, when you ain't got nothing to drink, when your feet hurt, when you ain't getting any younger, when the grilled cheese burns...

...and yes THOSE Groundhogs. SOLID!

____________________


AMG: McPhee and the Groundhogs' most important musical legacy, this 1996 reissue of Hooker & The Hogs has an unusual history. Tony McPhee and the Groundhogs first played with John Lee Hooker in June of 1964, when John Mayall & the Bluesbreakers were unable to fulfill a commitment to back Hooker on the final week of his British tour. The Groundhogs were deputized on the spot and played their first show with him at the Twisted Wheel in Manchester. At the end of the week, Hooker told McPhee how much he liked working with his band and agreed to use the Groundhogs as his backing band on his next visit to England. Hooker was back in May and June of 1965, and not only used them as his band but recorded this album with the Groundhogs. The band was Tony McPhee on guitar, Peter Cruickshank on bass, Dave Boorman on drums, and Tom Parker on keyboards -- some of the stuff here may have surfaced elsewhere, on the Interchord label (as Don't Want Nobody) with brass dubbed on, but this release consists of the undubbed recordings. The sound is raw, tight, and raunchy, some of the best band-backed recordings of Hooker's career. He's notoriously difficult to play support for because of the spontaneity of his work, but these guys keep up and then some, adding engaging flourishes and grace notes. Hooker is in excellent voice, and his material is as strong as any album in his output, rough, dark, and moody. The ominous, surging "Little Dreamer" is worth the price of admission all by itself. The 11 tracks with the Groundhogs are rounded out with four Hooker solo bonus tracks, which are even louder and more savage than the Groundhogs' stuff, though a little noisy (like that ever mattered with The Hook).


HEAR

Unrest - Perfect Teeth [1993]

once again. duh. simply fucking brilliant.

HEARt

[note: this be da teenbeat original ish, no bonus trx]

Unrest - Imperial f.f.r.r. [1992]

?

i can't escape this so why should you

?

hipsters praise it so why don't you

?

(ser)iously, i love this so bad it HURTz.

(but then again), we be one of THEM

Olde Moderne Farts who sayeth:

Fuck Yr Camp (aka "aesthetic"),

Quality : Quality

and this here

mes amis

is

qUALITY

tHE-ARt

[note: this be da teenbeat original ish, no bonus trx]

John Cale / Tony Conrad / Angus Maclise / La Monte Young / Marian Zazeela - Inside The Dream Syndicate Volume I: Day of Niagara (1965)

rocky saith:

let's take it

all the way out there

for a minute (or thirty)...

~~~~~~~~~

boomkat saith: Listening to 'Inside the Dream Syndicate Volume I: Day of Niagara' you're likely to be struck with one unassailable thought; how on earth can this be 45 years old?!

A single extended piece, 'Inside the Dream Syndicate...' is retrospectively credited as being one of the most important recordings to emerge from the mid-1960's, a product of the extraordinary sonic force conjured into being by John Cale, Tony Conrad, Angus Maclise, La Monte Young and Marian Zazeela.

Essentially one fluctuating drone

which is both softened and serrated

by Cale and Conrad's conflicting violin styles.

~~~~~~~~~

amg saith: Since its initial release, controversy has swirled around this album.

In the early '60s, John Cale, Tony Conrad, La Monte Young, Angus Maclise, and Marian Zazeela were all a part of New York's underground music and emergent minimalist scenes. In a variety of formations, usually involving Cale, Conrad, and Young, they played together billed alternately as the Theater of Eternal Music or as the Dream Syndicate.

Together they were articulating what were to become the central tenets of American minimalism. They disbanded around 1965, and since then all involved have staked, depending on the day and weather, various claims to the group's musical and philosophical ideas and -- more importantly in this case -- unreleased recordings.

This album, a remastered copy of a tape from one of the Dream Syndicate's sessions recorded in Young's Church Street apartment, was released without anyone's expressed written consent and occasioned a ten-page statement from Young and his lawyer contesting the label's legal authority to put out this "unauthorized bootleg."

The record makes these issues of intellectual property all the more critical, as the few obscure albums from the Dream Syndicate are long out of print and notoriously difficult to find.

For anyone who cares about the history of American music, however, the album is an exceptional piece of musical history. All of the early precepts of minimalism are present -- incremental variation, drone, sustained pitch -- as well as the emphasis on group creation through improvisation. Unfortunately, the mix is not overwhelming in quality, and the effects of the interplay among instruments is lessened.

