#self-titled — Public Fediverse posts

"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E

"Got to Be Real" is a song by American singer #CherylLynn from her 1978 #selftitled debut studio album. The song, which was released in August 1978 as Lynn's debut #single, was written by Lynn, #DavidPaich and #DavidFoster.
https://www.youtube.com/watch?v=fI569nw0YUQ

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"These Dreams" is a song by American #rock band #Heart from their 1985 #selftitled eighth studio album. It was written by #BernieTaupin and #MartinPage and released in 1986, as the album's third single, becoming the band's first song to reach number one on the US #Billboard Hot 100. The single's #Bside song "Shell Shock" (on some releases) was also the B-side of the band's previous single "#Never".
https://www.youtube.com/watch?v=ti3m5QlYGjc

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=1qNVMaYWuwY

Skogskult – Skogskult Review

By Grin Reaper

Known for cultivating legendary acts such as Cult of Luna, Meshuggah, and Refused, Umeå, Sweden, sows fertile ground for seminal rock and metal bands.1 Formed in 2022, Skogskult joins their compatriots with a self-titled debut of grimy stoner doom in hand. From Swedish, Skogskult translates to ‘forest cult,’ and with roots firmly planted in scuzzy soil, this fey foursome drinks deeply from the wells of Acid King, Monolord, and Black Sabbath. Skogskult conjures six tracks that pull from Scandinavian mythology and the arcane to warn of dark days getting darker,2 setting a grim and eldritch tone from the outset. So come, friend, and take my hand. Let us walk into these woods together and uncover what mysteries lurk within.

Skogskult studied their forebears closely, as anyone who blindly tangles with Skogskult won’t need long to guess its genre. Many moments are saturated with indica atmospherics thick enough to induce contact highs. Hypnotic plods (“Lyktans Låga”), mid-paced gallops (“Pakten”), and the occasional stirring solo (“Snöblind”) furnish an assortment of backdrops and give individual songs enough character to prevent them from blurring together despite the pervasive gloomy fuzz. Cutting through said fuzz is vocalist Simon Rosengrim, who pierces the dense haze with tempestuous conviction, antithetical to the indolent trappings of stereotypical stoner doom. All told, Skogskult begets a familiar soundscape even casual fans of the genre will at once recognize, molding a unique personality alongside influences and reference points.

Skogskult’s merger of buzzing heft and raw emotion concocts powerful moments across their debut. Opening duo “Lyktans Låga” and “Turs” conform to genre conventions, grooving with ponderous mass as Samuel Nordström and Albin Kroon lumber along on guitar and bass. In fact, most of Skogskult is blanketed in wool, though “Sol” acts as a crucial change-of-pace, offering reverb-drenched strums and echoey vox that recall Sabbath’s “Planet Caravan.” Central tracks “Jag Ger Mig Av” and “Pakten” embolden Skogskult with lively frills, such as the stark baritone vocals midway through the former and the catchy-as-hell 90s post-grunge lilt of the latter. Pulling away from direct inspirations allows Skogskult to forge an identity all their own. In a genre where bands closely adhere to stoner doom’s core sound, it’s not a coincidence that Skogskult’s best moments occur when the album extends past them. In particular, Rosengrim’s performance electrifies when grit and pathos dial to eleven. His singing forgoes the comparatively mellow rhythms and measured deliveries associated with Sleep, Dopelord, and others, instead penetrating stoner doom’s miasma with immediate and undeniable passion. While this ingredient sets Skogskult apart from other outfits, it’s not quite enough to overcome Skogskult’s deficiencies.

Though many of Skogskult’s songwriting tendrils take root, some flounder for purchase. The juxtaposition of urgent vocals and hypnotizing grooves spellbind in a broad sense, but focusing just on the instrumentation reveals a lack of consistency over the entire album. Though flush with talent, Skogskult’s penchant for repeating riffs too often over six to seven minutes erodes some of its charm, which is further exacerbated over repeated listens. Bluesy solos and accelerated tempos afford welcome breaks, but more variety through the refrains would invigorate Skogskult’s musical backbone; without more riff diversity, shrinking song lengths could help remedy the repetition. Still, Skogskult boasts plenty of successes, as well. The production is a triumph, with each instrument (and vocals) afforded ample space in the mix. The only understated element is drummer Alexander Söderlund, who supports the band ably within a restrained pocket. Also, Skogskult deftly constructs tension throughout entire songs. Even if each track could lose thirty to sixty seconds, every payoff satisfies through unhurried climaxes and hints at a higher ceiling for the band’s songcraft.

Skogskult is a young band brimming with potential. They guide listeners through the murky fog of stoner doom that cloaks the forest they inhabit, shining a light on the path while allowing listeners to glimpse the dangers just off of it. Skogskult isn’t perfect, but Skogskult impresses with accessible retrofuzz, standout highlights, and a powerhouse vocalist. If they can refine the songwriting approach for their sophomore album while preserving what makes this one special, our next trip through the cult’s forest might just convert us.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Bonebag Records
Websites: Bandcamp | Facebook
Releases Worldwide: December 5th, 2025

#2025 #30 #AcidKing #BlackSabbath #BonebagRecords #CultOfLuna #Dec25 #DoomMetal #Dopelord #Meshuggah #Monolord #Naglfar #NocturnalRites #Persuader #Refused #Review #Reviews #SelfTitled #Skogskult #Sleep #StonerDoom #StonerDoomMetal #StonerMetal #SwedishMetal

#Menestrel é uma nova tag mensal para celebrar a música em suas formas mais conceituais: os álbuns. E para abrir com chave de ouro, estreia-se com o tema #debut - que mais?

É suposto ser sobre "os primeiros trabalhos de seus artistas favoritos", mas eu quis não só escolher isso, como também um album que, lá por ser o debut da banda, não deixa de mostrar o melhor que a banda tem para oferecer.

Não é que os álbums que se seguem na discografia de Ashram sejam menos excelentes que este "Ashram" (sim, é um self-titled - e quem sabe se #selftitled não é um tema de um próximo menestrel...), mas este, lá por ser o primeiro, não fica nada atrás em excelência... e é provavelmente o que eu ouço mais vezes, talvez por ser também o álbum com o qual conheci a banda - e o único que tinha para ouvir até sair o próximo...

Na foto mostro o album na sua re-edição em digipak (limitada a 1000 unidades), com a qual substitui a edição original em jewel case, porque esta tem uma faixa extra (Fourth).

Uma edição mais recente (de 2013) também com esta faixa ainda existe em stock na editora*, aproveitem!

Mas que é isso, Ashram? Bem, Ashram é um trio Italiano de música neoclássica, e em vez de os descrever... ouçam! O disco começa assim:

https://www.youtube.com/watch?v=wmJsvsWWIuQ

#début

* https://www.mandalia-music.com/produit/ashram/

"Baby Come Back" is a song by the British-American rock band #Player. It was released in late 1977 as the #leadSingle from their 1977 #selftitled debut album, and was the breakthrough single for the band, gaining them mainstream success, hitting #1 on the US #Billboard Hot 100 for the three consecutive weeks of January 14, 21 and 28, 1978 and #10 on the R&B charts in 1978. Their biggest #hitSingle, the song was written and performed by #PeterBeckett and #JCCrowley.
https://www.youtube.com/watch?v=o4NnI_sXZpw

"Someday" is a song by American singer-songwriter #MariahCarey from her #selftitled debut studio album (1990). It is a #dancepop, #newJackSwing and #RAndB song. Prior to Carey signing a record contract, she and producer #BenMargulies had written and produced a four-track #demo which included "Someday". After signing a contract with #ColumbiaRecords, Carey began work on her debut album and she reached out to #RicWake to ask if he would produce the song.
https://www.youtube.com/watch?v=w7maGGxIK1w

Wolves – Self-Titled Review

By Dear Hollow

Remember when hardcore was, like, hardcore? Wolves does. The generically named yet tongue-in-cheek UK hardcore gang makes antiestablishment music cool again, but not in the tired way. It’s not the noise-and-noise-only approach of early punk’s darlings Sex Pistols or Black Flag, but it ain’t pop-punk’s catchy anthem either. It’s jerky, jagged, unhinged, and doesn’t give a fuck about your feelings – it’s angular!1 But it’s also melodic, heartfelt, and overwhelmingly sincere. Calling out fascism and nationalism and the assholes who tote them, while getting personal and vulnerable with themes of parenthood and heartbreak, Wolves offers a scathing forty-eight minute romp through both the unfriendliness and melodicism of hardcore’s storied history.

