2001: A Space Odyssey (1968)
A landmark film that first pushed the boundaries of the use of music within filmmaking. Kubrick so powerfully used parts of Richard Strauss’s 'Also Sprach Zarathustra' and the Johann Strauss composed 'The Blue Danube' that the visions and the accompanying music are indelibly stamped on the viewer.
Clockwork Orange, (1971)
Another Kubrick classic, Clockwork Orange, (1971) managed to tarnish the ever-joyful ditty ‘Singin’ in the Rain’ as well as tying Beethoven to brutality.
Singles (1992)
Virtually reads as a soundtrack to Seattle while it was nurturing the musical and cultural phenomenon of grunge and helped nudge alternative music into the main stream. Singles also featured Paul Westerburg’s first post-Replacements solo work.
Head, The Monkees (1968)
While the movie is a baffling hodgepodge of cinema pastiche and cheeky nonsense, the music stands up on its own. Notable tracks include Mike Nesmith’s ‘Listen to the Band’, the subversive Monkees theme pisstake ‘Ditty Diego - War Chant’ and the psychedelic sprawl of 'Porpoise Song (Theme From Head)'. Trivia buffs may note that the soundtrack was produced by Jack Nicholson.
Saturday Night Fever (1977)
SNF was big, really big. If you can set aside the tight pants, big collars, and impossibly high voices the fact is this album has gone 15 times platinum and is the biggest selling soundtrack of all time. ‘Stayin Alive’ turned the Bee Gees into a household name. It also prompted a Muppet spin-off with the release of Sesame Street Fever featuring the unexpectedly contemporary ‘Me Lost My Cookie at the Disco’.
Flashdance (1983)
The fact that you may now best know this soundtrack due to a beer ad only partially reveals the significant role this film had in the commercialisation of music in movies. Combine a hit song with a memorable screen sequence and you have yourself a ready-made advertisement and/or video clip to sell both the movie and the song itself. Particularly when MTV was emerging as a cultural force.
The Doors (1991)
This Oliver Stone movie helped get a whole new generation of 15 year olds singing ‘Come on baby light my fire’ into their hair brushes and contemplating purchasing leather pants. You would hope that the soundtrack may have also helped a few discover the Velvet Underground via the manic rushing cavalcade of ‘Heroin’ when they grew out of their Doors phase (aged 15 and a half).
Pulp Fiction (1994)
This is one bad mother fucker of a soundtrack and can be found in practically every share-house in the western world. Combining dialogue snippets and some of the most danceable songs ever collated – probably responsible for prompting more outbreaks of the Batdance than Adam West and Prince combined - this album has been the backbone to many a house party ever since.
Velvet Goldmine (1998)
The fact that David Bowie believed the film was somewhat naff and precluded the use of his songs to appear in the movie was solved in the most star-studded way. Representing the English glam-era, The Venus in Furs comprise Thom Yorke, Johnny Greenwood, Bernard Butler, David Gray and Andy Mackay. Across the Pacific the US contingent, the fictional Wylde Rattz feature Ron Asherton of the Stooges, Thurston Moore, Steve Shelley, Mike Watt and Mudhoney’s Mark Arm. Add three members of Placebo as cast members and some cracking contemporary glam covers and its 'wham bam, thank you glam' for this little platter.
Rock’n’roll High School (1979)
The Ramones play schoolyard miscreants and play along as they play up in this teen-rebellion cult classic. The soundtrack was initially offered to Cheap Trick, but I don’t think they would have looked as good in tight jeans.
Robert Forster – The Evangelist
One just can’t listen to this album without a tinge of sadness, both for Grant McLennan being taken too soon and for all the songs left unwritten. Forster has crafted a measured and studied musical response that never wallows but often amazes in its resilience. ‘Demon Days’ in particular - where Forster stepped into the soul of his late band-mate to finish his song - hangs with a heavy resignation and the highest of regard.
Eddy Current Suppression Ring – Primary Colours
Some albums just come out of nowhere and kick your arse. This is the sound of foggy days and frantic nights, raw rough-shot emotions and the ragged edge of regret that arise in a life not going quite right - a bristling encapsulation of life on the fringes. The music is potent and downright honest, ringing with a muddled intensity not far removed from the stage, where this band are something else.
The Autumn Isles – Wish Lists & Sunken Lands
This mini-album follows on from the band’s very warmly received debut EP and sees a goodly whack of polish added to proceedings. The sprightly sounds have a well-honed, almost timeless, classical pop edge to them as they crackle and glow through the speakers like a recommended dose of fresh air and sunshine. A most promising and esteemed release from a band nicely amassing accolades and acclaim.
Tindersticks – The Hungry Saw
It took the ‘Don’t Look Back’ concert series to reignite Tindersticks’ musical spark. A stripped back three-piece version of the band pieced together this brooding big-screen, late-night epic that makes one wish they were nocturnal. Despite it being the band’s first new album for five years, its players are embarrassingly attuned and accomplished and the gravel-filtered-through-silk voice of Stuart Staples is endlessly compelling.
