Today on Music Monday, I present a fairly simple premise. I’m going to talk briefly about 5 different artists who are generally overlooked and underappreciated somewhat. This may become a recurring feature, depending on certain criteria (in other words, if I’ve got nothing else to talk about). I’ll say now- this isn’t some hipster tirade bemoaning the fact that these artists/albums/songs aren’t as well-known as they should be. This is in fact the opposite- almost a guide to try and get more people interested in these artists, and to explain why they are a) good, and b) genuinely undervalued.
Exhibit A: ARAB STRAP
Ahh, Arab Strap. One of the many, many fantastic Scottish bands of the last 20 years. The due of Aidan Moffat and Malcolm Middleton made their name through bleak vignettes of post-rock, spoken word and generally un-poppiness. Nonetheless, the first two albums (and surrounding singles and EPs) are fantastic. 1996’s The Week Never Starts Round Here and 1998’s Philophobia offer a very different view on life than what was offered by say, Cast or Shed Seven (not knocking either of those, but there’s a world of difference). Philophobia in particular shines- the minimal instrumental backing almost forces you to listen to Moffat’s monologues, which often run across the same themes (bad relationships, infidelity, drinking problems). But the songs are so well-produced, and every element works so well that it becomes essential listening.
Why are they under-appreciated? Simple- far too miserable for radioplay, overshadowed by other releases, later on at odd with musical trends.
Why are they so good? Part of the huge Scottish indie scene that lasted from 1980-2000(ish), influential on post-rock and post-folk. One of the antitheses of the immensely popular but VERY dull Noelrock/Post-Britpop/Dadrock (whatever you want to call it- the bland stuff that everyone seemed to release circa 1999).
Where to start: The second LP, Philophobia is definitely the best.
Songs to try: ‘Soaps’, ‘Islands’ and ‘The Night Before The Funeral’.
For Fans Of: Mogwai (who feature both Moffat and Middleton on their first album), Low, This Is Hardcore-era Pulp.
Exhibit B: POP WILL EAT ITSELF
Ahhh, Pop Will Eat Itself. One of the oddest bands to make the transition from pop-punk through to industrial rock and hip-hop in the whole Midlands. Starting off as ‘just another’ C86/jangling-indiepop band, PWEI quickly found their image (grebo) and their sound- mixing heavy rock guitars, dance beats and samples. A LOT of samples- film, TV, music, random sound effects- it all works. Check out This Is The Day…This Is The Hour…This Is This! for all you need to hear- it’s fantastic. Later on, with the assistance of the great drummer Fuzz Townshend, the Poppie’s music became heavier, less sample-reliant, with 1994’s Dos Dedos Mis Amigos! being another key work.
Why are they Under-appreciated? Little chart success (but large cult following), their Public Enemy-style sampling and industrial beats didn’t quite gel with the then-current Madchester scene.
Why are they so good? IMMENSELY influential within their genre- everyone from The Prodigy to Nine Inch Nails have cited PWEI at one point or another. If you like either of those, or Public Enemy, therefore you should like Pop Will Eat Itself.
Where to start: Either This Is The Day…This Is The Hour…This Is This! or Dos Dedos Mis Amigos!, although most of their albums have good moments.
Songs to try: ‘DEFCON One’, ‘Can U Dig It?’, ‘R.S.V.P’ or ‘Wasted’
For fans of: Well, I already said. The Prodigy, Nine Inch Nails, Public Enemy, KMFDM, industrial rock.
Exhibit C: AZTEC CAMERA
Ahhhhh, Aztec Camera. To all intends and purposes, the stage name for Scottish songwriter Roddy Frame. Starting out very young (first album released aged 19, but had single released a few or so previous), Frame had the knack of creating fey, warm, perfectly-formed pop songs very much in the Postcard Records ‘Sound Of Young Scotland’ style. 1983’s High Land, Hard Rain is still a standard for debut albums. Throughout the decade, Frame experimented with different producers, leading to each album having a distinct ‘feel’ (1987’s Love has aged badly- but contains two of the bands’s most famous songs- in comparison to the debut and 1984’s Knife, produced by Mark Knopfler.). Aztec Camera, along with contemporaries Orange Juice and Josef K, spearheaded the Scottish indiepop movement which has stood the test of time.