Nonetheless, the album is sonically beatific, formally profound, and an incomparable look inside the Syndicate. Table of the Elements should be praised for letting the chips fall where they may in the interest of a more complete understanding of music history, especially since history is still too near to clearly substantiate anyone's claims.

~~~~~~~~~

HEAR

(link removed at request of copyright holder)

go findee on amazondotcom!

Thinking Fellers Union Local #282 - Admonishing The Bishop

This record doesn't try to be anyone or anything it isn't. Sometimes when you don't give 110% you get 100%.

There were times this band just out n' out nailed it. Hurricane is one of those moments. There are other times this band kind of missed it. This EP skipped those moments.

I thought everyone had a million dollars

________________________


HEAR

The Vaselines - Enter The Vaselines

I guess I didn't really get the Vaselines until just recently. Maybe I figured Scots couldn't be this overtly snarky. I'm not sure. Perhaps I didn't investigate enough, prematurely writing them off as another moody lot. I get it now. I really get it. Get it. Got it. Good.

p.s. it would nice for once to encounter things about the Vaselines, Meat Puppets & Daniel Johnston that didn't incessantly namecheck CKurt Cobain. There have been a lot of suicidal junkies who loved these bands.

_______________________


Allmusic: Kurt Cobain made plenty of mistakes in his life, but loving the Vaselines was not among them. Nirvana covered three of their songs, and as Kurt might tell you if he were alive today, from 1986 to 1989 the Vaselines were the best pop band around. Sub Pop was smart enough to cash in on the Nirvana connection, and in 1992 released the career retrospective The Way of the Vaselines: A Complete History. From the stomping, singalong opener "Son of a Gun" to the distorted and nasty "Let's Get Ugly" 17 tracks later, this collection was the Holy Grail of indie pop. In 2009, hot off of Eugene Kelly and Frances McKee's reunion (and appearance at Sub Pop's 20th anniversary bash), the label remastered the studio recordings, added a second disc of demos and live performances, and retitled the whole thing Enter the Vaselines.

The Vaselines' music is unfailingly amateurish, almost completely silly, occasionally quite perverted, and always about sex. It has the simplicity and ear-grabbing melodies of the best bubblegum, the loud and semi-competent guitars of punk, and some of the attitude and lo-fi sound of their noise rock contemporaries like the Jesus and Mary Chain. They also had a charmingly unschooled vocal approach (Kelly sounding cool and tough, McKee sweet as pie) with a fleeting acquaintance to pitch but tons of humor, attitude, and style. Throw in a bunch of religion and add brilliantly simple choruses that will have you singing along the first time you hear the songs (as well as the thousandth), and you've got genius. This brilliance shines brightest on the band's first two EPs, which were recorded by Stephen Pastel and contain the songs the group was best known for, like "Molly's Lips," "Jesus Wants Me for a Sunbeam," and "Son of a Gun." The full-length album Dum-Dum, recorded without Pastel's guidance and with a bulked-up, rockier sound, is still quite amazing and features some timelessly cool songs like "Sex Sux (Amen)," which includes the immortal line "Father, Son, and the Holy Ghost/I'm the Sacred Host with the most," the rip-roaring "Monsterpussy," and the hilarious "The Day I Was a Horse." Taken together, the band's official output is brainy, funny, sexy, catchy pop music at its best.

So if the first disc of Enter the Vaselines is absolutely essential, the bonus disc is for fanatics only. The demos for "Son of a Gun" and unrecorded songs "Rosary Job" and "Red Poppy" are interesting from a historical perspective but not very listenable, as the duo hadn't really put its sound together yet. The live set from December of 1986 (three months before the first EP was recorded) is a sloppy, stiff performance with Kelly and McKee backed by a drum machine and fighting to be heard above the din of the unimpressed crowd. Much better is the live set from 1988 with a full band playing songs from the EPs and Dum-Dum (and a cover of Gary Glitter's "I Didn't Know I Loved You ['Til I Saw You Rock 'n' Roll]") in front of a semi-enthusiastic crowd. They still sound raw and amateurish but also like they are having much more fun. Kelly, McKee, and Pastel also seem to have had fun when they sat down for the chat about the history of the band that is a part of the set's beautiful packaging. Credit Sub Pop for putting tons of effort into the release of Enter the Vaselines and treating the band and the music with the respect they deserve. For a short period of time, there was nothing like them on Earth.



HEAR Disc 1

HEAR Disc 2

Blue in Heaven - All the Gods Men [1985]

BLUE IN HEAVEN!

bass parts that are admittedly sometimes quite complex and sonically compelling

reacquaintance: curtsey obscurely fragile.

too precious for you! i was

introduced to this via processed

back in the day

i fell for it hard then,

harder than most folks did at the time,

and maybe still doubtless harder than is unwarranted now,

but hey, nostalgia kicks all ass sideways, no?

for reference, id say go straight to

"It's Saturday"

and maybe after that, look

"In Your Eyes"

minor, slight, affected, purrrfect.

or hey,

if you're looking for pure pop potential,

head straight to "The Big Beat"

with the priceless lines:

"you boys are really wild / wear you hair on top of your head"

and

"you're so stupid, you believe in everything / will i like you when I'm high?"

HEAR

(oh yeah, and this be vintage martin hannett)

Arms of Someone New - Susan Sleepwalking [1985]

Arms of Someone New!

darkwave aesthetic

reacquaintance: curtsey totally wired.

too precious for you! i was

introduced to this via processed

back in the day

i fell for it hard then,

harder than most folks did at the time,

and maybe still doubtless harder than is unwarranted now,

but hey, nostalgia kicks all ass sideways, no?

for reference, id say go straight to

"With Louise"

and maybe after that, look at a

"Turner Sky"

minor, slight, affected, purrrfect.

or hey,

if your looking for pure pop potential,

head straight to "Susan Slept Here"

HEAR