Wolves is hardcore in a traditional way, but that doesn’t forego on experimentation. The quintet at its core recalls the hardcore fury of Gallows or Verse in their punky politically inclined foot on the gas, but they toss in a generous helping of post-hardcore, healthy cup of mathcore, and a drizzle of post-metal into their stew of titles. Furthermore, four out of five members are also vocalists2 and panic chord abuse runs rampant alongside a groovy swagger. It recalls Every Time I Die, The Dillinger Escape Plan, and Poison the Well without committing to them completely, creating a hardcore album that rides neatly on the borders with intensity when needed and thoughtful melody when the situation calls for it. Both bolstered and hindered by their four vocalists and a gratuitous runtime, Self-Titled is math-curious, -core-furious, and genre-spurious debut LP.

Wolves justifies its lengthy runtime with some tasteful experimentation. While the backbone of tempo-abusing furious hardcore punk, a hefty amount of melody adds a heartfelt ache to the tracks (“All or Something”), while post-metal’s dirge-like hypnotism appears to slow things down in a far more somber and dreary tone (“New Liver, Same Eagle”). These moments can be hit-or-miss, however, as the more Intronaut-inspired expanses that rely on clean vocals fall drearily flat (“A Stolen Horse”), the bluesy riffs can grate after so many reiterations (“A Guide to Accepting One’s Fate”), and the more chaotic mathcore faithful can derail the otherwise interesting grooves (“Nicaea to See You (To See You Nicaea)”). Furthermore, although the melodic nature recalls the yearning moments of Counterparts or The Ghost Inside, the four-vocal attack does not bode well, the fry vocals feeling particularly grating against the layered plucking (“All or Something,” “A Stolen Horse”).

Thankfully then, the bulk of Self-Titled is one hell of a beatdown romp that toes the line between its influences in a relentless blend of mathy and groovy. Wonky panic chords and dissonant technical sweeps courtesy of The Dillinger Escape Plan add a desperate and unhinged dimension (“LEECHES!,” “Emergency Equipment”), while bluesy swagger that recalls the heyday of Every Time I Die makes riffs sound “yuuuuge” against the backdrop of blistering hardcore tempos, resulting in some seriously mosh-worthy content (“Thirteen Crows and One Pigeon,” “The Rich Man and the Sea”). Second track “Reformed (Try Love)” is of special note, that while its groovy riffs are rad, the spoken word callout is the most hardcore thing I’ve heard this year, calling out those who are “one step from Nazi propaganda” and nationalism-flirting politicians, businessmen, and influencers, British and American: “Mate, they don’t give a fuck about you, but you′ve let them whisper in your ear… ’cause it′s easier to hate than to look in a fucking mirror.” In Wolves’ words, “Christ, what a shower of cunts.”

Wolves’ Self-Titled is all about balance, as their unapologetic brashness blends surprisingly well with their tongue-in-cheek vibe and vulnerable melodics. At its core, it’s a math-curious hardcore romp that fits neatly alongside the likes of both Gallows, Botch, and even Stray from the Path, so it’s easy to forgive the overloud vocals, mediocre cleans, periodically gratuitous repetition, and album length. When its experimental edge succeeds, it’s a home run, but that’s not the star of the show – its political edge and weaponized mathcore influence will rip you a new one. Wolves is here to make sure you’re not “duped by absolute scumbags” and have a rip-roaring time doing it.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Ripcord Records
Websites: theycalluswolves.bandcamp.com | facebook.com/theycalluswolves
Releases Worldwide: September 5th, 2025

#2025 #30 #BlackFlag #Botch #BritishMetal #Counterparts #EveryTimeIDie #Gallows #HardcorePunk #Intronaut #Mathcore #PoisonTheWell #PostMetal #Review #Reviews #RipcordRecords #SelfTitled #Sep25 #SexPistols #StrayFromThePath #TheDillingerEscapePlan #TheGhostInside #Verse #Wolves

Self-Titled Summer | Suzanne Vega (1985, US)

Our next Self-Titled Summer spotlight is on number 820 on The List, submitted by shiawase. Here’s a quick rundown:

• Point of origin(s): Born in California (in 1959) and raised in New York City, as a college student singer-songwriter Vega became part of the folk music revival and Greenwich Village music scene boom of the early 80s. Vega was part of Jack Hardy‘s songwriters’ group at the Cornelia Street Cafe, from which a cooperative and monthly anthology (The CooP/Fast Folk Musical Magazine) arose to give an outlet for independent artists to perform and put out their first recordings. Vega’s first was “Cracking” on the inaugural Fast Folk comp (February 1982), followed by a handful of other songs on subsequent Fast Folk issues over the next three years.[1] A year after Vega was signed to A&M Records, in May 1985 she released this, her debut album, which includes most of those Fast Folk songs (with the exception of “Tom’s Diner” and “Gypsy”, both of which would end up on Vega’s second album) plus more. Vega also performed the entire album (plus “Tom’s Diner” and “Gypsy”, as well as some great monologues) as a solo acoustic set at the SpeakEasy club in Greenwich Village the week the s/t came out. This lovely performance was released as a radio broadcast to promote the album; in 2014, the recording was finally released as an album (though possibly unofficially?), Live at the Speakeasy (also found under the title Live in New York 1985).
• Tasting notes: Masterful storytelling via stripped-back contemporary folk/neo-folk, acoustic guitar
• Standout track: The album’s first single, “Marlene on the Wall”; also “Small Blue Thing” and “The Queen and the Soldier”. I also really dig all the live Speakeasy versions.
• Where are they now?: Vega’s s/t was a hit, as was her addition to the Pretty in Pink soundtrack (“Left of Center“) in 1986 and then her second album, Solitude Standing (1987). In 1989, she became the very first woman to headline the Glastonbury Festival. The following year then saw Vega’s biggest hit – indeed what most people know her for – being a remix of “Tom’s Diner” by British electronic dance duo DNA. Though originally showing up in clubs as an unsolicited bootleg titled “Oh Susanne”, Vega soon gave DNA permission for an official release. Around the same time, this song garnered Vega fame for a rather random reason, as the original a cappella version was used as the test song when the MP3 format was being developed by Karlheinz Brandenburg, particularly to see how the human voice fared with its compression algorithm. Brandenburg refined the algorithm until Vega’s voice sounded right, and christened Vega “Mother of the MP3”.
  Vega has gone on to do many other wonderful things, including: experimenting with the folk genre, winning many awards, being featured on a number of soundtracks, becoming a published author, becoming a playwright (with “Barely Breathing” Duncan Sheik!), hosting a Peabody Award-winning radio series, acting in an off-Broadway musical, and starting her own recording label and re-recording her back catalogue.
  Vega just released her 10th studio album this last May, Flying with Angels, and is currently touring it with dates in Netherlands, Germany, Belgium, England, and Scotland still to come.
• Websites: Artist website, Bandcamp, Wikipedia

Happy listening!

• Songlink: Suzanne Vega – Suzanne Vega
• Discogs: Suzanne Vega – Suzanne Vega

1. “Gypsy” and “Night Moves” (Jun and Sep ’82 comps), “The Queen and the Soldier” and “Some Journey” (Feb and Jun ’83), “Tom’s Diner and “Knight Moves” (Jan and Apr ’84), and finally “Small Blue Thing” (May ’85). ↩︎

#1980s #FastFolkMusicalMagazine #folk #folkMusic #GreenwichVillage #ListenToThis #music #musicDiscovery #selftitled #singerSongwriter #SuzanneVega

Self-Titled Summer | Savage Garden (1997, Australia)

Our next Self-Titled Summer spotlight (and the 200th album we’ve spot…lit!) is on number 1078 on The List, submitted by @gavin57. Here’s a quick rundown:

• Point of origin(s): The roots of this Brisbane duo were established in a cover band called Red Edge, formed in 1992 and consisting of two sets of brothers – Daniel and Oliver Jones, and Jamie and Scott Sullivan. In 1993, Darren Hayes joined Red Edge as the vocalist, and one year later left the group with Daniel Jones to play their own music, first calling themselves Crush then, briefly, Bliss. The name they settled on was taken from a line in Anne Rice’s novel The Vampire Lestat. Beginning in 1995, the duo started work on this, their debut album, gaining a ton of attention before it was even released due to their debut hit single, “I Want You”.
• Tasting notes: 80s UK pop that worships at the feet of stars such as Michael Jackson, Prince, George Michael, and Madonna; like a chic-a-cherry cola; simpler times (but also hidden heartbreaking turmoil)
• Standout tracks: For the breathtaking rap – “All Around You”. For the bop – “A Thousand Words”. For nostalgia and the story behind it – “I Want You” – the story being that it was about a beautiful dream Hayes had about being in love with a boy and then mourning him upon waking, not knowing if he’d experience such a feeling IRL (Hayes didn’t come out for a couple more years). Insert :ablobcatcry: emoji.
• Where are they now?: Savage Garden physically separated during the writing of their next album and had to FedEx each other tapes between Australia and the US to complete Affirmation (1999). In 2001, Hayes started working on his first solo album (Spin, released 2002), Jones launched his own music label (Meridien Muzik), and then, at the end of the year, the two officially announced Savage Garden’s break up. Hayes continues to work as a solo artist (his latest album being the 2022 Homosexual) and released a memoir, Unlovable, last year. Jones has since left the music industry.
• Websites: Wikipedia

Happy listening!

