It’s pretty poor that I’ve never really listened to Orchestral Manoeuvres in the Dark. Not only are they one of the most crucial electronic bands of the 1980s, they’re also from just down the road from me. At least one of them went to the same school as I did – though much earlier!
The Ultimate Escape was an album constantly on my list of CDs to buy around this time, but I never did. With the wonders of today’s digital music subscription packages, I can at last listen to it.
As I’ve just done my 200th review of the year, I thought now would be a good time to review where I am and where I should be.
This oddly named project was mentioned on a list I read of the best Australian albums of the year. I thought I’d listen to it, if only because of the odd name.
I didn’t realise that Oliver Ackermann of the ridiculously loud A Place to Bury Strangers was previously involved an a band called Skywave that put out five or six albums of their own between 1998 and 2004. Their debut, Took the Sun, is hard to get hold of, or at least it would be if someone hadn’t uploaded it on YouTube.
The Duster album Stratosphere (which I reviewed earlier this year) randomly popped into my head yesterday. An internet trail I went on to do with the album led me to a Reddit post saying anyone who likes Stratosphere should listen to A Certain Smile, A Certain Sadness, the debut album by Duster’s fellow Californians Rocketship.
Time for another trip back into post-punk’s murky past. Birmingham band Swell Maps were actually formed in 1972, but little of their early work is available and it wasn’t until the end of the ’70s that they started to get attention.
I tend to like bands with ‘Trees’ in their name. Screaming Trees and And Also the Trees are two examples, along with the Polish band The Feral Trees who I discovered earlier this year. Plus I like trees themselves – how could you not?
The new fourth album from the indie electronic band The Naked and Famous is really all I have on my radar today in what’s a bit of a low-key week.
I’m always amazed at how many lost classics the ’90s still boasts, and I never stop finding new ones. This week, I heard a track by the Irish alt-rock/post-punk band Whipping Boy and was pretty awestruck by the powerful blend of poetry and captivating riffs.