“Pandemonium” video US version. Song from Pandemonium, the tenth studio album by Killing Joke released in June 1994 under the Zoo label.
This album marked Killing Joke’s return after a four year long hiatus, the longest the band has taken since it was initially founded. This album also featured the return of a founding member, as Youth replaced Paul Raven on bass.
The screaming descending guitars of the title track would become live staples.
Frontman Jaz Coleman considered the album a conceptual album considering the external influence of Arabic music that was spread throughout the entire album.
THIS IS OUR MUSIC: THE GO-BETWEENS – “You Tell Me”.
Song from Tallulah, the Go-Betweens fifth album, was supposed to be the band’s breakthrough recording in America. That said, its sound is nearly a full-on break with the edginess that began to fade on 1986′s Liberty Belle and The Black Diamond Express. More lush, rounded, and polished, it sounds like a record made in the mid-’80s thanks in large part to Lindy Morrison’s use of drum programs in addition to her trap kit. Add to this the contributions of new member Amanda Brown on violin, oboe, and backing vocals and one has a revamped band.
“You Tell Me,” sung by Forster, leads with distorted guitars held in check by the sweetness of the melody and Morrisson’s meld of trap and synthetic drumming. Once more, keyboards counter the guitars as Vickers accents the beat pushing Forster and the wafting backing vocals deeper inside lyric and melody.
Song taken from Treasure, the third studio album by Scottish alternative rock band. It was released on 1 November 1984, through record label 4AD. With this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bass guitarist Simon Raymonde. This new line-up also coincided with the development of the ethereal sound associated with the band’s music.
THIS IS OUR MUSIC: SAD LOVERS & GIANTS – “Sleep (Is for Everyone)”.
Song from Feeding the Flame, the second studio album by post-punk band Sad Lovers & Giants. It was released in 1983, through record label Midnight Music.
Watford, England’s Sad Lovers & Giants made few headlines but some strong LPs, arguably the best of which, and certainly the most somber, is this collection.
Its deftly played and arresting post-punk songs are built around Tristan Garel-Funk and David Woods’ subtle evocations of mood. Singer Garce Allard’s voice is at once brittle-sounding but self-assured. Both factors complement the sophisticated musical structures of songs such as “Sleep (Is for Everyone).”
It’s an album that argues for a reappraisal of one of the ’80s’ best-kept secrets.
One of Stiff Records’ most stable staples, the truly alternative Lene Lovich laid much of the groundwork for an entire generation of singers left to pick up the pieces in the wasteland of the post-punk era. Her stunning debut, 1979′s Stateless, was so unique, so vibrant, and her vocal stylings so unusual that the LP not only put her right at the front of the pack of nascent new wavers, it also sounded a commercial death knell of sorts, relegating her to the realms of novelty acts.
Lucky Number is a song released in 1979 as a B-side for her cover of “I Think We’re Alone Now,” the song quickly eclipsed its vehicle in terms of popularity and became a defining song of the new wave genre. Lucky Number was re-recorded and featured on the album Stateless, recorded for Stiff Records. It was also covered by Nina Hagen in German, titled “Wir leben immer… Noch” (“We are living… still“), published on the album Unbehagen, also released in 1979.
Song taken from Mars Needs Guitars!, Hoodoo Gurus’ second album. The title is a reference to the 1967 science fiction film, Mars Needs Women.
On this single, the Hoodoo Gurus, Australia’s most currently beloved band stateside, show they are up to the task of replicating the greatness they showed on their rip-roaring debut, Stoneage Romeos. “Bittersweet” is just that: classic ’60s pop with disciplined guitar and key-changing vocals. “Tears so bittersweet/Fill my eyes whenever we meet” will torture the hearts of all those who have had to deal with an ex they wish they were still with. This is what great pop is all about, and the high-range melody will draw you in just as quickly.