Day 0980 - Fleet Foxes

Fleet Foxes "Fleet Foxes" (2008) - got it

I first heard Fleet Foxes probably over a decade ago.  The video for their song "Mykonos" got plenty of play late at night on our local music channel when I'd be watching TV after my evening/night shifts.   For some reason (possibly shift-related grumpiness) at the time I wanted to dislike it, but it stuck with me.   It stuck with me to the point that years later, out of the blue I found myself youtubing some of their songs and then picking up their debut album (with bonus "Sun God" EP) on vinyl.

The band were eventually signed to Sub-Pop (a label previously much more associated with the Seattle grunge movement) but not before they'd had to scrape together the money to make recordings themselves, with sessions taking places in houses/apartments of the band and their producer.

The album opens with glorious a cappella vocal harmonies on "White Winter Hymnal". Vocal harmonies go on to a recurrent feature throughout the album.  The band has a lovely lush, yet organic sound, largely built from acoustic instruments and the aforementioned vocals.   Their sound mixes indie-pop with folk, often an almost pastoral 'ye olde' folk.

The lush sound gets pared back on songs like "Tiger Mountain Peasant Song" and "Oliver James" which offer Robin Peckold's high, clear voice time to really shine. His voice gives songs "He Doesn't Know Why" and "Your Protector" a sound that could be (not unfavourably) compared to the Shins.

It's an impressive debut, somehow feeling simultaneously old, contemporary and timeless all at once.

Day 0976 - Seldom Seen Kid

Elbow "Seldom Seen Kid" (2008) - got it

I had no real expectations coming into this one, though I later remembered that my wife owns some Elbow albums. I'm happy to say that is now another taste that we share.

Loved it! It has such a great mix of sonic experimentation, clever arrangements.  It keeps things interesting by changing the approach to best suit each song.

The album opens with "Starlings" which begins with reverbed guitars, gentle pulsing vocals and vocals, almost sonically evoking the birds themselves, before bursting into huge soundings of horns, very loud in the mix.    Guy Garvey's gentle vocals ride the winds between.   Such sonic picture painting is also used in "The Loneliness of a Tower Crane Driver", which with its slow booming drums and slow strings underpinning a staccato guitar line seems to evoke a wide, beautiful city scape viewed from up high.

"The Bones of You" starts off much more stripped down with sparse guitar over a percussion groove, but it builds with fuzzed guitar and vocal harmonies that bring Muse to mind for me.  The middle section is wild guitar that wouldn't feel out of place on Radiohead's "The Bends".   But none of this is to suggest this band are derivative, these are just the nearest reference points I can draw.   For example, the band out-Black Keys the Black Keys with the bluesy rock of "Grounds for Divorce".   "An Audience With the Pope" has an angular piano-backed groove that hangs somewhere between Space (the band) and the Specials' "Ghost Town".

"The Fix" features guest vocals from Richard Hawley, and his deep croon nicely plays against Garvey's higher tone.   "Some Riot" has an almost Beatles-y/Lennon vibe to it.   "One Day Like This" has an uplifting choir backing.

After all the darting around and grand arrangements, the album ends on a subtle key with the subdued "We're Away".   Loved the journey and had no qualms about taking it back to the start and listening again a couple more times.

Day 0748 - The Infotainment Scan

The Fall "The Infotainment Scan" (1993)

The Fall embrace electronic elements on top of the rock, noise, spoken word sound of their previous two entries in this list.

The Infotainment Scan did reasonably well, hitting no.9 in the UK charts, and it has some interesting sounds throughout, but for some reason it just didn't tickle my music-bone the way other two entries (Live at the Witch Trials and This Nation's Saving Grace) did.

Day 0547 - This Nation's Saving Grace

The Fall "This Nation's Saving Grace" (1985)

The band had had a bit of a reshuffle prior to making this album.  One of their two drummers having left, and their stand-in bass-player moving onto keys and guitars once their original bassist returned from parental leave.

According to the book, the Fall teamed up with producer John Leckie who gave the band's new songs a glossy, professional sheen... which singer Mark E Smith hated.  He insisted that the producer instead work with the shabby audio cassette version of the recordings that he had.  One song even ended up with some sounds inadvertently recorded over the music by Smith when he was at home, leading to an impromptu sound collage that... actually kind of works.

The album is somehow noisy, uncompromising, yet quite accessible and catchy.  I guess that must be 'the way of the Fall'.

Day 0531 - Colour By Numbers

Culture Club "Colour By Numbers" (1983)

CC built on the success of their debut album "Kissing to be Clever" with another hit.  This album leads off with "Karma Chameleon" which would go on to be the band's signature song.

It'd be easy enough to just classify them as "80s pop", but they're actually a ridiculously diverse band for the time, with the reggae vibe of the previous album's hit "do you really want to hurt me" to the mix of RnB, pop, and even full-headed soul on show here.

Day 0480 - Penthouse and Pavement

Heaven 17 "Penthouse and Pavement" (1981)

I remember listening to this one ages ago (in fact I quickly searched out a review I wrote in 2015 - all I said was that it was a good little pop album with some funky sounds and lighter synth bits). Didn't really remember the music off the top of my head... though I was listening to it during night-shifts back then so that might factor into it.

It remains a good pop album with some funky sounds and lighter synth parts.  A fun album, even though it's lead single "(we don't need this) fascist groove thing", championed by John Peel was banned by the BBC for implying that Ronald Reagan was a fascist.  Some things never change, the BBC have made some terrible censorship decisions in the past.

The band was formed by ex-members of the original line-up of the Human League (before they went extremely mainstream and had huge success with songs like "don't you want me"). That band had a reshuffle and the members who would form Heaven 17 created the company called the British Electric Foundation (BEF) under which the band was based... that idea of band/album as corporate product is illustrated (quite literally) on the album cover with it's corporate promotional vibe.