forrest

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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Certainly a cult classic. Teenage Fanclub went out on a limb here to create one fuck of a brilliant power-pop record. Inspired by Big Star, Dinosaur Jr, and the likes, this album showcases Teenage Fanclub at their best. Far more commercial friendly than “A Catholic Education” (though, that remains my favorite Teenage Fanclub album). Overall, this is a great fucking album. Pure power-pop from start to finish. The highlights include What You Do to Me, The Concept, I Don't Know, and Star Sign. If you're just getting into Teenage Fanclub, this is a great place to start.

#music #TeenageFanclub

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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All I can say about this album is that it's brilliant. Produced by John Cale of The Velvet Underground, excellently. Very amateur and charming, most of the songs being about girlfriends or wanting a girlfriend. Roadrunner starts off the album, a fast tempo garage rock song that makes you feel like you're right in front of the band experiencing their energy. I'm Straight and Pablo Picasso will make you grin, while Government Center and Old World will make you dance.

Download (Still up!)

#music #TheModernLovers

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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The amazingly titled second album by Stereolab, “Transient Random-Noise Bursts With Announcements” is a collage of chord trances and subtle synth that will undoubtedly leave you intrigued. While the album is not immediately catchy, it is an extremely interesting listen, and will gradually become catchier as you become more familiar with it. Tone Burst and I’m Going Out of My Way are two highlights from the album, which feature quick tempos and The Velvet Underground sounding chord sequences. The music itself is very alien, something that can’t really be defined with words. It’s simple, yet something entirely original emerges from the simplicity. Stereolab has their own sound, it's far out, it's melodic, it's beautiful, it's hypnotic, it's like nothing you've ever heard before.

#music #Stereolab

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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The Telescopes' debut album, Taste, packs an abrasive sonic sound full of grungy screaming, powerful fuzz, and ear-piercing feedback. “The Perfect Needle” is by far the most listenable song, and their most renowned track as far as popularity goes. The album itself is, like I said, very abrasive... sounding very much like a less poppy version of The Jesus and Mary Chain's Pyschocandy. That being said... this is not the most easily loved album in The Telescopes' catalogue. This album is the hardest shoegaze is going to come, by far.

Download (Still up!)

#Music #TheTelescopes

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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This is going to be a very biased review, so be prepared: Probably one of the most beautiful albums I have ever heard in my life. There's no definition for what the Telescopes have done with their second album: The Telescopes. Obviously, they jumped the dream-pop bandwagon that was floating around at the time and developed it into something that was completely beyond anyone's expectations. From the opening track to the last track, this album is a beautiful piece of dreamy art. Who would have guessed that The Telescopes; the band that had just perviously released the incredibly abrasive almost non-listenable album Taste could have produced an album so perfect.

Download (still up!)

#Music #TheTelescopes

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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The Boo Radleys fourth album Wake Up! gave the band huge commercial success... which means that this is their most user friendly album. It's possible to fall in love with the first six tracks or so on your first listen, but the second half of the album takes a few listens to fall for. The Radleys' fuzzbox fed guitars found on their previous albums are toned down a bit this time around and replaced with softer more pop friendly sounds. With that being said, this is by far their most poppy album. Wake Up Boo, It's LuLu, and Find the Answers Within are instantly lovable pop songs, mixing somewhat fuzzy guitars with horns and wonderfully crafted melodies. It's safe to say that this album was the bridge that connected The Boo Radleys to commercial success and a larger fanbase, and rightly so.

#Music #TheBooRadleys

(Note: This article was written in 2008 for an old Blogspot music blog that I managed (flyingairplane.blogspot.com); meaning, I was 18 years old when I wrote this. The blog's format was such that each article contained a short “review” of an album and a download link to the full album (usually through Mediafire). Blogspot was a go-to source for obscure music back in 2008, with many blogs like this popping up with download links, and I wanted to be part of the illegal-music-download literati myself. Unfortunately, this blatant violation of copyright eventually caught up with the blog (and most others of its ilk) and got it removed from the Blogspot service entirely; however, the first page of the blog remains archived through the Internet Archive's Wayback Machine.)

