Day 0878 - Music has the Right to Children

Boards of Canada "Music has the Right to Children" (1998)

Boards of Canada: again I knew the band name but not what the music sounded like.   I'd kind of assumed it'd be indie stuff, but nope it's bleepy, soupy synthesizer tracks.  

The band consists of two brothers from Scotland who were playing music and experimenting with recording techniques from an early age.  They'd released an EP but this was their first full-length.

The book talks about how this album showed that electronic music could show emotion.   I'm not sure about that, certainly it can create atmospheres with some sort of mood to them, but emotion might be overstating it.   I mean come on.... it's not Moonlight Sonata!

There are some warm, analogue synth sounds that feel like they've come straight from the 70s, with a few short tracks that are just extended synth sound-beds.   "Telephasic Workshop" has some cool stuttery vocal sounds over a jittery beat.   "Sixtyten" mixes the aforementioned synth sounds and found sounds to create mood.

Day 0807 - Jagged Little Pill

Alanis Morissette "Jagged Little Pill" (1995)

Another of those albums that was EVERYWHERE while I was in high school.

I remember being vaguely aware even at the time that Alanis had had albums before this.   Reading up on it, her self-titled album and "Now is the Time" were Canada-only releases in more of a dancey pop vein.  The release of those two records completed the two-album deal she was signed to and she was free to move to Toronto, get together with producer/writer Glen Ballard to put together "Jagged Little Pill".

A lot of people view it as her debut, and certainly it is her first international release and her first album in the more raw, alt-rock vibe.

Morissette seemed to be up for trying different things.  The single "You Oughta Know" was given to Dave Navarro and Flea (at the time both in Red Hot Chili Peppers) to essentially jam out a new arrangement over the existing beat and vocal.    

My favourite track "Head Over Feet" has fuzzy and acoustic guitars blending over a drum-machine beat that gives it almost a hint of the UK's 'baggy' scene.   Lyrically, Morissette covers topics from sexual guilt, predatory music industry types, hope, a little humour, and that lyrical stalwart: the ex-relationship. 

Yep, let's not even talk about "Ironic" and whether it's actually ironic (don't ya think?)