Why are Electrelane so underrated? When they made this: 11 years on, they are practically forgotten
You know you are getting older when your favourite musicians make it on to the cover of Mojo. Still I’ll be down WHSmiths later to get hold of this cover-mounted CD of covers from New Order’s Power, Corruption and Lies.
There’s also a heap of nostalgia to persuse on its website. Here’s a fine collection of YouTube hits
Paul Anderson is discussing. Toggle Comments
Listening to the Keeping It Peel podcast from FabricLive07. Splendid stuff.
Peter Hook’s new band The Light release their debut EP in early May featuring Rowetta (of Happy Mondays fame) on lead vocals and a back-catalogue of Joy Division songs to revisit. The EP, on Hacienda Records features Atmosphere, Insight and New Dawn Fades (all sung by Rowetta) plus Pictures in my Mind, with Hooky on vocals, which was an unfinished Joy Division song recently unearthed.
Doubtless the purists will be outraged that Hook is choosing to cover the work of his former band. My view is that if anyone is going to write the gospel it ought to be one of the disciples.
The cover (above) is by local digital artist James Chadderton. It shows the view of Whitworth Street West in Manchester. The building in the middle ground is the Hacienda, which of course has already been knocked down.
Here’s Hooky talking about the project on 6Music
This is what I pay my license fee for. 6Music has an audio tour of Ian Curtis’s favourite hangouts in Berlin.
The saddest and most eloquent song I’ve heard in a long while
The second half is pretty good two
This is my kind of music journalism. A track-by-track analysis of Joanna Newsom’s triple-album Have One on Me. It is meticulous, exhaustive and insightful and, surprisingly for such a long piece of contemporary criticism, contains very little about the actual critic in it at all, despite the first-person perspective. This is an essay, a proper one, that takes you through the 124 minutes of Newsom’s third studio album. It tries to explain each of Newsom’s song, understand her lyrics and place everything in context and that’s it. It’s also quite witty.
Joanna Newsom’s massive album is essential for anyone who has ever been in a codependent relationship, ruined a relationship via drinking, had their heart broken by a person who wants to be with everyone in the world and/or refuses to provide clarity on the future of your relationship or the likelihood of marriage and/or children, who experiences irrational worry about the stability of the relationship, who persists in a relationship despite knowing that its success is unlikely, who has been manipulative or manipulated, who prefers unavailable people, who is interested in historical figures, and who enjoys the sound of a harp.
So basically everyone.
Incidentally, the poster (above) is by Jack Dylan. You can buy a print from his site.
Bertie Blackman has a voice liked whipped cream: decadent, sensual, rich, delicious, but not something you want to take on its own. Taken alone the Australian chanteuse’s music, all sub-power ballads and Siouxie and the Banshees cover versions, is a touch heavy for my tastes. But at the hands of the right remixer, links below, her voice is transformed, into something utterly delightful, like say poached pears and cream.
The finest arts feature I have read for some time is this backgrounder to Billie Holiday’s Strange Fruit, which the Guardian’s Dorian Lynskey cites as the first great protest song. The technique in the feature is exemplary, note how Lynskey projects the atmosphere of the song’s first ever performance, through the clever use of the present tense, to describe a night at the infamous Cafe Society, a speakeasy in New York, in 1939.
The song was based on a poem by Abel Meeropol in response to the lynching of two black men in Indiana in 1930. It is harrowing to say the least.