• Songlink: Savage Garden – Savage Garden
• Discogs: Savage Garden – Savage Garden

#1990s #DanielJones #DarrenHayes #music #musicDiscovery #popMusic #SavageGarden #selftitled

Self-Titled Summer | Penguin Cafe Orchestra (1981, UK)

Our next Self-Titled Summer spotlight is on number 279 on The List, submitted by friscolala. Here’s a quick rundown:

• Point of origin(s): The Penguin Cafe Orchestra (PCO) was founded by British guitarist and composer Simon Jeffes in 1972. The “Penguin Cafe” part of the name as well as the inspiration for the music resulted from a vivid dream/hallucination Jeffes experienced due to some bad shellfish. The group’s debut album, Music from the Penguin Café (1976), was credited to the “Penguin Café Quartet” of Jeffes plus Helen Liebmann on cello, Steve Nye on piano, and Gavyn Wright on violin and viola. Released on Brian Eno’s experimental label, Obscure, that album kickstarted the conundrum of how exactly to classify PCO’s sound. The album we look at here, their 2nd, continues that conundrum and expands the original quartet into a 10-piece “orchestra”, with the addition of Braco (percussion), Giles Leaman (oboe), Neil Rennie (ukulele), Geoffrey Richardson (a bunch of stuff), Julio Segovia (cymbals), and Peter Veitch (accordion, violin).
• Tasting notes: Whimsical art rock? Minimalist chamber folk if said chamber was a Cirque du Soleil tent and the folk was for the acrobats’ warm-up which inevitably turned into a magical tea party/all-night shindig? The soundtrack to Amélie if the characters were penguins and not humans and it was set in a small town in Australia not France?
• Standout track: “The Ecstasy of Dancing Fleas”
• Where are they now?/RIP: PCO would go on to release three more studio albums and became a very beloved band; snippets of their work can be found in a wide variety of places including film, radio/podcast theme music, and even a Mister Rogers’ Neighorhood episode. Though the lineup would change here and there, the group toured extensively for a good 20 years, pretty much right up until Jeffes died in 1997 at the age of 48. In 2007, following a series of well-received reunion concerts, Jeffes’ son Arthur Jeffes formed a new group called Penguin Cafe, which plays PCO music and original work in the vein of PCO. A 2025-26 “Penguin Cafe Performs Music from the Penguin Cafe Orchestra” tour is underway as we speak, with UK dates currently posted for tomorrow (September 6) and November.
• Websites: Wikipedia

Happy listening!

• YouTube: Penguin Cafe Orchestra – Penguin Cafe Orchestra
• Discogs: Penguin Cafe Orchestra – Penguin Cafe Orchestra

#1980s #artRock #folk #instrumental #music #musicDiscovery #PenguinCafe #PenguinCafeOrchestra #selftitled #SimonJeffes

Self-Titled Summer | Paradise Lost (2005, UK)

Our next Self-Titled Summer spotlight is on number 1077 on The List, submitted by @gavin57. Here’s a quick rundown:

• Point of origin(s): This band formed in 1988, the original line-up of Nick Holmes (vocals), Gregor Mackintosh (lead guitar, keyboards), Aaron Aedy (rhythm guitar), Stephen Edmondson (bass), and Matthew Archer (drums) releasing their debut album, Lost Paradise, in 1990. Starting off with a death-doom sound (including death vocals), they soon began a shift into what would become known as “gothic metal” beginning with their second (amazing!) album, titled – drum roll please – Gothic (1991). Indeed, Gothic is considered to have given the genre its name and to have defined the style, and hence Paradise Lost is named as an influence on a lot of gothic metal bands. In the late 90s/early 00s, the band added in some electronica and rock elements and flirted with moving away from metal as a whole but, by the time we get to this, their 10th album, they had returned to the fold. Also by this album, the band had switched drummers a couple of times; Jeff Singer is behind the kit on the s/t.
• Tasting notes: Gothic metal, real-life :ablobpainrain: emoji
• Standout track: “Accept The Pain”
• Where are they now?: Paradise Lost has continued bringing the sadness over six additional studio albums. They’ve also remained a fairly stable line-up other than the rotating drummer door, with Jeff Singer returning just this year after five others had kept his throne warm for 20-some years. Their new – and 17th! – album Ascension will be released in a couple weeks, and the band will be touring in UK and Europe through October and November.
• Websites: Band website, Bandcamp, Wikipedia

Happy(/sad) listening!

• Bandcamp: Paradise Lost – Paradise Lost
• Discogs: Paradise Lost – Paradise Lost

#gothicMetal #metal #music #musicDiscovery #ParadiseLost #selftitled

Self-Titled Summer | Minor Threat (1984, US)

Our next Self-Titled Summer spotlight is on number 609 on The List, submitted by @markwyner. I was meaning to get back to keeping these STS posts brief, but a Fedizen specifically noted they’d like to read more about this rather iconic band so *takes deepest breath possible*:

• Point of origin(s): Minor Threat was formed in Washington D.C. in 1980 by Ian MacKaye and Jeff Nelson, following the demise of their high school hardcore punk band the Teen Idles (originally called The Slinkees, formed in 1979). MacKaye had been the bassist and main lyricist, Nelson the drummer; in their new band, Nelson continued as the drummer and MacKaye continued as lyricist but switched from bass to vocals, and Brian Baker and Lyle Preslar rounded out the original lineup on bass and guitar, respectively. The first Minor Threat show would be one month after Teen Idles broke up, in December 1980, to all of 50 people (you were there, right?), opening for local bands Bad Brains and S.O.A. (State Of Alert), i.e., the band of former Teen Idles’ roadie (and lifetime bff of MacKaye) Henry Garfield aka Henry Rollins.
  At about the same time as their band change, together MacKaye and Nelson started Dischord Records with the $600 that Teen Idles had earned in its existence, initially just in order to put out that band’s only release, the Minor Disturbance EP (1980).[1] The EP made enough for the label to continue, and so next they put out the sole release from S.O.A., No Policy EP (1981), followed by Minor Threat’s debut s/t EP (also referred to as 1st 7″) and soon after their second EP, In My Eyes (both 1981). The album we look at here is a compilation of those 7″s (hence also referred to as First Two 7″s), released after the band broke up.
• Tasting notes: Hardcore punk, none of your bullshit
• Standout track: My favourites are “I Don’t Want to Hear It”, “Minor Threat”, and “In My Eyes”. And then, for its historical importance, “Straight Edge”. Keen eyes may have noted the X-marked hands on the cover of the Teen Idles’ EP that would come to be a symbol used in the locally-grown straight edge scene/movement/subculture. However, at the time of that band, those drawn-on Xs initially simply indicated that those hands belonged to concert attendees who were underage, and was a way to allow younger fans into venues that weren’t all-ages. The link between Minor Threat’s song “Straight Edge” and the scene though was absolutely direct, as the scene’s name and manifesto was taken straight out of MacKaye’s lyrics. “Out of Step” also provides another version of the lifestyle guidelines that at least some who considered themselves straight edge followed, including MacKaye himself.
• Where are they now?: Following the release of their 2nd EP, Minor Threat briefly split up and then reformed a few months later (thanks to H.R. of Bad Brains) with Steve Hansgen (briefly) joining as bassist and Baker switching to second guitar. The group then put out (via Dischord Records, of course) a 12″ EP in 1983, Out of Step (with a new version of the title track)…and then (partially due to the existence of U2, lol) broke up. Each of the band members would go on to do tons of cool shit, e.g., Fugazi (and a handful of other awesome bands) was founded by MacKaye, Baker has been a member of Bad Religion since 1994, Hansgren co-produced Tool’s Opiate EP, and Dischord Records – still co-owned by MacKaye and Nelson – remains one of the best record labels on the planet.
• Websites: Bandcamp, Wikipedia, Band profile on Dischord Records’ website

Happy listening!

