Wussy – Gloria
‘Gloria’ is off their most recent album What Heaven Is Like.
The band Bright Eyes were pretty much a constant throughout my twenties. I’ve a lot of memories connected to the band, and a lot of these involve my friend Eddie, who was a fan of the band too.
Last week I had an overwhelming urge, which grew stronger as the week progressed, to revisit Cassadaga, Bright Eyes’ 2007 album. I eventually gave into it and I’m glad I did. My initial resistance was maybe from the fear that even though it was only released 11 years ago, listening to it would merely be an exercise in nostalgia*; but this wasn’t the case. The album still stands up. And though I haven’t listened to other Bright Eyes’ albums like Lifted (2002) or I’m Wide Awake, It’s Morning (2005) for quite a while, I’m going to claim Cassadaga the better album.
I could have chosen any track off the album as there’s not really a weak song on it, but I’m choosing ‘Four Winds’ as I think it was the first release off the album and so it would have been the first song from it I heard.
* Who said that nostalgia and convenience are the drugs of this decade? I can’t remember, but I tend to agree with them.
A few of the interviewees in this documentary about the musician Nic Jones recount when and how they first heard him and his most celebrated album Penguin Eggs. I think I must have heard his version of ‘Canadee-I-O’ on the Uncut Magazine CD, which is mentioned in the documentary. But Penguin Eggs wasn’t the first album I heard by him – that was Game Set Match.
My album of 2017 is Jen’s Lekman’s Life Will See You Now.
I was going to write a blog post saying why. This blog post would have encompassed All Tomorrow’s Parties 2008; ideals that could never be kept and that, I believed, weren’t meant to be; growing older; a brief nod to the excellent production on the record by Ewan Pearson; all backed up by quotes pulled from Jens’s commentary about the album. But I run out of time. So sorry, you’ll just have to take it on trust – it’s a great album.
On Friday night I was thinking about how much I like the album Astral Weeks. (My introduction to this album was through an excellent Lester Bangs article in his book Psychotic Reactions and Carburetor Dung; a book I wholly recommend to you.) Browsing the web for songs off the album to listen to I stumbled upon this live version of ‘Cyprus Avenue’ recorded at the Fillmore East in 1970 – Van and his band channelling the spirit of Otis Redding.
Another someone who fell off my radar. Perhaps this was due to Stevens not releasing a follow-up proper to his 2005 album Illinois until 5 years after; in the interim releasing a record of outtakes (The Avalanche) and a mixed medium artistic exploration of the Brooklyn-Queens Expressway (The BQE). You never think you’re one of those fans who the musician / band intends to shed after a critically lauded album, but perhaps in this instance I was. Anyway, I’ve been revisiting the albums Seven Swans and Illinois. This is the devastating ‘John Wayne Gacy Jr.’ from the latter.
Reading of a new album released earlier this year by British Sea Power (it made the Quietus’s Best Albums of 2017 Thus Far) I was reminded how very excited about the band I was when they released their debut album, The Decline of British Sea Power, in 2003. At the time I thought it warranted inclusion on the list of great debut albums. It was one of the best I had heard. But the Quietus review also reminded me how somehow they fell off my radar just around the time of their third album, Do You Like Rock Music?.
So this week I’ve been re-listening to The Decline of British Sea Power. And I’m pleased to say it’s everything I remember. Would I still claim it as one of the great debut albums? Yes. That more people don’t think the same I can only attribute to the album inhabiting a space of its own when it was released; it never defined a moment like The Stone Roses, to pick one example, did. It deserves to be thought of as such though.
Their new album is their eighth I read. I’m going to catch up.