I'm a sucker for anything referencing or related to Russia, but this band wasn't what I'd expected when I first heard their name.
I discovered them whilst browsing this rather adorable online store that sold anything indie pop, and the name drew me in. A link to their Bandcamp was provided, and their EPs were free! Still, I listened to a couple of their tracks before downloading, and those tracks were wonderful. They're a little bit of funk, a serving of electronica, and a whole lot of fun.
Hailing from Japan, they're part of a growing culture of indie bands that probably has been growing for some time, but only really caught my attention recently. There's this massive mix somewhere on Bandcamp (you can track it down via möscow çlub's discography) titled JPN C86 or something like that, and it's just really interesting to listen to all these bands who are creating sounds of their own that reflect the individualistic indie culture, as well as that of a rising musical force in Japan. Gone are the days of J-pop/rock or visual kei (though those bands are still alive and kicking on stage), and it's time to usher in a whole slew of diverse bands who seem to really enjoy doing what they do, and that is to make good music.
My favourite track of möscow çlub's is 'and the Moon be still as bright', which you may preview or download from their Bandcamp site.
It's been almost 40 years since they've disbanded. Their legacy still stands strong, finding its way into the iPods of many teenagers across the world, assuring them that there's someone who understands and it's okay to be the way they are. They relate to the songs just like teens related to them in 1984, when the eponymous debut was released by Rough Trade.
The emotion hidden in Morrissey's words still resonate with listeners today, tapping into the well of locked-away feelings that they don't show, lest they are mocked for it. For example, in 'There Is A Light That Never Goes Out', the protagonist's dread of returning home where he's 'welcome no more' can be felt in the many who feel alienated from their own kin, perhaps even everyone. They just want to see life, not be confined to the view from their bedroom window. Or even in 'Sheila Take A Bow', where he sings to every shrinking violet to disregard the tiresome mundane and come out to find the one to love.
I have to admit that I only started listening to them this year, sometime before the summer started. It was because a friend recommended them, and he said they were his favourite band. It didn't take me long to finally understand the love for those charming men whose words and melodies just rip right through you mercilessly, yet with a gentle touch of a caring friend or lover. I sought out every release, even the posthumous compilations. I needed more, but alas, there is no more to be had.
Morrissey's solo work, while rapier sharp and moving, lacked what I felt was the complete experience. He was a good lyricist and writer, but there was still some elements that were missing. Then we have Electronic, Marr's foray into synthesisers and beeps. Their self-titled was lacklustre, in my opinion, kind of like a hodgepodge of the new wave bands at that time, but they didn't manage to pick out all the best bits. I may revisit it and fall in love with it, but right now I am fine with giving them a miss.
Anyway, this isn't a review of their endeavours post-Smiths. I'm going to share a couple of bands who remind me of The Smiths, in various aspects such as songwriting, musical elements, or lyrics. I'll be listing two bands for this post, as it's getting a little lengthy.
I suppose the name at the top of my list would be Danish band Northern Portrait.
This is my favourite song from their full-length release, Criminal Art Lovers. It's as if they have perfected the art of a well-written pop song, complete with heart-wrenching lyrics. This brings to mind that very appropriate quote from High Fidelity about whether we are sad because we listen to pop songs, or whether we listen to pop songs because we are sad.
In an article that I've forgotten the link to, they were actually described as the answer to all those fans who yearned for another release by The Smiths. It's like the fifth album that was never recorded, not even written or thought about. Still, Northern Portrait hold their own in the indie world, and they are not going to relinquish that position.
Cute name aside, their lyrics are clever and scathing at times, drawing inspiration from the inherently sarcastic British wit. They're actually Finnish, but for all we know, they could be sitting in a bar somewhere with their heads on the bar, taking in life and turning experiences and thoughts into beautifully crafted songs.
For interested readers, check out their second release, Dealing In Antiques. It features some reworked versions of their debut tracks and a whole crop of newly written songs. The song that I've included one of my favourites from their debut.
That's all I'll be writing for this post. I've always wanted to make a post like this, and I guess with the creation of this new blog, it's a good time to get this one off my mind. I hope you've found some new music, as there is always plenty to discover.
My first encounter with this band was through the Sofia Coppola film Lost In Translation, and the song used was 'Just Like Honey'. I was going through a shoegaze phase back then, and their decidedly shoegazey sound certainly piqued my interested. They're like a grown up, more sombre bunch, writing songs that droned on and lulled one into a smokey torpor.
This song is off their second release, 'Darklands', where they start to vary their songwriting. At least two songs in their debut 'Psychocandy' had the same opening drums and while I do like the album, it got a little repetitive. Anyway, 'Darklands' showcases the abilities of the brothers Reid, and some of my favourite Jesus And Mary Chain songs come from this album. One of them is obviously the track embedded above, and the other is 'April Skies'.
