The Essential Two-Four (Vol. 4 of 4)

Posted by on Apr 8, 2017 in Music, Posts | No Comments

LCD Soundsystem • LCD Soundsystem (2005)

 

 

James Murphy seems to goes out of his way to prevent anyone from even thinking about categorizing his music. He epitomizes what punk is all about, the ultimate fuck you to the music industry. Combining blunt lyricism with catchy grooves this album landed right in my wheel house.

Oh by the way, always remember when “Daft Punk is playing at your house, you gotta set em up

 

BTW this performance is worth the full screen treatment.

 

 

 

Cut Copy • Bright Like Neon Love  (2004) + In Ghost Colours (2008)

 

 

 

In 2004 Cut Copy was undergoing a metamorphosis from a DJ / electronic band to something more evolved. With the help of the sweet sultry production touch of DFA’s Tim Goldsworthy (In Ghost Colours) there was something about Cut Copy’s sound during this period that marked their apex of their delivery. The songs were well sculpted into addictive bite sized morsels, each sounding sweeter than the next. This stuff makes for my go to summer driving music.

 

 

 

 

 

Hans Zimmer • The Thin Red Line OST (1998)

 

 

Right from the opening sequence of the picture Zimmer’s score latches on and doesn’t let go. Zimmer’s slow rolling style flows organically and perfectly compliments Malik’s meandering directorial approach. The film along with its score work in such harmony it seems like Malik and Zimmer were operating as one. 

One of the most impactful sequences I have ever seen on film takes place when a group of US soldiers storm a poorly defended, undersupplied Japanese encampment. I couldn’t help but feel sympathy for each side during this confrontation, particularly the ill fated Japanese, and without Zimmer’s slow brooding score it wouldn’t strike with nearly the emotional force. The scene is gripping and still gives me chills whenever I watch it. This is quintessentially what a film score should deliver. The Thin Red Line is not so much as a war film but a commentary on humanity vs. nature as a whole.

This great evil,
where’s it come from?
How’d it steal into the world?
What seed, what root did it grow from?

 

Spoiler alert: The following is the scene described above

 

 

 

 

Beatles Anthology • Anthology Volume 2 (1994)

 

 

This particular release incorporates a playful set of B-sides, rarities, live tracks, and outtakes which perfectly encapsulates everything Beatles to me. Selections from a time when fellas were shedding their more poppier personas, while becoming more serious about their craft. They were experimenting more than ever with new sounds, as well as hallucinogens, which helped culminate in there most creative period.

Their influence can be felt in every genre of music today.  Tomorrow never Knows in particular just may be one of the most influential tracks in their portfolio, introducing one of the first electronic / trip-hop dance track to the masses.

Through this set of rare material you can hear a little bit of everything that made The Beatles, The Beatles; song craftsmanship, playfulness, creativity, humour, and experimentation. Oh yah and Ringo’s quintessential 5 piece sound. The compilation has a fresh remixed vibe of many overplayed Beatles favourites.

 

 

 

 

 

The Smiths • The Best Of the Smith, Vol .1  (1992) + The Best Of the Smith, Vol .2 (1992)

 

 

Everything I need as a Smith’s fan can be found on these two compilations, a nice balance of their hits and some unique selections as well. I have never be one for lyrics in music, relating them to an off tune instrument, seemingly often getting in the way, however I can’t help but be memorize to the Smith’s vernacular. “Stop me if you think that you’ve heard this one before” is pretty much the only song I could recite word for word. This would be my go to karaoke track.

I have also always been fond of the covers of these two instalments as well. Later finding out that they were personal designs from Morrissey himself. He had inexplicable admiration for an B list actor Richard Davalos, and would feature him on Smith albums.

 

 

 

 

 

Cure • Paris (1993)

 

 

A live set recorded at Le Zénith de Paris in October 1992, this compilation seems to ooze raw power of The Cure sound. During the same time another live compilation was released called “Show” however, it seemed to me more focused on the band’s more poppier hits and in my opinion is just window dressing comparatively. I’ve always found it more enjoyable to experience The Cure live and this set of tracks was recorded at the paramount of their sound. 

 

 

 

END TRANSMISSION