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Here's a rare gem for all you Felt fanatics out there: the Andy Kershaw Sessions from 1986. It features only four songs: When the Dawn Starts Creeping In, Sapphire Mansions, Rain of the Crystal Spires, and All the People I Like Are Those That Are Dead. The only thing that really stands out about this session is the inclusion of the ever-so-elusive song When the Dawn Starts Creeping In. The recording of When the Dawn Starts Creeping In included in this session is probably the only recording you'll be able to find of it on the internet, which really makes this specific session somewhat special to hardcore Felt fans such as myself. Enjoy!

Download Link (yes – my original upload is still up! I guess this was so obscure that it went under the radar of the music police.)

#Music #Felt

The Whole of the Moon (The Waterboys, 1985)
In My Life (The Beatles, 1965)
It's My Life (Talk Talk, 1984)
Waters of March (Antonio Carlos Jobim, performed by Art Garfunkel, 1975)

Velocity Girl (Primal Scream, 1986)
Pendulum (Guided By Voices, 1990)
Take It Away (Paul McCartney, 1982)
Nothing to Be Done (The Pastels, 1989)
Spanish House (Felt, 1984)
Isn't She Lovely (Stevie Wonder, 1976)
Sir Duke (Stevie Wonder, 1976)
Don't You Worry 'Bout a Thing (Stevie Wonder, 1973)
Gotta Broken Heart Again (Prince, 1980)
About a Girl (Nirvana, 1989)
Four Out of Five (Arctic Monkeys, 2018)
Comin' Through (The Pastels, 1987)
Peg (Steely Dan, 1977)
Boy Problems (Carly Rae Jepsen, 2016)
Generation Sex (The Divine Comedy, 1998)
Excitable Boy (Warren Zevon, 1979)
Gold Star for Robot Boy (Guided By Voices, 1994)
The Loneliest Time (Carly Rae Jepsen, 2022)
Since Yesterday (Strawberry Switchblade, 1985)
Game of Pricks (Guided By Voices, 1995)
Freaking Out the Neighborhood (Mac DeMarco, 2012)
Borderline (Madonna, 1983)
Superball (Helium, 1995)
Solitude Standing (Suzanne Vega, 1987)
Surfin' U.S.A. (The Beach Boys, 1963)
Sunday Morning (The Velvet Underground, 1966)
And Your Bird Can Sing (The Beatles, 1966)
Teenage FBI (Guided By Voices, 1999)
I Am a Scientist (Guided By Voices, 1994)
Marlene On the Wall (Suzanne Vega, 1985)
Sister I'm a Poet (Morrissey, 1988)
This is the Day (The The, 1983)
Wuthering Heights (Kate Bush, 1978)
Thy Mission (The Garden, 2019)
Thorn (My Bloody Valentine, 1990)
Off Your Face (My Bloody Valentine, 1990)
Why You Wanna Treat Me So Bad? (Prince, 1979)
I Saw Her Standing There (The Beatles, 1963)
Help! (The Beatles, 1965)
Party Fears Two (The Associates, 1982)
Michelle (The Beatles, 1965)
The Official Ironman Rally Song (Guided By Voices, 1996)
Can't Be Sure (The Sundays, 1990)
Here's Where the Story Ends (The Sundays, 1990)
Everlong (Foo Fighters, 1997)
Goodbye (The Sundays, 1992)
Rhymes Like Dimes (MF DOOM, 1999)
