The Verve - The Verve EP + Voyager 1 EP

The Verve, fairly well known act. What's not that well known is that before they broke the mainstream with Bittersweet symphony et al they were a purely shoegazer, space rock act in their formative years. They literally made some of the best guitar music of all time with their debut EP and this live document, titled Voyager 1, is an amazing document of this fact. Props go to Nick Mccabe, one of the most underappreciated guitarists ever. So yeah, here you have it, one of my favourite EPs plus its live counterpart. They would never be this good again. 

feel

she's a superstar

A Beautiful Machine - Home

One of many recording monikers of Aussie musician Skye Klein. Here's my favourite work of his, Home. Pretty great in terms of pure blissed out space rock.

home

Bailter Space - Robot World

Led by former Gordons guitarist Alister Parker, noise rock unit Bailter Space emerged from Christchurch, New Zealand in 1987. Originally comprising former Clean and Great Unwashed drummer Hamish Kilgour, Pin Group alum Ross Humphries on bass, and Glenda Bills on drums, the group issued their debut EP, Nelsh, on the famed Flying Nun label later that year; both Humphries and Bills departed soon after, resulting in the addition of former Gordons bassist John Halvorsen in time to record the 1988 full-length Tanker. A tour followed, but when the Clean re-formed, Kilgour joined them on a permanent basis; his replacement in Bailter Space was Brent McLachlan, also the drummer in the Gordons. In 1993, they dropped Robot World, what I consider their best. 

Paradoxically enough, this album is really pretty yet completely jagged hard, droning, unforgiving guitar music with occasional lapses into verse/chorus regularity. Wikipedia says it's Beatles harmony blended with Velvet Underground's dissonance. My $0.02 - this is one of the coolest pure noise experiences you'll have with pop music. Full volume with some good headphones is really recommended. 


Orbit

Slowdive - Just For A Day

At this point in time, you all should know that Slowdive are probably my favourite band of all time. No one crafted soundscapes like they did, no other band I know (other than probably Joy Division) has such a flawless discography, outtakes and extras included. I don't have much to say that won't be said in my review, except for the fact that I fucking adore these guys and wish they have a far larger audience than they currently do. So without further adieu, here's their debut.

Before I make any sort of attempt to review this record, I request that you bear with me, while I tell you a bit about myself. That may also serve to explain a lot of the hyperbole that would follow on for the rest of this monologue.

I am a hopeless romantic. I'm not even going to lie. Daydreaming, yearning, walking around with a stupid smile on my face, these things seem to go hand in hand with my nonchalant, happy-go-lucky personality. And when these things finally come together with the actual event of falling in love, then, just wow. It's intoxicating. Everything else around you doesn't only seem lacklustre, but it actually is a lot less important than you once felt it to be. And yeah, anyone reading this can attest to that.

Life's a funny thing though - it paves the way for the other side of the coin. The heartbreak. The end of a good thing, that despondent feeling, the works. And for the hopeless romantic, this usually means that he's going to turn into one pensive motherfucker, and for a while, life becomes one huge daydream. I'm here, but not really. I see everything around me, but for whatever reason, I cannot relate to it. Or maybe I just don't want to. 

Either way, like everything else, it all comes full circle. It's a cycle, and what some would call vicious, I call life-affirming. It defines a certain part of my character, and despite everything else that goes on in my head, it's great glancing at the bigger picture - the ability to love without condition and to be able to completely surrender yourself to your instinct and dream; in a sense it is the very essence of youth. And I'm unabashedly proud of it.

So it is with a rather romantic fervor that I attempt to review Slowdive's "Just for a Day", a tiny little album that dropped in 1991; the great 1991 when the already pregnant alternative music scene exploded, and this gem was lost somewhere in the washes of everything else that was overwhelming the music press at the time. It was a key part of the much misunderstood shoegazer movement; the idea that you didn't need to scream or be abrasive to voice your rebellion, but rather drench and drown it amongst the countless waves of sonic bliss and the hushed voices that lurked beneath. The Valentines stood above their peers during this era with the monolithic 'Loveless'; and why the fuck not - after all, Loveless was a beast, an example of the beautiful and the ugly coexisting in harmony in a way none had imagined before. I hadn't been old enough to appreciate the scene at the time, but man, it was certainly my kind of rebellion. 