• Bandcamp: Minor Threat – First Two 7″s (the digital edition has a couple extra tracks in between, originally on Dischord’s 1982 comp Flex Your Head – “12XU” and “Stand Up”)
• Discogs: Minor Threat – Minor Threat

1. The tracks had been recorded earlier that year with Don Zientara at his Inner Ear studio at the request of Skip Groff (record producer, radio DJ, and owner of the Yesterday & Today record store in Rockville, Maryland), but then shelved. ↩︎

#1980s #DischordRecords #hardcore #hardcorePunk #IanMacKaye #JeffNelson #MinorThreat #music #musicDiscovery #selftitled #straightEdge #TeenIdles #WashingtonDC

Self-Titled Summer | Margarita Witch Cult (2023, UK)

Since there’s no way we can cover the rest of The List‘s s/t albums before the end of September, we’re going to jump around a bit for the last month of our Self-Titled Summer series. And so, our next spotlight is on number 800 on The List, submitted by @raisedfist. Here’s a quick rundown:

• Point of origin(s): Hailing from the birthplace of metal, Birmingham, England, Margarita Witch Cult are three disciples of the riff: Scott Abbott aka Screamin’ Scott Vincent (vocals/guitars), Jim Thing (bass/vocals), and George Casual (drums/vocals). The name comes from their love of, well, margaritas (apparently during the pandemic lockdowns, they would Zoom call each other while sipping margaritas…) and, you guessed it, all things occult. Following their fantastic 2-song demo cassette Witchfinder put out in 2022, this s/t is their debut studio album.
• Tasting notes: Sludge-y doom/stoner metal/rock, most excellent riffage
• Standout tracks?: Yes. It’s also fun to compare the lo-fi versions of “The Witchfinder Comes” and “Arcadia” on the demo with the polished versions here.
• Where are they now?: For those who were lucky to catch the Back to the Beginning benefit concert and farewell event for Ozzy Osbourne and Black Sabbath (held just prior to Ozzy leaving us), you may have briefly seen this group in one of the between-set, prerecorded features on local Birmingham bands. So, technically, they were part of the last-ever Sabbath/Ozzy shows! (If I were Tom Morello I would’ve had Margarita Witch Cult or at least one of the local bands actually play live, even if just in one of those weird-ass Frankenstein’ed supergroups, seeing as it was all about being in Birmingham and the impact Black Sabbath had there…but I digress…actually, that gives me an idea…see the footnote.[1]) The band just put out their second full-length, Strung Out In Hell, earlier this month, and it cranks it up to 11. Make sure you check it out too if you like this s/t!
• Websites: Bandcamp, Encyclopaedia Metallum

Happy listening!

• Bandcamp: Margarita Witch Cult – Margarita Witch Cult
• Discogs: Margarita Witch Cult – Margarita Witch Cult

1. We’re going to make up a Fediverse fantasy music festival in honour of Black Sabbath, complete with our dream lineup and setlist, because why the hell not! If you want in and are a Fedizen, pick up to 3 bands/artists (any genre, any language, alive or dead) you would’ve loved to see play at the last farewell concert for Black Sabbath and Ozzy, PLUS what Sabbath or Ozzy song you would’ve wanted them to cover and send to @1001OtherAlbums (or email to [email protected] with your Fediverse handle). Submissions open until September 10 (with covers from Black Sabbath’s Paranoid album particularly encouraged), blog post with our fake festival setlist/schedule to go up September 18. At the time of writing, we have over 50 artists/covers worked out (including Margarita Witch Cult, obvs), it’s a good bit of fun. ↩︎

#doom #doomMetal #heavyMetal #MargaritaWitchCult #metal #music #musicDiscovery #selftitled #stonerMetal #stonerRock

Self-Titled Summer | Kreisky (2007, Austria)

Our next Self-Titled Summer spotlight is on number 104 on The List, submitted by Almoehi. Here’s a quick rundown:

• Point of origin(s): Formed by Franz Adrian Wenzl and Martin Max Offenhuber in 2005, Kreisky is a rock quartet from Vienna, named after the longest-serving Chancellor of Austria. Wenzl and Offenhuber were previously the electronic duo Gelée Royale. Also, since 2002 and to the present day, Wenzl performs in various media (music/radio/TV/film/books) under the persona Austrofred aka “Austria’s leading Freddie Mercury interpreter”, with his music being Austropop lyrics over the instrumentals of Queen tracks. Yep.[1]
  The original Kreisky lineup was Wenzl (vocals, keyboard) and Offenhuber (guitar) plus Gregor Tischberger (bass) and Klaus Mitter (drums). This is their debut release.
• Tasting notes: Indie rock, noise rock, not Queen
• Standout track: I dig the mini-set of tracks 3 to 6 (“Verschollen in Europa”, “Vandalen”, “Energie”, “Nichtschwimmer”), and also the closer track (“Mit der Musik kamen die Spinner”).
• Where are they now?: This album made a splash in the Austrian indie scene, as did Kreisky’s following releases. Around the same time as this s/t, Offenhuber, Mitter, and Tischberger were also in the Austrian noise band MORD, who would tour with the legendary Damo Suzuki in 2009 and together put out the live improv EP DAMO MORD, featuring Damo on vocals. Tischberger left Kreisky in 2017, and Helmuth Brossmann is now on bass. The band has six studio albums (plus a live album) thus far, with a new one, Adieu Unsterblichkeit, coming out in October.
• Websites: Band website, Wikipedia

Happy listening!

• Songlink: Kreisky – Kreisky
• Discogs: Kreisky – Kreisky

1. If you have any questions on Austrofred (because you know you do), please contact our resident Austrofred specialist, @derthomas, lol. ↩︎

#Austria #AustrianMusic #Austrofred #Kreisky #music #musicDiscovery #noiseRock #rock #selftitled

Self-Titled Summer | Knef (1970, Germany)

Our next Self-Titled Summer spotlight is on number 906 on The List, submitted by arratoon. Here’s a quick rundown:

• Point of origin(s): Prior to her music career, German diva Hildegard Knef (b. 1925) had already made a name for herself as a film and Broadway actress, in part due to having the first nude scene in German film history (in the 1951 Die Sünderin or “The Sinner“). After racking up some 30ish film credits, in the early 60s Knef started writing songs and releasing albums, the first being the 1963 So oder so ist das Leben. I believe this s/t (also released under the title Hildegard Knef, with a colour photo of the artist on the cover) was her 7th studio album.
• Tasting notes: Chanson (if that word can be used for songs with German lyrics) / ballad with various instrumentation – some plinky piano, some jazz, some big band, some sweeping cinematic scores, some psychedelic moments
• Standout track: The opener “Wieviel Menschen waren glücklich, daß du gelebt?” has a great psychedelic vibe. I enjoy the old-timey sound of “Elvira O” (though I’m not sure if it was made to sound older or if it just wasn’t remastered the same way as the other tracks?). I also really dig the James-Bond-opening-credits sound of “Friedenskampf und Schadenfreude”.
• Where are they now?/RIP: Knef would end up being in over 50 films, releasing over 20 albums (with about 130 of the songs being her original lyrics), and becoming an internationally best-selling author. Knef left us in 2002, at the age of 76.
• Websites: Artist website, Wikipedia

Prost!