Young Americans (David Bowie, 1975)
Rapp Snitch Knishes (MF DOOM, 2004)
This Town Ain’t Big Enough for the Both of Us (Sparks, 1974)
Here In Heaven (Sparks, 1974)
Hasta Manana, Monsieur (Sparks, 1974)
(When I Kiss You) I Hear Charlie Parker Playing (Sparks, 1994)
The Number One Song in Heaven (Sparks, 1979)
Balloon Man (Robyn Hitchcock & The Egyptians, 1988)
The Cabbage (Teenage Fanclub, 1993)
Coming Up (Paul McCartney, 1980)
I Could Never Take the Place of Your Man (Prince, 1987)
Picture Book (The Kinks, 1968)
I Want the One I Can't Have (The Smiths, 1985)
Rio (Duran Duran, 1982)
My Boo (Ghost Town DJs, 1996)
Eighteen and Dreaming (Peter Ivers, 1976)
Tranquility Base Hotel & Casino (Arctic Monkeys, 2018)
William, It Was Really Nothing (The Smiths, 1984)
Doctor Worm (They Might Be Giants, 1998)
You've Got Everything Now (The Smiths, 1984)
18 Carat Love Affair (The Associates, 1982)
This Charming Man (The Smiths, 1984)
Rubber Ring (The Smiths, 1985)
One Point Perspective (Arctic Monkeys, 2018)
A Swallow On My Neck (Morrissey, 1994)
Girl Afraid (The Smiths, 1984)
Some Girls Are Bigger Than Others (The Smiths, 1986)
Long Long Journey (Bill Wurtz, 2018)
My Ever Changing Moods (The Style Council, 1984)
Moonage Daydream (David Bowie, 1972)
Drive-In Saturday (David Bowie, 1973)
That's Entertainment (The Jam, 1981)
Radio Free Europe (R.E.M., 1983)
Interesting Drug (Morrissey, 1989)
Babies (Pulp, 1993)
I Am The Resurrection (The Stone Roses, 1989)
White Flag (Guided By Voices, 2012)
I Would Die 4 U (Prince, 1984)
Desire Lines (Deerhunter, 2010)
Cruel to be Kind (Nick Lowe, 1978)
She Loves You No Less (My Bloody Valentine, 1989)
Never Say Goodbye (My Bloody Valentine, 1989)
Let's Go Crazy (Prince, 1984)
Bye Bye Bad Man (The Stone Roses, 1989)
She Bangs the Drum (The Stone Roses, 1989)
Gold (Spandau Ballet, 1983)
Don't Stop Now (Guided By Voices, 1996)
Chocolate Boy (Guided By Voices, 2012)
Little Red Corvette (Prince, 1982)
Delirious (Prince, 1982)
Queen Bitch (David Bowie, 1971)
Oh! You Pretty Things (David Bowie, 1971)
Changes (David Bowie, 1971)
Life on Mars? (David Bowie, 1971)
Twee (Tullycraft, 2002)
Ivy Ivy Ivy (Primal Scream, 1989)
Come Together (Primal Scream, 1990)
Dream Kitchen (Frazier Chorus, 1989)
Divine Thing (The Soup Dragons, 1992)
At Your Funeral (Saves The Day, 2001)
Run For Your Life (The Beatles, 1965)
Goodbye, Our Pastels Badges (Flipper's Guitar, 1989)
Haircut 100 (Flipper's Guitar, 1990)
My Golden Years (The Lemon Twigs, 2024)
In My Head (The Lemon Twigs, 2023)
So. Central Rain (R.E.M., 1984)
Walk on the Wild Side (Lou Reed, 1972)
Sprawl II (Arcade Fire, 2010)
Ready to Start (Arcade Fire, 2010)
Drag Days (Guided By Voices, 1996)
After Hours (Swing Out Sister, 1986)
Breakout (Swing Out Sister, 1986)
We Don't Care (Kanye West, 2004)
You On My Mind (Swing Out Sister, 1989)
