30 Songs That Blew My Mind (that you probably haven’t heard of) – Part 3

You could’ve knocked me over with a feather. Tracks 11-15 are here:

11. Distressor EP – Whirr: This isn’t a track, but I’m making an exception for one of the most significant releases of my lifetime. I used to listen to Distressor every day on my 1.5 hour commute home from work back in 2010. It ‘spoke’ to me, for no discernible reason. If you ask me today, I could swear that every year since 2010 was composed solely of Whirr (who I called ‘Whirl‘ till the bitter end). One day we must have fused into one because five years later I saw my life play out to Distressor, and this time when it spoke to me I understood what it said.

See also: Stay With Me

12. Skies You Climb – Highspire: If Distressor plays out my life, ‘Skies You Climb’ is my persistence beyond life. One day I will no longer exist but ‘Skies You Climb’ will remain and with it so will I. It’s my ashes in the air, my ‘soul’ liberated, my atoms clinging to vapour and coalescing wherever the song goes. If you’re listening to this in 2100, say hi to that dust cloud in the room.

See also: Persistence 

13. The Soft Attack – the Daysleepers: It feels like you’re flying but recently I’ve come to figure it’s actually about dying. The sound of seagulls and crashing waves, memories of the sea, being dragged down and a cold snap give ‘The Soft Attack’ a more insidious meaning than the one I had originally interpreted. At the time, ‘The Soft Attack’ sounded like freedom. Even today, I hear it and I don’t see death. ‘The colours in my head‘ and ‘watching the seabirds dive‘ sound, to me, transcendent. There’s not a note of despair or despondency on this song. Whatever the intended meaning, it sounds to me like a passage to paradise. I can’t speak for what The Daysleepers wanted but we can make what we want of ‘The Soft Attack’ and boundless freedom is what I’ve always heard.

14. Hey – Blind Mr. Jones: To this day I fail to understand how a community as tightly knit as the shoegazers could let a band like Blind Mr. Jones slip into oblivion. My own attempts to locate them – if only just to say thank you – have failed.

I first heard ‘Hey’ back in my Shoegaze 101 days and I still struggle to find a fault with the track beyond its unsatisfying fade-out. How I lap up every note and how I used to – and still do – delight in spitting out the final, disdainful verse: ‘Oh it’s another mess of a day/I’m lifeless and I’m sick and tired of what you’ve got to say/Oh it’s another waste of a day/I’m listless and I’m so, so bored of what you’ve got to say.‘ The lines were an anthem when I first heard them and they still stir up the same warm, fuzzy misanthropy.

15. Achilles’ Heel – Toploader: I tracked down ‘Achilles’ Heel’ two years after I first met it. In a rare moment of taste, the television threw it at me late one weeknight and left me transfixed. I was positive it was a programming error and that, surely, they meant to play twee people-pleaser ‘Dancing in the Moonlight’. I was probably right because that was the last time I saw it on TV. It was only a year or two later, with nothing but the melody that had been echoing in my head and a new, blazing 56 kbps internet connection, that I found it again. I call it a chance weeknight, but was that moment really a coincidence or were we always meant to find each other?

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.

Sway – Whirr

Les critiques de Sway le déclarent une abomination. Pitchfork l’a qualifié d’album « paralysé » dans sa critique incompréhensible et lui a donné 6,9 sur 10 (bien sûr, Pitchfork est lui-même un site web abominable – mais quand même…). Un autre site lui a donné 4 sur 10, disant, je cite, que « Les voix ressemblent plutôt à une murmure et on n’arrive pas à les comprendre. Sans ces voix, cet album transmettrait le même message. »

Evidemment, M. Smith n’a jamais écouté une note de shoegaze.

Moi, je n’ai eu besoin que de 30 secondes de ‘Press’ pour arriver à cette conclusion: nous n’avons pas eu – depuis Guilty of Everything par Nothing – une sortie si belle, si émouvante et si authentique. Comme son prédécesseur, Around, Sway reste fidèle à ses racines – un hommage respectueux aux origines du shoegaze. En même temps – comme dans toutes leurs créations – Whirr apporte son sens de l’actualité – le groupe ne vit pas dans le passé, mais l’amène avec lui, en l’intégrant dans une esthétique contemporaine.

Fidélité – Whirr est une manifestation du genre – de la ‘discorde’. C’est ça l’essence du shoegaze. Je suis sûre que les membres du groupe ne seraient pas d’accord avec moi, mais selon moi la contradiction est le cœur de ce type de musique. Les voix éthérées flottent au-dessus d’un bruit intolérable. Un groupe abrasif crée des chansons d’anges. Les journalistes/bloggeurs – ils n’arrivent pas à réconcilier les deux idées. Nous préférons une vie simple – composée de noir et de blanc. Le genre nous oblige à faire face à la réalité incongrue. Whirr – ils font la même chose.

C’est subjectif, la perception de la musique. Je l’accepte. Sauf que – non, il n’y a aucune doute que Whirr a sorti un album magnifique. Ce qui est ‘subjectif’ est l’interprétation de leurs bouffonneries sur Facebook. Le groupe – M. Basset, en particulier – ne respecte pas le ‘tact,’ et moi, je suis avec lui. Ça lui est égal. Pour Whirr, les fans ne servent à rien, et moi je suis ravie de cette vision. Je ne peux pas exprimer suffisamment mon respect pour des artistes qui créent l’art pour l’art et pas pour les gens. Et Whirr – Ils sont têtus, ils sont orgueilleux, et ils sont arrogants. Mais ils sont honnêtes et rien n’est important pour eux sinon la musique.

C’est ça – l’authenticité.