30 songs that blew my mind (that you probably haven’t heard of) – Part 6

In the three years it took to complete this list, you may have heard of some of these. 

  1. Beat Around The Bush (feat. Somersault) – Nothing 

I had to have a Nothing track on this list, and of course that track would be from their first and finest (don’t @ me for speaking facts) Guilty of Everything

Every song speaks to someone, but not everyone could tell you why. This entry was a toss-up between ‘Beat Around The Bush’ and ‘Somersault.’ ‘Somersault’s matter-of-fact simplicity speaks for us. ‘Outside the door the world’s alive/I’ll stay and hide on the other side’ – an empathetic companion at the best of times – and more so in 2020.  

‘Beat Around the Bush’, meanwhile, speaks to us – of an experience, alien and unfamiliar, but one that still resonates. We understand what’s being talked about even though we haven’t quite lived it ourselves. ‘God in men, our souls are spent/can’t be saved, can’t repent’  – if you can’t relate to the religious overtones, you can feel them. It may not tell our story, but we can sit by it and listen. 

  1. Mind the Wires – Tears Run Rings 

Say what you will about music piracy and try to convince yourself that you wouldn’t download a car, but I owe a debt of gratitude to the bootleggers of the mid 2000s who put shoegaze and dreampop mixtapes up to torrent. I downloaded music then, so I know what to pay for now. There is no way I  would have chanced upon Tears Run Rings (among other new-gaze classics) without the mixtape creators, their torrents, their seeders and the mediafire links buried in obscure blogspots.  

It’s a shame ‘Mind The Wires’ came out when it did – in a label-free music non-industry – because it has all the elements that could have made it an iconic shoegaze track if it had come out fifteen years earlier: lyrics hovering above the range of human comprehension, a haunting vocal hook, melancholy and rapture.  

Most incredibly, and like most of their tracks, ‘Mind The Wires’ was recorded remotely. More about their process of creation and AE’s stab at what the lyrics are saying here

  1. Low/Lilitu – Blueneck 

Please spare me your righteous anger as, for the fourth time in this series, a single spot is occupied by more than one song. You should be grateful, if anything, to receive more bang for your internet buck.  

Sonic siblings ‘Low’ and ‘Lilitu’ sit three songs apart on Blueneck’s otherworldly The Fallen Host. These are songs that are so expansive, so intricate and layered, they leave you feeling like you’ve lived an entire lifetime by the time they end. Sated, fulfilled, self-actualised, you wait to ascend to a higher plane. But instead of nirvana, you’re met with silence. Then the dull drone of reality fades in as you descend back to the mundane.  

PROTIP: avoid the inevitable deception AND get a bonus sleep aid by playing ‘Low’ and/or ‘Lilitu’ once you’re in bed. I’m pretty sure their cosmic vibrations are in tune with the human body. Melt into moksha and stave off the real world for another 8 hours.  

  1. Restrained in a Moment (I Love You) – The Royal Family and The Poor 

You don’t know this, but I’m a YouTube influencer. In a time before streaming was a thing, I wanted a space where some of my obscure, overlooked discoveries could be preserved*. There’s a whole debate to be had on the ethics of copyright and intellectual property, but the truth is that a) at the time there was no more convenient way to share a song with someone than through a YouTube link, and b) as mentioned, if it wasn’t for the songs shared by other people then, it’s unlikely I’d be supporting my bands financially today.  

I don’t even know how I found The Royal Family and the Poor. it was probably during the phase when I was excavating fossils of the 80s British indie scene. On first listen ‘Restrained in a Moment’ was a masterpiece. Why did it move me so? I was at a loss for words. 

When I uploaded it to YouTube, the comments started coming in – they still do today – and they put words to the feeling I couldn’t describe. Of the handful of videos I shared, this one gets the most heartfelt, emotional and grateful response. I have the words now, but to appreciate the intimacy of the song, just click the video above and go through the comments. 

*Fun Fact: among these obscurities was pinkshinyultrablast’s ‘Blaster’ which was subsequently pulled down when Umi released and they became a big deal. 

  1. Makes No Sense – Soundpool 

Do you know what really makes no sense? There is no other song in the world that sounds anything like the heady disco-shoegaze Soundpool invented with this one track. I would give anything to have an entire album that is composed up of nothing but this goosebumpy nostalgia for a time I never knew. The rest of Mirrors in Your Eyes comes close but even it can’t replicate, the unfiltered warmth, joy and sparkle of ‘Makes No Sense.’ It’s like a comet – you’re  lucky if you experience it in your lifetime. Yet the eternal question remains: how can something so unique sound so, so familiar? 

— 

Nothing – Tired of Tomorrow

There’s no romance in a Nothing track. There’s no glamour, triumph or tragedy, even though each of their albums is born out of the third. Nothing never bemoan their lot. Their days, like ours, are made of bad decisions and bad luck. Their lives, like ours, a series of unfortunate events. And while we can live in the hope that tomorrow may be a better day, it probably won’t be.

There’s no sadness in this revelation; just a quiet acceptance of an unchangeable reality. There’s no anger, except towards impossible optimism thrust our way. ‘Vertigo Flowers’, the first track we heard off Tired of Tomorrow back in early March, is possibly the most overtly hostile song on the album, opening with an unembellished: “I hate everything you’re saying”. It’s a sonic powerhouse that manages to legitimise rather than stigmatise feelings of anxiety and paranoia with a simple “watch out for those who dare to say/that everything will be okay”.