Do You Have to Break My Heart? (The Darling Buds, 1990)
Sweetness and Light (Lush, 1990)
Wood Beez (Scritti Politti, 1985)
Toxic (Britney Spears, 2003)
Perfect Way (Scritti Politti, 1985)
Absolute (Scritti Politti, 1985)
Ready for the Floor (Hot Chip, 2009)
Bittersweet Poetry (Kanye West, 2007)
Material Girl (Madonna, 1984)
Madonna of the Wasps (Robyn Hitchcock & The Egyptians, 1989)
Agoraphobia (Deerhunter, 2008)
Walk Out to Winter (Aztec Camera, 1983)
All I Need is Everything (Aztec Camera, 1984)
John the Birdman (David Sylvian & Robert Fripp, 1993)
Hairdresser on Fire (Morrissey, 1988)
Things I Will Keep (Guided By Voices, 1999)
Surgical Focus (Guided By Voices, 1999)
Slow Emotion Replay (The The, 1993)
Taxman (The Beatles, 1966)
Eleanor Rigby (The Beatles, 1966)
Sloop John B (The Beach Boys, 1966)
Helena (My Chemical Romance, 2004)
What About Me (The Cribs, 2004)
Girl Anachronism (The Dresden Dolls, 2003)
You Gotta Be (Des'ree, 1995)
Ma Baker (Boney M., 1977)
So It Goes (Nick Lowe, 1978)
I Love the Sound of Breaking Glass (Nick Lowe, 1978)
Controversy (Prince, 1981)
Prune, You Talk Funny (Gus Dapperton, 2017)
3AM (Thundercat, 2017)
Beautiful Girls (Sean Kingston, 2007)
Rock 'n' Roll (The Sounds, 2003)
Do It All Night (Prince, 1980)
Them Changes (Thundercat, 2017)
I'm Not Okay (My Chemical Romance, 2004)
Hazey Jane II (Nick Drake, 1970)
A Complete History of Sexual Jealousy Pt. 17-24 (Momus, 1988)
Cramps (Slow Pulp, 2023)
Falling Apart (Slow Pulp, 2020)
You Didn't Love Me Then (The Hit Parade, 1988)
Emasculate Me (The Cribs, 2009)
Shimmer (Fuel, 1998)
A Day in the Life (The Beatles, 1967)
Dear Boy (Paul McCartney, 1971)
Made You Look (Meghan Trainor, 2022)
Teddy Picker (Arctic Monkeys, 2007)
Neon (John Mayer, 1999)
No Such Thing (John Mayer, 2001)
Sing Your Life (Morrissey, 1991)
A Certain Romance (Arctic Monkeys, 2006)
Submarine (L'Impératrice, 2021)
Good Vibrations (The Beach Boys, 1966)
Little Dark Age (MGMT, 2018)
Wild Blue (John Mayer, 2021)
When You Die (MGMT, 2018)
Don't Know Why (Norah Jones, 2002)
Unspirited (Guided By Voices, 2001)
Girls Like Mystery (The Cribs, 2007)
When You Sleep (My Bloody Valentine, 1991)
Jaded Youth (The Cribs, 2012)
Diamonds and Pearls (Prince, 1991)
Vapour Trail (Ride, 1990)
Falling and Laughing (Orange Juice, 1980)
Dying Day (Orange Juice, 1982)
Not Too Soon (Throwing Muses, 1991)
I See You (Juliana Hatfield, 1992)
Just Like Heaven (The Cure, 1987)
Lovesong (The Cure, 1989)
It's Yer Money, I'm After Baby (The Wonder Stuff, 1988)
Popscene (Blur, 1992)
Sick of Myself (Matthew Sweet, 1995)
Polyester Bride (Liz Phair, 1991)
Crazy Town (Velocity Girl, 1993)
Sugarcube (Yo La Tengo, 1997)
Buddy Holly (Weezer, 1994)
Train in Vain (The Clash, 1979)
Trigger Cut/Wounded-Kite At :17 (Pavement, 1992)
