Posts from 2021

24
Mar 21

WILL YOUNG – “Leave Right Now”

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#966, 6th December 2003

Eg White, the songwriter on “Leave Right Now”, had an intriguing half-career out in the far suburbs of British pop. His album as part of Eg And Alice, 24 Years Of Hunger, has quietly acquired cult status; it’s sophisticated but erratic. Like Daniel Bedingfield, White was a young songwriter trying on his inspirations for size (at one point there’s an unexpected but exciting stab at Remain In Light era David Byrne). Released into a world too earthy and raucous for it, it made no impression – I remember the cassette of it in Our Price sale after sale, forever ignored.

17
Mar 21

Omargeddon #19: Blind Worms, Pious Swine

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Lately, the weather has been seesawing wildly through various meteorological events over the course of any given day, as is oft springtime’s wont. These icy, azure early mornings remind me of the Blind Worms, Pious Swine cover. Of course, the buds bursting into bloom on the trees will produce only boring-ass leaves rather than animal / human heads, like whatever this feather-becapped person is studying quizzically. Are they thinking, “Hey, I think I know that dude!” or “Do donkeys normally grow on trees?” It’s a dilly of a pickle!

The cover also challenges my sporadic synaesthesia in that although the cover feels cold, the actual music sounds warm. The first half is made up of punchy, indie-pop songs that all clock in at under four minutes; the second half is an instrumental prog-lite piece spanning four songs. The two genres might seem like an odd juxtaposition, but the two halves blend together via a gradually intensifying bassline which builds up to a crescendo set up by the magic of Omar Rodriguez-Lopez and Teri Gender Bender’s shared vocals.

19
Feb 21

Omargeddon #18: Un Corazón de Nadie

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To suggest that delivering three albums over a twelve-month period indicates a slow year would normally be ridiculous, but for Omar Rodriguez-Lopez fans, 2012 probably felt a bit like an old-timey cowboy actor (i.e. Slim Pickens). To give this a bit more context, 2009 saw six releases and 2010 seven, which in turn now appears positively tame compared to the glorious twenty-three-record bounty of 2016/17 as part of Ipecac Recordings’ back catalogue clearout bonanza. According to the liner notes, Un Corazón De Nadie (“Nobody’s Heart”) “was completed in November of 2010, and then sat in the wild strawberries vault until its release in May of 2012.” For material to sit around brewing for a couple years before becoming available isn’t unusual for ORL records, but for all of the releases in a given year to have a unifying genre, in this case electronica, certainly is.

Both Wikipedia and contemporaneous reviews refer to Un Corazón De Nadie as the first in a trilogy of electronica-influenced albums, followed by Saber, Querer, Osar y Callar and Octopus Kool Aid. The production is coarse, rather than the cotton-wool fuzziness present on other effects-laden, synthy, mid-era ORL records. It too is drenched with effects but is comparatively more polished – somewhere between Tychozorente and Unicorn Skeleton Mask. Songs are a lyrical mix of Spanish and English, interspersed with instrumental segues as is usual for his electronic music. This collage-y nature is also reflected in the cover art, a photo composition done by his mother (and possibly featuring her holding baby Omar), who passed away the year of this release.