• Songlink: Knef – Knef
• Discogs: Knef – Knef

#1970s #ballad #chanson #HildegardKnef #Knef #music #musicDiscovery #psychedelic #selftitled #vocalJazz

Self-Titled Summer | KINO (КИНО) (1991, USSR)

Our next Self-Titled Summer spotlight is on number 265 on The List, submitted by roboticowl. Here’s a quick rundown:

• Point of origin(s): This rock band formed in 1981 in Leningrad (the hub of the Soviet Union’s rock music scene) out of two local underground groups, Палата № 6 (“Chamber No. 6”) and Пилигримы (“Pilgrims”), originally as a trio named Гарин и гиперболоиды (“Garin and The Hyperboloids”, after 1920s sci-fi novel The Garin Death Ray). At the time of their debut album (the folk rock 45, released in 1982), КИНО (“The Movies” or “Cinema”) was only a duo of Viktor Tsoi and Aleksei Rybin, accompanied on that album by friends from local band Аквариум (“Aquarium”), who they would collaborate/share members with for years. After the release of their second studio album (the more electronic/new wave Nachalnik Kamchatki, 1984) and performance at a festival held at the Leningrad Rock Club (the first legal venue for rock music in Leningrad), КИНО’s popularity in the Soviet Union started to take off. It wasn’t until their fourth (and more post-punk) studio album though (Noch, 1986) that they had an official commercial release on an actual label…though without the group’s permission…and possibly due to the government trying to ‘prove’ there wasn’t an underground music scene, or something. Prior to Noch (and also afterwards), КИНО’s albums (as with other rock music at the time, local and bootlegged Western bands) were distributed via magnitizdat, essentially copying and recopying tapes privately and passing them onto friends to do the same, due to being unable to distribute commercially under the strict Soviet rules. Noch would sell 1 (or 2?) million copies, and a period of so-called “Kinomania” would follow. Their next album, the excellent and more political Gruppa krovi (1988), would be КИНО’s most popular album in the Soviet Union and abroad, its title track (“Blood Type”) eventually ending up on various best-of lists and even the Grand Theft Auto IV soundtrack. Fast forward to the summer of 1990, the group – now a quartet of Tsoi (vocals, rhythm guitar) plus Yuri Kasparyan (lead guitar), Igor Tikhomirov (bass, keyboards), and Georgy Guryanov (drum machine) – began recording their seventh studio album. However, on August 15, the day after they recorded a rough demo version of the album, the group’s beloved frontman and songwriter Tsoi tragically died in a car crash. The surviving members completed the album, but didn’t give it a title. It has since been named Чёрный альбом (“The Black Album“) by fans, and can be found under this title.
• Tasting notes: New wave, post-punk, synth rock, a different era
• Standout track: The opening track, “Жду Ответа”, which is depressing and about how summer will be over soon, so, yeah; also “Кукушка”.
• Where are they now?: Following the release of this album, the band broke up for nearly 30 years. КИНО is regarded not only as a highly influential band in the Soviet/modern Russian rock scene, but also in the Russian music scene as a whole. Tsoi in particular is considered a cult hero, and memorial graffiti can be found in various places including the Tsoi Wall in Moscow. Guryanov died in 2013, but the other surviving members reunited around 2019 and have since been active again. Most of the albums have also been re-released in the last couple of years.
• Websites: Band website, Bandcamp, Wikipedia

I typically say “happy listening!” but, well, that’s not the right sentiment for this album. I do encourage y’all to explore the earlier albums though, it’s definitely a cheerier experience when not ending your listening session with this album.

• YouTube: КИНО – The Black Album (has English subtitles for most songs); also on Bandcamp but, as with the rest of the albums, only the first 2 songs are available for free
• Discogs: КИНО – КИНО

#1990s #КИНО #Kino #music #musicDiscovery #newWave #postPunk #rock #RussianRock #selftitled #SovietUnion #ViktorTsoi

Self-Titled Summer | Joan Jett (1980, US)

Our next Self-Titled Summer spotlight is on number 345 on The List, submitted by mfennvt. Here’s a quick rundown:

• Point of origin(s): In 1975, at the age of 16, Joan Jett played ukulele in an audition for rock producer Kim Fowley, who was looking to assemble “an all-girl answer to Grand Funk.” Jett was recruited as the guitarist for The Runaways, who would release their s/t debut the following year, and then three more studio albums over the next 2 years, the last two with Jett also on lead vocals. The group officially broke up in April 1979, at least in part due to the members each wanting to go in different directions, with Jett wanting to delve more into punk/glam rock. In the year that followed, Jett would work as producer for a few bands (including for the Germs’ debut/only album, (GI)), record this, her s/t solo debut, and start her own record label, Blackheart Records, with songwriter/producer Kenny Laguna. Rejected by 23 major US labels, Jett’s solo debut was released in May 1980 on her own label, reissued in January 1981 under the title of its opening track, Bad Reputation.
• Tasting notes: Punk rock, glam rock, kicking ass and taking names, Kat Stratford as an album, regret (because I missed seeing her live in my city last month :ablobcatcry:)
• Standout track: “Bad Reputation”, obvs; “You Don’t Own Me”
• Where are they now?: Immediately following this album, Jett and Laguna formed the Blackhearts, and Jett has since released 11 additional studio albums with 10 under “Joan Jett and the Blackhearts” (their first being the 1981 I Love Rock ‘n Roll). The group is still going, and last released Mindsets, an EP of new material in 2023. And, somewhere in there, Jett has: acted in a number of films and TV shows and on Broadway; signed and produced a number of bands; supported a number of causes, including releasing an album in 1995 with the surviving members of The Gits (Evil Stig) to raise money to investigate the murder of singer Mia Zapata (we’ll look at The Gits in a future spotlight); become known as the “Godmother of Punk”, “Original Riot Grrrl”, and “Queen of Rock ‘n’ Roll”; had a Barbie made of her; been inducted into the Rock and Roll Hall of Fame; etc. etc…. Joan Jett and the Blackhearts are currently touring the US with Billy Idol, until end of September.
• Websites: Band website, Wikipedia

Happy listening!

• Songlink: Joan Jett – Bad Reputation (apologies for only linking to an expanded edition)
• Discogs: Joan Jett – Joan Jett

#1980s #glamRock #JoanJett #music #musicDiscovery #punkRock #selftitled

Self-Titled Summer | Françoise Hardy (1971, France)

Our next Self-Titled Summer spotlight is on number 119 on The List, submitted by arratoon. Here’s a quick rundown:

• Point of origin(s): Françoise Hardy (b. 1944) began writing her own songs and playing guitar as a teenager and, in 1961, after a few auditions and both singing and music theory lessons, she was signed to Disques Vogue. After her song “Tous les garçons et les filles” from her first EP (1962) became a hit, Hardy quickly became a popular – if not the – star in France’s new yé-yé phenomenon (the term itself, if I understand correctly, originating from a transliteration of Hardy’s English “yeah! yeah!” lyric in her song “La fille avec toi”, which she had performed on TV). Her debut LP album (s/t but also known by the title of that first hit) was released in 1962 (i.e., when Hardy was only 18), and it sold 2.5 million copies within a few months. Hardy quickly became an international star as well, and released an album in Italian (1963), two in German (’65, ’70), and three albums in English (’66, ’68, ’69) in between her first few French albums. The album we look at here is Hardy’s 11th studio album, left untitled like most of the previous ones (it can also be found under the title La question, after its most popular track). Though Hardy had already begun to move away from the whole yé-yé sound and image, this s/t departs further from her previous work, primarily due to its more sparse and mature sound and difference in how it was developed. Most of the music was composed by a Brazilian musician named Valeniza Zagni da Silva aka Tuca, and then rehearsed with Hardy for a full month before the recording process began. The two women connected deeply both artistically and personally, each at the time dealing with issues in their love life (Hardy’s issues specifically stemming from her relationship with future husband Jacques Dutronc). The pair would essentially use the recording sessions for this album to deal with their emotional situations, collaborating with each other to create something beautiful and honest out of their pain.
• Tasting notes: Not (post-?)yé-yé, French pop mixed with Brazilian saudade/bossa nova, 33 minutes of having your socks charmed off, emotional acoustic guitar therapy, a beautifully supportive relationship between two women
• Standout track: “Viens”, “Chanson d’O”, “Le martien”, “Si mi caballero”
• RIP: Hardy would go on to continue an incredible career as a singer-songwriter, which would include 17 more studio albums (the final being the 2018 Personne d’autre), a couple of which went in some unexpected directions such as the fantastic alt rock Le danger (1996) (my personal favourite). She was also a writer (fiction and non-fiction, including an autobiography in 2008) and an astrologer. Hardy left us just over a year ago, at the age of 80. Tuca would co-make another bossa nova album also in 1971 (Dez Anos Depois by Brazilian Nara Leão) and then one solo album in 1974 (Drácula I Love You), but would sadly die much too young in 1978.
• Websites: Wikipedia

Happy listening!