Ready to Go (Republica, 1996)
Two of Hearts (Stacey Q, 1986)
I Love Perth (Pavement, 1995)
Stereo (Pavement, 1997)
Wouldn't It Be Nice (The Beach Boys, 1966)
Phantasies (Stephen Malkmus, 2001)
Jo Jo's Jacket (Stephen Malkmus, 2001)
Do You Want to Know a Secret? (The Beatles, 1963)
In Bloom (Nirvana, 1991)
Paperback Writer (The Beatles, 1966)
The Hairstyle of the Devil (Momus, 1989)
Lifestyles of the Rich And Famous (Revisted) (Momus, 1995)
All I Want (Toad The Wet Sprocket, 1991)
Who Says (John Mayer, 2009)
Band on the Run (Paul McCartney, 1973)
Big Yellow Taxi (Joni Mitchell, 1970)
Big Me (Foo Fighters, 1995)
Sunlight in a Jar (The Lucksmiths, 2005)
Jar of Cardinals (Guided By Voices, 1993)
Echos Myron (Guided By Voice, 1994)
Told You So (Depeche Mode, 1983)
Everything Counts (Depeche Mode, 1983)
12:51 (The Strokes, 2003)
Reptilia (The Strokes, 2003)
I Wish I Was Stephen Malkmus (Beabadoobee, 2019)
Cabin Essence (The Beach Boys, 1966)
Rhythm Section Want Ad (They Might Be Giants, 1986)
Ana Ng (They Might Be Giants, 1988)
Surf's Up (The Beach Boys, 1966)
Soma (The Strokes, 2001)
Automatic Stop (The Strokes, 2003)
Barely Legal (The Strokes, 2001)
People Are People (Depeche Mode, 1984)
Coffee and TV (Blur, 1999)
Subspace Biographies (Robert Pollard, 1998)
World in My Eyes (Depeche Mode, 1990)
God Only Knows (The Beach Boys, 1966)
You Can't Get What You Want (Till You Know What You Want) (Joe Jackson, 1984)
Down But Not Yet Out (Felt, 1986)
Ballad of the Band (Felt, 1990)
Dismantled King is Off the Throne (Felt, 1984)
Enjoy the Silence (Depeche Mode, 1990)
Policy of Truth (Depeche Mode, 1990)
Shine (Collective Soul, 1993)
Supalonely (Benee, 2020)
Sister (Prince, 1980)
Ping Pong (Stereolab, 1994)
Barbara Ann (The Beach Boys, 1965)
Together Again (Janet Jackson, 1997)
Stick Figures In Love (Stephen Malkmus & The Jicks, 2011)
Ginger (Lilys, 1993)
Day of the Monkey (Lilys, 1994)
Will My Lord Be Gardening (Lilys, 2002)
The Generator (Lilys, 1999)
A Nanny in Manhattan (Lilys, 1996)
Don't Let's Start (They Might Be Giants, 1987)
Wake Up Boo! (The Boo Radleys, 1995)
Make Believe (Kero Kero Bonito, 2018)
Lazarus (The Boo Radleys, 1993)
Cohesive Scoops (Guided By Voices, 2019)
Head On (The Jesus and Mary Chain, 1989)
My Little Underground (The Jesus and Mary Chain, 1985)
Confessions Part 1 (Usher, 2004)
Confessions Part 2 (Usher, 2004)
All My Life (K-Ci & Jojo, 1998)
An Orgy of Critics (Say Anything, 2004)
Always Be My Baby (Mariah Carey, 1995)
The Headmaster Ritual (The Smiths, 1985)
Barbarism Begins at Home (The Smiths, 1985)
New You (My Bloody Valentine, 2013)
Mixed Bizness (Beck, 1999)
How Soon Is Now? (The Smiths, 1985)
Evergreen (Brian Jonestown Massacre, 1995)
Maps (Yeah Yeah Yeahs, 2003)
Wrapped Around Your Finger (The Police, 1983)
I Love Kangaroos (Guided By Voices, 2018)