And then, there was Slowdive. From day one, you could tell that these guys were inspired, and to an extent it's fair to call them soundchasers. There's evidence littered throughout their career that shows them to be playing around with the proposed conventions of shoegaze and dreampop; most of their early EPs and singles show them experimenting with ambient soundscapes (perhaps inspired by Victorialand era Cocteau Twins) and psychedelic dream-pop. Their debut 'Just for a Day' illustrates this - it's a record that was made with a certain memory in mind, as it sets out to pursue this memory, this sense of longing and capture its essence with their own impressionistic aesthetic.

And it is with this release that they managed to bring out their youthful romanticism and merge it with their own dosage of bliss. The whole record conveys a feeling of lysergic haze while never being devoid of melody, even though the melody is usually hidden under layers of sonic waves that create a pulsating ripple through most of the songs over here. There’s the glacial single ‘Catch the Breeze’ that brings out a sense of nostalgia with its gentle, subdued vocals and a memorable hook that is soon avalanched by Halstead’s guitar, there’s the blackened, mournful ‘Ballad of Sister Sue’ that tells a tale of loss and desensitisation solely through the atmosphere it invokes. The lyrics are nearly completely inaudible, they only exist to further augment the white-noised, borderline morphine like quality that the music induces in you. The lush, ambient instrumental ‘Erik’s Song’ forms the perfect bridge between the first and second halves of the record, paving the way for ‘Brighter’ and ‘The Sadman’, the closest you get to straightforward pop on this record; the latter having a sublime choral daze that brings to mind a feeling of being washed over by emotion, courtesy Rachel Goswell’s heavenly voice. But where Just For a Day is concerned, there’s absolutely nothing better on the album than the bookends; the funeral march-like opener in ‘Spanish Air’ sets the tone for the record in magnificent fashion, a haunting lament accentuated by Goswell and Halstead’s sombre vocal harmonising, topped off by what is probably the sweetest acoustic arpeggio you have ever heard in a Slowdive song. And the closer, oh lord. Primal is a song that utilises the signature sound on this album and stretches it to a breaking point; at its climax it may be the most euphoric thing you have ever heard. 

What is even more admirable about Just for a Day is the wonderful 2005 reissue, that compiles ‘Blue Day’, a collection of material from their early EPs to really illustrate the creativity behind this short-lived band even at their early, maturing stages. The aptly named ‘Albatross’ is an example of soaring ambience being used to create a mood behind some furious drumming, ‘She Calls’, ‘Slowdive’ and ‘Morningrise’ all showcasing the band’s heavier side and signalling the archetypal shoegazer sound that they had already perfected and were going to move on from – quiet, steady drums, an omniscient soothing guitar drone and washed out melodies buried within an aural vortex. They also delve into psychedelic and ambient respectively with ‘Avalyn’ and ‘Losing Today’, the two perhaps being amongst the best of the lot here – the former being propelled by a deep underlying bassline and Goswell’s voice to hypnotic effect, and the latter using a slow tempo and gently strummed guitars to create an aura of introspection, something the band would go on to master a couple of years later on Pygmalion. Also included is the single ‘Shine’, a breezy, rich pop song that serves as a soundtrack for a quiet day on the beach, as well as a dark, haunting interpretation of Syd Barrett’s ‘Golden Hair’. 

Slowdive would soon grow up and move on. They would reach for the clouds in their quest for creating and mastering the dream-pop sound on Souvlaki, and they would hurtle toward outer space in sparse, delicate and almost alien-like fashion on Pygmalion; both records serving as milestones of pioneering, consistent achievement for a band that boasted of steady sonic evolution and maturity on every release. But it was on Just for a Day that they had their feet firmly rooted on the ground, and that they unabashedly wore their hearts on their sleeves and dared to dream. And where people find flaws with this album is where I find peace within it; it reminds me of what it is like to fall in love and be imperfect, in the best way possible.


Screams that seem unreal