• Songlink: Françoise Hardy – La question
• Discogs: Françoise Hardy – Françoise Hardy

#1970s #bossaNova #BrazilianMusic #FrançoiseHardy #FrenchPop #music #musicDiscovery #selftitled #Tuca

Self-Titled Summer | Fotheringay (1970, UK)

Our next Self-Titled Summer spotlight is on number 280 on The List, submitted by baz. Here’s a quick rundown:

• Point of origin(s): Fotheringay was a British folk rock quintet formed by Sandy Denny after she left Fairport Convention (following the release of their 1969 Liege & Leaf, which we looked at nearly a year ago in a SpaceAce Sunday), named after Denny’s song of the same name from the Fairport Convention album What We Did on Our Holidays. The other members were Denny’s partner and Australian guitarist Trevor Lucas plus drummer Gerry Conway (both formerly of folk psych prog rock band Eclection), and American guitarist Jerry Donahue and Scottish bassist Pat Donaldson (both formerly of prog psych group Poet and The One Man Band). This was their debut album.
• Tasting notes: Folk rock with some jazzy bits, Sandy Denny’s remarkable voice, wistful longing
• Standout track: Their cover of Canadian singer-songwriter Gordon Lightfoot’s “The Way I Feel” – I want that song to last forever. The opener “Nothing More”, the first piano track Denny would write, is also fantastic (as it is on their live album, Essen 1970, released in 2011).
• Where are they now?/RIP: This is the only album released while the original lineup was together. They disbanded in January 1971 during recording sessions for a second album. While some of this material would later be released in 2008 under the title 2, some was used for Denny’s debut solo album (the 1971 The North Star Grassman and the Ravens) and on a Fairport Convention album (the 1972 Rosie), as Conway, Donahue, and Lucas had all joined that band after Fotheringay broke up (Donahue and Lucas from 1972-5, Conway just briefly at the time as a session musician, but then again later from 1998-2022). Denny would go on to have a successful but short solo career (with her former bandmates appearing on some of her albums), and would also briefly rejoin Fairport Convention in 1974-5. She tragically died in 1978 at the age of 31. Lucas then returned to Australia and mainly worked as a producer and film score composer until his death in 1989. In addition to his long stint in Fairport Convention, Conway was also in Pentangle from 1987 until his death just last year (he was married to Pentangle’s singer, Jacqui McShee). Donahue has a rather lengthy CV, working as both a musician (including guitar trio The Hellecasters plus being in The Yardbirds around 2004-5) and producer, at least up until a stroke in 2016 that affected his ability to play guitar. Donaldson was also in a few other bands and worked as a session musician (including for John Cale and Stevie Nicks)[1] at least into the 2010s. Quite a group, this one.
• Websites: Wikipedia

Happy listening!

• YouTube: Fotheringay – Fotheringay, also on Dailymotion
• Discogs: Fotheringay – Fotheringay

1. Though a non-Fotheringay/Fairport Convention-related tidbit, a fun find for me in writing this up is Donaldson’s work on Mae McKenna’s Everything That Touches Me (1976). I know this album as McKenna is the mother of Jamie Woon, whose debut LP we’ll see in a future spotlight because I had added it to The List. ↩︎

#1970s #BritishFolk #FairportConvention #folkRock #Fotheringay #GerryConway #JerryDonahue #music #musicDiscovery #PatDonaldson #SandyDenny #selftitled #TrevorLucas

Self-Titled Summer | Fever Ray (2009, Sweden)

Our next Self-Titled Summer spotlight is on number 46 on The List, submitted by mbr. Here’s a quick rundown:

• Point of origin(s): “Fever Ray” is the alias used for the solo work of the utterly brilliant Swedish artist Karin Dreijer (they/them). Previous to this, their debut solo album, Dreijer was half of the fabulous experimental electronic synth-pop duo The Knife (formed in 1999, the other member being their brother Olof) and, before that, they fronted the indie rock band Honey Is Cool (1994-2000). Under the Fever Ray moniker and especially with this first album, Dreijer essentially continues (and progresses) both the sound and overall ethos of The Knife, including their approach to public appearances and overall aesthetics.
• Tasting notes: Experimental electronic art pop, intriguing and unexpected vocals, not giving a fuck about what’s expected of you
• Standout track: Before listening to the whole album I would’ve said the opener “If I Had A Heart”, which was the first thing I ever heard from Dreijer via the opening credits of the TV show Vikings. It essentially works just like it did in the show, indicating that you’re about to witness just under an hour of intense but gorgeous art created near a fjord or two. That said, just like The Knife song that gained the duo a lot of recognition (“Heartbeats”, specifically via José González’s lovely cover), this track is perhaps one of the tamer songs on the album and rather effectively acts as a teaser that entices you to keep listening.
• Where are they now?: The Dreijer siblings continued working together as The Knife for a few years following this album, officially disbanding in 2014; Olof has continued with other solo and collab projects.[1] The siblings also continue to run their Rabid Records label, which has put out their solo (and The Knife) releases. Under Fever Ray, Karin has released two more studio albums plus a couple live albums including one released just last month, The Year of the Radical Romantics, which has amazing live versions of four tracks from the s/t. I could say a LOT more about Karin Dreijer, they’re rather fascinating and possibly one of the most interesting artists working today. Also, with the albums that follow the s/t, the importance and sheer weirdness of the accompanying visual work increases – it adds an entirely different dimension to the music, particularly through its use of the grotesque to directly confront society’s accepted gender frameworks – and pumps up the intensity by a factor of, uh, a big number. If you like what you hear here, chances are you’re going to want to check out everything Dreijer has done. A good place to start with the visual stuff is perhaps this amazing Fever Ray ARTE concert.
• Websites: Artist website, Wikipedia, Bandcamp

Happy listening!

• Bandcamp: Fever Ray – Fever Ray
• Discogs: Fever Ray – Fever Ray

1. Check out this 12″ release in particular, with Laurie Spiegel on side A and Olof on side B. ↩︎

#artPop #electronicMusic #electronicPop #experimental #FeverRay #KarinDreijer #music #musicDiscovery #selftitled #Sweden

Self-Titled Summer | Factory Floor (2013, UK)

Our next Self-Titled Summer spotlight is on number 985 on The List, submitted by Elegansen. Here’s a quick rundown:

• Point of origin(s): London-based Factory Floor (or FF) began in 2005 (or 2008?) as a duo of Gabe Gurnsey (drums) and Mark Harris (guitar, percussion), then grew to a trio with Dominic Butler (modular synths, electronics), then went back to a duo of Gurnsey and Butler. In 2010, Nik Colk Void (formerly of noise pop group KaitO) momentarily stabilized the line-up as a trio, adding her brilliant dark vocals to their sound, as well as playing guitar and samples. Following a few singles and two mini-albums (the latter of which was an untitled 10″ released in 2010), FF sent a demo CD to Stephen Morris of Joy Division/New Order and, since the remix that came out of that, Morris has worked with the group as a collaborator. The album we look at here is their debut full-length.
• Tasting notes: Post-industrial techno, “unsettling disco”,[1] second cousin twice removed of early New Order, a factory floor turned dance floor, a British reincarnation of Nico
• Standout track: “Fall Back”, “How You Say”, “Two Different Ways”…essentially any with Nik singing.
• Where are they now?: Following the s/t, Butler left FF, making them again a duo until the recent addition of Joe Ward as a second drummer. FF has released two other studio albums – including a live score for Fritz Lang’s Metropolis, the 2018 A Soundtrack for a Film – as well as a handful of singles and EPs. They have also continued to work with Stephen Morris, who provides additional drums on their most recent single released just last month, Tell Me. Gurnsey and Void have both also released solo albums and collaborated with a number of artists, with highlights of Void’s discography in particular (because I’m currently fangirling) including Carter Tutti Void (i.e., with Chris Carter and Cosey Fanni Tutti of Chris & Cosey and Throbbing Gristle) and the 2023 Full-On collab with Swedish artist Klara Lewis. In other words: DEEP DIVE TIME!
• Websites: Bandcamp, Wikipedia; Gabe Gurnsey’s Bandcamp; Nik Colk Void’s Bandcamp, Nik Colk Void’s website

Happy listening!