Solar Sister (The Posies, 1993)
Death of the Party (Keene Brothers, 2006)
Don't Stand So Close To Me (The Police, 1980)
Driven To Tears (The Police, 1980)
Walking On The Moon (The Police, 1979)
Seven Days (Sting, 1993)
If I Ever Lose My Faith In You (Sting, 1993)
This Is Why (Paramore, 2023)
Shadows In The Rain (Sting, 1985)
Shape of My Heart (Sting, 1993)
Mayor of Simpleton (XTC, 1989)
Senses Working Overtime (XTC, 1982)
The Ballad of Peter Pumpkinhead (XTC, 1992)
When Love Breaks Down (Prefab Sprout, 1985)
Moving the River (Prefab Sprout, 1985)
Hey Manhattan! (Prefab Sprout, 1988)
The Best of Jill Hives (Guided By Voices, 2003)
The Best Jewel Thief In The World (Prefab Sprout, 2013)
I Never Play Basketball Now (Prefab Sprout, 1984)
The New Pollution (Beck, 1996)
Conspiracy of Owls (Robert Pollard, 2004)
Only a Shadow (Cleaners From Venus, 1982)
The Jangling Man (Cleaners From Venus, 1990)
Christmas in Suburbia (Cleaners From Venus, 1990)
What Do All the People Know? (The Monroes, 1982)
Once Bitten Twice Shy (Great White, 1989)
Trampoline (Kero Kero Bonito, 2016)
Only Acting (Kero Kero Bonito, 2018)
Chick Habit (April Match, 1994)
Rearrange (Miles Kane, 2011)
Holiday (Jason Falkner, 1999)
Korega Watashino Ikiru Michi (PUFFY, 1996)
1901 (Phoenix, 2009)
Lisztomania (Phoenix, 2009)
Too Young (Phoenix, 1999)
Never Tell (Black Marble, 2019)
Self Guided Tours (Black Marble, 2016)
Nichiyoubi No Musume (PUFFY, 1999)
Cellphone's Dead (Beck, 2006)
Here I Go (Syd Barrett, 1970)
Avalon (Roxy Music, 1982)
Water Fountain (tUnE-yArDs, 2014)
Young Folks (Peter Bjorn and John, 2006)
Tonight, Tonight (The Smashing Pumpkins, 1995)
Alright (Supergrass, 1995)
Told You So (Paramore, 2017)
Hard Times (Paramore, 2017)
Venus Fly (Grimes, 2015)
Nancy Boy (Placebo, 1997)
The Bitter End (Placebo, 2003)
It's Working (MGMT, 2010)
Beautiful Ones (Suede, 1996)
Lovefool (The Cardigans, 1996)
Better Off Alone (Alice Deejay, 1999)
The Legend of Chavo Guerrero (The Mountain Goats, 2015)
Turn! Turn! Turn! (The Byrds, 1965)
Eight Miles High (The Byrds, 1966)
Time of the Season (The Zombies, 1968)
Girl (Beck, 2005)
Le Freak (CHIC, 1978)
I Want Your Love (CHIC, 1978)
Good Times (CHIC, 1979)
Hey Sandy (POLARIS, 1999)
Duvet (Boa, 1998)
I Write Sins Not Tragedies (Panic! At The Disco, 2005)
A New England (Billy Brag, Kirsty MacColl, 1985)
Sexuality (Billy Brag, 1991)
The Sound of Silence (Simon & Garfunkel, 1964)
Scarborough Fair/Canticle (Simon & Garfunkel, 1966)
Scatman (Scatman John, 1995)
St. Judy's Comet (Paul Simon, 1973)
I Keep Forgettin' (Michael McDonald, 1982)
What a Fool Believes (The Doobie Brothers, 1978)
Open Your Eyes (The Doobie Brothers, 1978)
I.G.Y. (Donald Fagen, 1982)
1979 (The Smashing Pumpkins, 1995)
Tree Among Shrubs (Men I Trust, 2021)
Paper Bag (Fiona Apple, 1999)
Green Flower Street (Donald Fagen, 1982)
New Frontier (Donald Fagen, 1982)
Hey Nineteen (Steely Dan, 1980)
Are 'Friends' Electric? (Tubeway Army, 1979)
All Night Long (All Night) (Lionel Richie, 1983)
Fragments of Time (Daft Punk, 2013)
Digital Love (Daft Punk, 2013)
Out of Touch (Daryl Hall & John Oates, 1984)
Swingin' Party (The Replacements, 1985)
While You See A Chance (Steve Winwood, 1980)
Inside Out (Eve 6, 1998)
Hey Jealousy (Gin Blossoms, 1992)
Name (Goo Goo Dolls, 1998)
Slide (Goo Goo Dolls, 1998)
Virtual Insanity (Jamiroquai, 1996)
Possum Kingdom (The Toadies, 1994)
Your Wildest Dreams (The Moody Blues, 1986)
Flagpole Sitta (Harvey Danger, 1997)
april's-bloom (Julie, 2021)
I Hate My Generation (Sloan, 1994)
People of the Sky (Sloan, 1994)
I Was Dancing in the Lesbian Bar (Jonathan Richman, 1992)
Roadrunner (The Modern Lovers, 1976)
Cars (Gary Numan, 1979)
I Die You Die (Gary Numan, 1980)
Government Center (The Modern Lovers, 1976)
Driving Around (Radio Storm) (Robyn Hitchcock & The Egyptians, 1993)
Where It's At (Beck, 1996)
Think I'm In Love (Beck, 2006)
Show Me Love (Robyn, 1993)
Lost in the Supermarket (The Clash, 1979)
Hey Mickey (Toni Basil, 1981)
Koka Kola (The Clash, 1979)
Shameika (Fiona Apple, 2020)
Whisper to a Scream (Icicle Works, 1984)
Crush (Jennifer Page, 1998)
I Really Like You (Carly Rae Jepsen, 2015)