My Morning Jacket - Evil Urges
Evil Urges works like a Ween album. MMJ gives you mostly guitar rock, healthily and indelibly stamped with C&W influences. This is interspersed with Dave Gruisin-like sax-crime vibes, homorock Electric Six-style novelty tunes like 'Highly Suspicious' and then lots of Mercury Rev, Meatloaf and Flaming Lips. There's 'Librarian', in which Jim James clearly lives out (one of) his, and I'm sure a lot of other people's, fantasies. A definite highlight is 'Touch Me I'm Going to Scream Part 2', the second to last track, so enjoy the rest of the journey on your way there.
Mates of State - Re-arrange Us
It is so hard not to like the twee pop created by this husband and wife duo, because it just takes you to a more beautiful world. Infectious percussion and sweet vocals paired with punchy lyrics make for a consistently fun experience. It doesn't matter what Mates of State write about, they always make it sound like fun. Both Kori's and Jason's vocals beam with sunlight and a smile.Re-arrange Us is no different. The title track is particularly brilliant, and poses a challenge that I personally would hate to see anyone attempt - these kids are just too beautiful!
Portishead - Third
It has been more 10 years since the last Portishead release, but it feels like they never left. Right from the opener, 'Silence', you are reminded that there is no band that creates atmosphere quite like them. The combination of Geoff's and Adrian's raw and hypnotic instrumentation with Beth Gibbons haunting vocal delivery is unmistakable. There is definately a feeling of experimentation with the imaginatively titled 'Third'. This ranges from the barber shop refrain of 'Deeper Water' to the eerie tribal drums of 'Nylon Smile'. These explorations just serve to further deepen the musical legacy of this trio. I still have chills.
The Duke Spirit - Neptune
'MayDay' was a big standout on the latest UNKLE album, War Stories,so it's great to see The Duke Spirit teaming up with the same producer, Chris Goss, on their sophomore record. The pairing works its magic with rocking blues with a pinch of soul. Vocalist Liela Moss really shines on this release, expanding her range with the band struggling to keep up in parts. Standouts include 'My Sunken Treasure' - all harmonies, piano and a driving guitar line - and 'The Step and The Walk,' which has all the swagger the title would suggest. A great progression for a promising UK band.
Islands - Arm's Way
Islands have always been a singles band to me. Even dating back to their Unicorns days, they always had records in which a few cuts really shone through. That is not to say their output isn't admirable, and this disc is no exception. Turning slightly from their indie-pop roots, they move into more expansive territory. Two tracks on Arm's Way come in at just under 8 minutes and the album's themes encompass death, punishment and fear. That being said, these themes are given the quirky Islands treatment with bizarre tongue-in-cheek lyrics and instrumentation that ranges from grand sweeping strings to afro beat. In the end, the cuts 'Creeper' and 'J‚aime vous voire quitter' still shine brightest and show that the Islands' strength lies in creating oddly irresistible indie pop.
Blood On The Wall - Liferz
These New Yorkers gained a loyal following of fellow NYC band locals, and one listen to Liferz makes clear why. By all accounts, they’ve expanded their sound for this, their third release. Expanded and diversified I’d say. Listening to Liferz, you almost feel like you’ve been privy to six or seven different albums, all in the one beautifully chaotic jumble. There’s a heck of a lot of early Sonic Youth in the mix - they’re parting with The Pixeis I think. Oh, and channelling a little high-aural-assault fem-punk.
Songs - Songs
Songs are a relatively new addition to the Sydney band scene. Not that you’d easily pick it. Their debut self-titled EP plays with a sophistication that belies their band’s youthful status. The mostly two-and-a-half minute offerings were reportedly born of live shows, making for an interesting popish voice-meets-guitar-then-welcomes-drums-etc release. Clocking in at just over 10 minutes, the EP doesn’t demand too much of your time and it’s time you’ll happily give if indie pop is your thing.
Liquid Liquid - Slip In And Out Of The Phenomenon
Insert CD into player (or select album in digital MP3 player), navigate to track one and press play. One electronically-tribalised hour later, you emerge from the chaos that is Liquid Liquid’s Slip In And Out Of The Phenomenon. As the title suggests, this album does require some slipping in and out - of listening or consciousness, depending on your particular penchant for experimental electronic sounds - if only to retain some semblance of oneself. It’s a journey to be sure; comparable to the one detailed by Joseph Conrad, along the uncharted African river system into then wild heart of Africa, in Heart of Darkness. Save for the odd injection of funk. No funk in Conrad’s writings. Therein lies the difference.
Radiohead - The Best Of
This release signifies a happy farewell to one of EMI’s favourite signings. After six wonderful albums, Radiohead’s release of Hail to the Thief in 2004 made them contract-free, and this two-disc compilation tracks all their work up until this point. It also happens to coincide very nicely with the band’s tour of their independent release, In Rainbows. A nostalgic ride, the album includes songs like 'Creep', 'High and Dry', 'The Bends' and 'Talk Show Host', as well as many other favourites, which is why it’s not so hard to imagine it sounding bloody good.