• Songlink: Factory Floor – Factory Floor
• Discogs: Factory Floor – Factory Floor

1. Description via Stephen Morris’ interview with The Quietus: https://thequietus.com/news/stephen-morris-talks-factory-floor-production-remix/. ↩︎

#DominicButler #electronicMusic #FactoryFloor #GabeGurnsey #music #musicDiscovery #NikColkVoid #postindustrial #selftitled #StephenMorris #techno

Self-Titled Summer | Crack the Sky (1975, US)

Our next Self-Titled Summer spotlight is on number 331 on The List, submitted by mfennvt. Here’s a quick rundown:

• Point of origin(s): Hailing from the industrial town of Weirton, West Virginia, the so-called “Beatles of Baltimore” arose out of a chance meeting between Rick Witkowski, who was working in a music shop, and John Palumbo, who came into said shop and started playing Grand Funk Railroad’s “I’m Your Captain (Closer to Home)” to try out a bass that was for sale. Finding out that Palumbo was a songwriter in search of a band, Witkowski, then the guitarist in a cover band with drummer Joey D’Amico, invited Palumbo to join their band. Palumbo soon convinced them that they needed to play their own material, and snagged an audition and then development deal with CashWest Productions to form a band. Originally starting as a 10-piece called Words, most of the recruits quit due to the group’s strenuous rehearsals. The Crack the Sky line-up settled as a 5-piece, consisting of Palumbo (on vocals, guitar and keyboards), Witkowski, and D’Amico, plus bassist Joe Macre and guitarist Jim Griffiths (both formerly of local band Sugar).
• Tasting notes: Prog/art rock inspired by the likes of King Crimson, Yes, Genesis, Beatles, and James Brown, with quirky, sarcastic lyrics by Palumbo. To quote Rolling Stone‘s review, published January 1976: “Crack the Sky’s debut introduces a group whose vision of mid-Seventies ennui is original, humorous and polished without seeming too arty…If Palumbo’s lyrics are the latest in Seventies cynicism, their darkness is countered by the light-spiritedness of most of the music.”[1]
• Standout track: I personally love “I Don’t Have a Tie”. (Note that, unless I’m misinterpreting the lyrics 50 years after the fact, the second track “Surf City” might need a CW for a potential racial slur [and, no, I don’t mean “whitey”].)
• Where are they now?: Though praised by Rolling Stone as the debut album of the year, the brand new CashWest record label, Lifesong Records, dropped the ball with promoting and distributing the record, with the exception of Baltimore. As such, though the band has since released 19 additional studio albums (the most recent being the 2023 From The Wood) and continues to regularly tour, the band remains relatively unknown outside of Baltimore and the surrounding area; indeed, a search for this band will come up with a few articles titled something to the effect of “the best American prog band you’ve never heard of”.[2] The band has had a few line-up changes in its 50-year run; Palumbo, Witkowski, D’Amico, and Macre are in its current iteration as a 6-piece, along with Bobby Hird (on guitar, joined in the early 80s) and Bill Hubauer (on keys). If you’re in Maryland, you can still catch a few dates on their 50th anniversary tour. And if you can’t make it, perhaps check out their live album just released last month, Live 1st Album: 50th Anniversary, which captures – you guessed it – a live performance of the entire debut album, recorded over three nights of the anniversary tour.
• Websites: Band website, Wikipedia

Happy listening!

• Songlink: Crack the Sky – Crack the Sky
• Discogs: Crack the Sky – Crack the Sky

1. Written by Stephen Holden for Rolling Stone issue 203 (January 1, 1976), quoted here: www.rollingstone.com/music/music-lists/20-rock-albums-rolling-stone-loved-in-the-1970s-that-you-never-heard-164876/crack-the-sky-crack-the-sky-58391/. ↩︎
2. E.g.: www.rollingstone.com/feature/crack-the-sky-the-strange-survival-story-of-the-best-u-s-prog-band-youve-never-heard-707669/ and www.progrockguide.com/crack-the-sky. ↩︎

#1970s #artRock #CrackTheSky #music #musicDiscovery #progRock #selftitled

Self-Titled Summer | Coma Rossi (2018, India)

Our next Self-Titled Summer spotlight is on number 953 on The List, submitted by myself (buffyleigh). Here’s a quick rundown:

• Point of origin(s): Formed in 2014 in Bangalore, India, this is the debut album from the band as a quintet of Tom Borah (vocals, acoustic guitar), Gaurav Govilkar (guitars), Udayan Kashalikar (bass, vocals), Anupam Panda (drums), and Juby Thomas (keyboards, samples).[1] Originally self-released just digitally, it was released on CD by Irish label Progressive Gears in 2019.
• Tasting notes: Atmospheric prog rock, cinematic soundscapes, hints of shoegaze, harmonized vocals, emotions, a sonic hug
• Standout track: “Transmission”, though it’s one of those albums where it’s best to listen to the entire thing.
• Where are they now?: The band made some huge changes after this album. In 2022, all but Govilkar quit. Govilkar then recruited drummer Ada Galen (fka Diane) from the UK, tweaked the direction of the band’s sound to approach post-rock/-metal, and moved to Düsseldorf, Germany in 2023. The band as a duo just released their second album last year, Void, with Govilkar filling the roles of writer and vocalist, as well as providing all instrumentation other than drums. Govilkar is also in the synth-/dream-pop duo Us and I with Bidisha Kesh, formed in 2019 and still active. Galen is an incredibly busy musician involved in many projects, including prog rock bands Prefers to Hide in the Dark (plays drums and keys, debut released 2022) and Chasmhead (vocals and drums, debut released 2024), as well as prog metal band The Great Manta (debut released in 2023).
• Websites: Bandcamp; Ada Galen’s website

Happy listening!

• Bandcamp: Coma Rossi – Coma Rossi
• Discogs: Coma Rossi – Coma Rossi

1. I’m not entirely sure who provides drums on the album. Discogs credits Panda as does the Rolling Stone India write-up, but the Bandcamp doesn’t mention Panda and lists Bhim Kaul and Shawn Jacob as guest drummers on four tracks. ↩︎

#artRock #ComaRossi #India #music #musicDiscovery #progRock #selftitled

Self-Titled Summer | Clothilde (1967/2013, France)

Our next Self-Titled Summer spotlight is on number 911 on The List, submitted by arratoon. Here’s a quick rundown:

• Point of origin(s): “Clothilde” was a stage name/persona briefly worn by Élisabeth Beauvais (b. 1948). The daughter of 50s actress/singer Gisèle Parry and writer/journalist and radio/TV producer Robert Beauvais, at an early age Beauvais was frequently around famous French actors and up-and-coming French pop stars. One day, Germinal Tenas (b. 1947), then an up-and-coming music producer, was at the family house to work on a TV soundtrack with Parry. He had been searching for a French girl to sing his songs, particularly “une fille qui aurait une voix douce et jolie qui dirait en même temps des choses horribles dans un genre détaché” (“a girl with a very soft beautiful voice and who at the same time could say horrible things in a semi-detached way”).[1] The moment he saw Beauvais, without even hearing her voice, he decided she fit the bill, and began to pester Beauvais into agreeing to his project. Beauvais was very reluctant and only at the behest of her mother unwillingly went through with an audition and then contract signing with the Vogue record label. At the time, Beauvais was rather upset about the entire thing, and took every opportunity to let the rather demanding Tenas know that – she was a shy and depressed teenager, she didn’t like the Clothilde persona, the lyrics, or that she had essentially no say in the project, and she had dreams of singing her own music more along the lines of Françoise Hardy, i.e., the direct opposite of Tenas’ vision. Tenas, however, saw Beauvais’ anger and rebellion against him as serving the Clothilde persona, and so he did not bother looking for another singer. In the end, Beauvais recorded two EPs plus an Italian single under the Clothilde name, all in 1967. The s/t album we look at here, put out by Born Bad Records in 2013, compiled those releases, over 45 years later.
• Tasting notes: French 60s girl pop, anti-yé-yé, subversive lyrics full of dark humour and double-entendres, odd instrumentation including musical saws, anti-Françoise Hardy (or, “Françoise Hardy on acid”[2])
• Standout track: “Saperlipopette”, also “La Vérité, Toute La Vérité” which probably has the best instrumentation (I’m also a sucker for Beauvais’ “hey!”s). Note that the last two songs are Italian versions of tracks 1 and 3; I’m not sure of the quality of Beauvais’ Italian, but I personally prefer “Qualcosa Che Non Va?” to “La Chanson Bête Et Méchante” because the repeating response “hin hin” in the background sounds less creepy than the original French, lol.
• Where are they now?: Beauvais refused to tour as Clothilde and generally avoided answering calls from Vogue, so the project only lasted one year (the last of a handful of TV appearances was January 1968). Beauvais essentially disappeared from the public eye following the Clothilde project, and wouldn’t record anything else for 15+ years (though these recordings were never released). Tenas continued (and, I believe, continues) to work as a producer and composer. According to the (rather extensive) interview linked below, there are no hard feelings between the two and, at least at the time of the interview (presumably done around the time this compilation was released), they are actually friends.
• Websites: Interview with Beauvais on Born Bad Records website, Wikipedia

Happy listening!