Why Are They Under-appreciated? In terms of chart positions, pretty much a one-hit wonder. Most know ‘Somewhere In My Heart’. Not as many know ‘Oblivious’ or ‘All I Need Is Everything’. Saying that, their entire back catalogue has been re-released, so a career reevaluation may be imminent.
Why are they so good? A strong run of albums across the 1980s and early 90s, combined with the fluid, expertly crafted writing of Roddy Frame, made Aztec Camera a wonderful musical delight.
Where to start: Buy High Land, Hard Rain (on worn 2nd-hand vinyl if possible). Work through chronologically.
Songs to try: Everything on High Land, Hard Rain. Seriously. Every song on that record is amazing and nigh-on inseparable.
For fans of: EVERY quiet, slightly awkward jangling guitar band post-1981. And the film Gregory’s Girl.
Exhibit D: SPIRITUALIZED
Ahhhhhhhhhh, Spiritualized. Like Aztec Camera, the stage name for one J. Spaceman, also known as Jason Pierce (who I’ve mentioned in a previous post) who started out as a spaced-out shoegazer, went on to make some of the best, if slightly underrated, music of the past decade or so. Spritualized’s run of albums from Ladies And Gentlemen We Are Floating In Space onward paved their own career trajectory- huge, cinematic sounds incorporating gospel choirs, orchestras and as many instrument effects as possible. Many of their songs have religious connotations- the band have often covered old spirituals such as ‘Oh Happy Day’, and even written a few- ‘Lord, Can You Hear Me?’ (originally by Spacemen 3 but written by Pierce) is astounding, while the song ‘Ladies And Gentlemen We Are Floating In Space’ casually drops an Elvis Presley song in, and in all honesty should be used to test audio equipment.
Why Are They Under-appreciated? ……Well, they aren’t, really. Just LAGWAFIS tends to turn up quite a lot in ‘greatest albums you should own’ lists, and many bands will cite it without it having any obvious influence on them. It might lead people leads me to believe that the album is placed on lists like that just for the sake of it, without anyone actually listening to anything else by the band.
Why are they so good? Very difficult to sum up in words. Just believe me when I say that they are.
Where to start: Either 2003’s Amazing Grace, or the preceding record Let It Come Down. Then it’s best working at random, really. The debut, Lazer Guided Melodies, is very good.
Songs to try: ‘Take Your Time’, ‘Stay With Me’, ‘I Think I’m In Love’, ‘Oh Baby’
For fans of: Something with a little more scope, a bit more cinematic than the norm.
Exhibit E:TEENAGE FANCLUB
(Deep breath) Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh, Teenage Fanclub. Yet again, another band from the Glasgow/East Kilbride scene. Teenage Fanclub worked musically because of the number of strengths they had as a unit. To start with, out of the 4, three band members (Norman Blake, Gerard Love and Raymond McGinley) are great songwriters on their own, and could sing equally well- therefore, a lot of Teenage Fanclub songs incorporate Byrds-style harmonies. Although the Fanclub have enjoyed a long, relatively successful career, their best work lies on 3 of the albums they released on Creation Records- 1991’s Bandwagonesque, 1993’s Thirteen, 1995’s Grand Prix and 1997’s Songs For Northern Britain. The mixture of their influences- The Byrds, The Beach Boys, Postcard Records, C86, Big Star, alt. rock- is pretty impressive in itself. But its how Teenage Fanclub show these- that’s what make them so good.
Why Are They Under-appreciated? No ‘big’ singles, and often overshadowed by labelmates. However, they were pretty popular both in the UK and the USA, due to the grunge influences present on Thirteen, which is a little heavier than the other albums the band released on Creation.
Why are they so good? A band not afraid to show their myriad influences, mix them up and make their own sound. Plus 3 strong songwriters- name another band with that level of ability who could keep such a high standard (other than Queen).
Where to start: Grand Prix. Arguably the most successful of the 4 noted above (in other words, it had some good singles and earned radioplay), but the writing is definitely strongest and most consistent here. After than, maybe Bandwagonesque.
Songs to try: ‘Radio’, ‘Norman 3’, ‘Sparky’s Dream’, ‘Neil Jung’.
For fans of: Any band who uses harmonies and put their own spin on their influences. Sunny guitar-based pop.
I’m sorry if this has really bored you- it’s been raining pretty much continually for the last 2 days- I’ve got nothing else to do…
(Dial Tone)
shenaniganation 