Album opener, ‘Fever Queen’, is an explicit admission of mistakes made and repeated. It launches the album with a beautiful burst of exasperated noise. “I should know now / that I shouldn’t push you away”, Dominico Palermo stretches each syllable to its limits as if there can be no other way to drive the message home. We hear no promise of resolution – the damage is irreversible.

A little later, we meet another beautiful noise jam intro. ‘A.C.D (Abcessive Compulsive Disorder)’ is a glorious, self-loathing dissection of the end of a relationship, setting casually brutal imagery against compositions that serve as more than a passing nod to Nirvana. ‘Eaten by Worms’ may be an even more blatant homage to mid-Nineties alt-rock, with its jagged guitars, fierce percussion and soft-loud dynamics.

‘Nineteen-Ninety Heaven,’ on the other hand, falls directly into shoegaze territory, with references to Ride evident in the percussion. The composition here is nearly hymnal, and Dominico’s somnolent tone easy to misinterpret as tranquil, until you hear “I’m living in a dream world / life’s a nightmare.”

Like its predecessor, Nothing choose to close this album with the title track. The song ‘Tired of Tomorrow’ is little like the bulk of the album – or indeed anything Nothing have ever done before – exuding both vulnerability and defeatism- qualities heightened exquisitely with the support of a cello and violin. We’d met the same helplessness before when Guilty of Everything left us with the lines “I’ve given up / But you shoot anyway / I’m guilty of everything” ‘Tired of Tomorrow’ is less introspective and speaks to us directly, as sorrowful friends and comrades who are all “stranded in today”. “Rejoice if we are allied”, it says, “our everything Is empty on the inside”.

There’s no romance on this album. Nothing shine a stark white light on reality. As they always have.

Originally published on Drowned in Sound

Broken tools and bent nails: why Nothing matters

Maybe the reason we’re so drawn to Nothing is that, like us, they don’t preach happy endings.

Maybe it’s because, like us, they don’t encourage a life of success driven by misattributed quotations.

Maybe it’s because they make it OK to be average.
And to give up.
To live a life of quiet mediocrity.
To fail and to stay failed.
To let go.

I’m built to bleed
Plan my ruin guiltlessly
Another John who’s lost his head
I’m a bent nail
You’ve got no use for me
A monster for eternity

 

Maybe it’s because they confirm what you’ve always suspected.
That it’s not going to get better.

And I hate
Everything you’re saying.
Watch out for those
Who dare to say
That everything
Will be OK.

 

They validate our solitude.
And the outliers among us.
Our obligation to exist.
To wait.
And to vanish.

Outside the door the world’s alive.
I’ll stay and hide on the other side.

 

See also: Built to Bleed

Built to Bleed

This is for the ones didn’t overcome the odds
Still stacked against them.

For the ones who dropped out of school
And didn’t launch a startup.

For the ones who left a career
To follow a dream that didn’t want them.

For the ones who fought a family for a lover.
And lost.

For the ones who gave up when the going got tough
And the ones who didn’t even try.

This is for the ones who don’t roll with the punches.

They’re built to bleed

But it’s all right.
If you feel like letting go.

Confessions of a Whirrshipper AKA Album of the Year 2014

The bandmance between Whirr and Nothing is legendary, and the friendly rivalry/imminent bloodshed between Whirr fans and Nothing fans maybe even more so. Hop over to either band’s page on last.fm and you’ll find comment after pointless comment fighting the interminable fight to answer the question that has haunted mankind for the last four months.

Guilty of Everything or Sway?

At AE, we pride ourselves on being a beacon of unwavering objectivity. If it’s emotionless appraisal you’re after, you’ve come to right place. Aglet Eaters never allows its opinions to be swayed by even the most dogged of majorities, least of all by a majority that erroneously believes Nothing’s Guilty of Everything is a better album than Whirr’s Sway. Such a majority is not only mistaken, but also partially deaf.

I say they are only ‘partially deaf’ because there is no doubt that Guilty of Everything is the second-strongest album to come out of 2014. Who can even count the number of babies that were conceived to the outro of ‘Bent Nail’? Who hasn’t abruptly deserted a significant other in favour of a life of solitary prayer and devotion to ‘Beat Around the Bush’? How many wars have we prevented by simply seguing from ‘Endlessly’ into ‘Somersault’?

But to say it is superior to Sway? Impossible! NOTHING is better than anything by Whirr.

(…OK I see what might have happened.)

Whirr aren’t receiving a whole lot of love at the moment, owing to their slightly abrasive online personas. You’re not supposed to mistreat your fans, apparently, but if you don’t, then how can you tell apart the ones who really, really, really, legitimately love you always and forever <3 <3 <3 ?

See, you couldn’t pay me to not listen to Whirr. You could try, though, if you’re the kind that enjoys a challenge. Whirr could run over my foot with a stretch Hummer and I would ignore the crushed appendage as well as the wanton destruction of the ozone layer and still limp loyally behind them. Whirr could sleep with my best friend and hold me responsible for their lapse in judgment and I would still love them more than my own useless life. Whirr could put out a restraining order against me and I would remain stolidly convinced that they’re just playing hard to get. Under pain of death, the absolute worst I can say about Whirr is that the first 15 seconds of ‘Swoon‘ are probably unnecessary.

Despite Sway not being Distressor, who wouldn’t give up the rest of their lives for a day with the 20 second bridge at the end of ‘Press’ (2:22 – 2:42)? Lovers have died waiting for each other on either side of war-torn borders with “I like the theme of you and me swaying slowly” on their lips. And the day Hope leaves you, her parting words are “weigh me down and cry”.

 

I’ve played Sway so often, even Whirr have told me to get a life.

I can’t.

It’s playing again.

Album of the year 2014.

Don’t let anyone tell you otherwise.