• Songlink: Clothilde – Clothilde (note: the compilation can also be found under the title French Swinging Mademoiselle)
• Discogs: Clothilde – Clothilde

1. Tenas quote and translation from: www.bornbadrecords.net/releases/clothilde-queen-of-the-french-swinging-mademoiselle-1967/. ↩︎
2. Quote from: radioherbetendre.blogspot.com/2013/07/clothilde.html. ↩︎

#1960s #ÉlisabethBeauvais #chanson #Clothilde #France #FrenchPop #GerminalTenas #music #musicDiscovery #psychedelicRock #selftitled #YéYé

Self-Titled Summer | Cheap Trick (1977, US)

Our next Self-Titled Summer spotlight is on number 335 on The List, submitted by mfennvt. Here’s a quick rundown:

• Point of origin(s): In the beginning, there were two bands from Rockford, Illinois: The Grim Reapers (which included guitarist Rick Nielsen) and Toast and Jam (which included bassist Tom Petersson, fka Tom Peterson). In 1967, these bands fused to become Fuse, whose sole s/t LP (1970) didn’t get the band much traction. Fuse then melded with a Philadelphia band called Nazz, recruited drummer Bun E. Carlos (fka Brad Carlson), and changed their name to Sick Man of Europe. Then, in 1973, Nielsen, Petersson, and Carlos joined up with singer Randy Hogan to form Cheap Trick. Hogan left soon after, and was replaced by Robin Zander. Between 1975 and early 1977, the band recorded a demo, were signed to Epic Records, and released this, their debut.
• Tasting notes: Power pop, hard rock, a band on the cusp of making hits such as “Surrender” and “I Want You to Want Me”
• Standout track: Pretty much any other than “Daddy Should Have Stayed in High School”. Note the track order varies between releases, so your overall listening experience may depend on the version you have access to. I prefer it closing with “He’s a Whore”/”Mandocello”/”The Ballad of TV Violence (I’m Not the Only Boy)”; it’s really a way different feel when the album ends on “Oh, Candy”, about a friend lost to suicide.
• Where are they now?: A few months after the release of the s/t, the band would go back to the studio and pump out their second LP, In Color – this one is also on The List, so we’ll be visiting it at a later date. The band has continued since, releasing a handful of albums each decade and touring regularly. Their most recent LP, the 2021 In Another World, is their 20th studio album. The band line-up currently consists of the same line-up as the s/t minus Carlos. Cheap Trick will be opening for Heart’s upcoming tour this November/December.
• Websites: Band website, Wikipedia

Happy listening!

• Songlink: Cheap Trick – Cheap Trick
• Discogs: Cheap Trick – Cheap Trick

#1970s #CheapTrick #music #musicDiscovery #powerPop #selftitled

Self-Titled Summer | Casualties of Cool (2014, Canada)

Our next Self-Titled Summer spotlight is on number 787 on The List, submitted by unsafelyhotboots. Here’s a quick rundown:

• Point of origin(s): This is, at least thus far, a one-off project from Canadian/Vancouverite musicians Devin Townsend and Ché Aimee Dorval. Townsend is an incredibly prolific artist who typically works in the realm of metal, with s/t projects such as The Devin Townsend Band, Devin Townsend Project, his solo material, and his record label HevyDevy Records. The Devin Townsend Project in particular started as a series of albums meant to allow space for Townsend to figure out his identity as a musician, beginning with Ki (2009), which featured Dorval as a guest vocalist on a few tracks. Initially, Casualties of Cool was slated to be the 6th album for the Devin Townsend Project (following the 2012 Epicloud) and Townsend’s 16th studio album overall. But, perhaps since the music on this album is so different from his previous work, Townsend later decided to make it a separate project, working again with Dorval then as a duo, plus Morgan Ågren on drums/percussion and various guest musicians (including a chamber choir).
• Tasting notes: Moody, ambient country rock, with vibes for days. According to Townsend himself, “It sounds like haunted Johnny Cash songs.” Also, sounds like (i.e., has the concept of) a traveller being lured to a sentient, fear-eating planet, the traveller finding solace in music on said fear-eating planet, and then liberation for the traveller and another captive of the fear-eating planet. Or something.
• Standout track: Any that feature Dorval’s gorgeous vocals. But also, as with any great concept album, the tracks bleed into and refer back to each other,[1] so you really need to listen to all of them – it’s an event.
• Where are they now?: Townsend has continued to make many records, primarily under his solo work. His most recent, PowerNerd (2024), is his 22nd studio album. Dorval has continued to work with Townsend and on her own solo material, with the 2023 The Crowned being her most recent solo studio album.
• Websites: Band website, Wikipedia; Devin Townsend’s website, Ché Aimee Dorval’s website, Devin Townsend’s Bandcamp, Ché Aimee Dorval’s Bandcamp

Happy listening!

• Songlink: Casualties of Cool – Casualties of Cool
• Discogs: Casualties of Cool – Casualties of Cool

1. Okay, so, after writing this, I realized I had listened to a version that had an extra disc with an additional hour of material. It wasn’t labelled as deluxe or anything and I listened to the whole 2h 18m without knowing where the break between discs was. So, I’m not sure how much of the referring back I heard was because maybe those extra tracks were reworked/early versions of what ended up on disc 1, etc. ↩︎

#ambient #CasualtiesOfCool #chamberRock #ChéAimeeDorval #conceptAlbum #countryRock #DevinTownsend #folk #music #musicDiscovery #selftitled

SpaceAce Sunday | Buffalo Springfield (1966, Canada/US)

Our next Self-Titled Summer spotlight is on number 1054 on The List. And, as it was submitted by our dear friend J aka SpaceAce, this is technically a SpaceAce Sunday. Why not on a Sunday? Well. Today is a year since he left us. A whole year. Makes no sense at all.

I knew I wouldn’t want to write this post so, after noticing that the next submission from J was a s/t, I started the whole Self-Titled Summer series to psych myself up. That didn’t work though, as I wrote the last STS post a couple weeks ago and have been stalled on this since. I even did a full listen-through of Carly Rae Jepsen’s entire discography to see if that would help (J was a HUGE Carly fan). But it didn’t.

So, if you don’t mind, rather than giving this album – Buffalo Springfield’s debut – the regular STS treatment, I’m just going to leave it at a few random thoughts I had when I gave it my first listen, just over a month ago, and imagine what J would have to say about it.

• Seems like the perfect SpaceAce pick to land on today, given J’s origins were also Canada/US.
• I did not know Buffalo Springfield was a Neil Young band or that they’re the ones responsible for the fantastic protest single “For What It’s Worth”, a song I’ve always absolutely loved. As soon as I pressed play on this album and heard the first few notes of that song, I literally smiled and thanked J out loud.
• There are variances in the tracklists, depending on what version/medium you’re listening to. Only some include “For What It’s Worth” (recorded after the album was first released, then added for the reissue a few months later), either as the first track or somewhere on side B; “Leave” seems to be on different sides depending on the variant; and “Baby Don’t Scold Me” is missing completely from some variants and streaming services (swapped out for “For What It’s Worth”).
• Aside from “For What It’s Worth”, the other stand out track for me is “Out of My Mind”, with Neil Young on main vocals.

Thanks, J. Love that I’m still learning from you.

You are still very much missed.

• Songlink: Buffalo Springfield – Buffalo Springfield
• Discogs: Buffalo Springfield – Buffalo Springfield

#1960s #BuffaloSpringfield #countryRock #folkRock #music #musicDiscovery #NeilYoung #psychedelicRock #selftitled #SpaceAceSunday