Time = $$$ (King Gizzard & The Lizard Wizard, 2015)

Queen of Eyes (The Soft Boys, 1980)

Starstruck (The Kinks, 1968)

Ride on Shooting Star (The Pillows, 2000)

Thank You, My Twilight (The Pillows, 2002)

1 / 2 (Makoto Kawamoto, 1997)

Hohoemi no Bakudan / Smile Bomb (Matsuko Mawatari/Sarah White, 1992)

Wasted Feelings (Foxy Shazam, 2012)

Will You Come and Fetch Me (of Montreal, 2004)

Lysergic Bliss (of Montreal, 2004)

I Want the World to Stop (Belle and Sebastian, 2010)

Funny Little Frog (Belle & Sebastian, 2005)

Seeing Other People (Belle & Sebastian, 1996)

If You Find Yourself Caught in Love (Belle & Sebastian, 2003)

Young Adult Friction (The Pains of Being Pure at Heart, 2009)

Eurydice (The Pains of Being Pure at Heart, 2014)

Fresh Tattoo (The Mountain Goats, 2023)

And I Don't (So Now I Do) (Robert Pollard, 1999)

It's All I Can Do (The Cars, 1987)

Sorry for Laughing (Josef K, 1981)

Bohemian Like You (The Dandy Warhols, 2000)

Not If You Were the Last Junkie on Earth (The Dandy Warhols, 1997)

Holy Touch (Foxy Shazam, 2012)

The Beautiful Ones (Suede, 1996)

Moving (Suede, 1993)

A.M. 180 (Grandaddy, 1997)

Basketcase (Green Day, 1994)

Brain Stew/Jaded (Green Day, 1995)

Adam's Song (Blink-182, 1999)

Make Out Club (Unrest, 1993)

Cath Carroll (Unrest, 1993)

White Freckles (Ariel Pink, 2014)

Lipstick (Ariel Pink, 2014)

There She Goes (The La's, 1988)

Trampolene (Julian Cope, 1987)

The Greatness and Perfection of Love (Julian Cope, 1984)

Bill Drummond Said (Julian Cope, 1984)

Yoga (The Pastels, 1995)

Love Come Round (The Blue Aeroplanes, 1990)

And Stones (The Blue Aeroplanes, 1990)

Want It All Back (Yoko Kanno, 1998)

Cosmic Dare (Pretty with a Pistol) (Yoko Kanno, 2004)

Ask DNA (Yoko Kanno, 2001)

Bittersweet Bundle of Misery (Graham Coxon, 2004)

City Girl (Kevin Shields, 2003)

Percolator (Charly Bliss, 2017)

Glitter (Charly Bliss, 2017)

Capacity (Charly Bliss, 2019)

Nice to Know You (Incubus, 2001)

Where the Light Gets In (Primal Scream, 2016)

Ship to Wreck (Florence + The Machine, 2015)

Ur Heart Stops (fantasy of a broken heart, 2024)

Lucky Charm (The Apples in Stereo, 1995)

Shoot the Singer (Pavement, 2002)

Film's Camera (Lilys, 2002)

Wide Open Road (The Triffids, 1986)

Cattle and Cane (The Go-Betweens, 1983)

On My Block (The Go-Betweens, 1983)

There Are Ghosts (Karate, 1998)

The Same Stars (Karate, 1998)

Fell in Love with a Girl (The White Stripes, 2001)

If You Can See Me (David Bowie, 2013)

Take Up Thy Stethoscope and Walk (Pink Floyd, 1967)

Lucifer Sam (Pink Floyd, 1967)

Ship of Fools (World Party, 1986)

Way Down Now (World Party, 1990)

Pale Spectre (The Wake, 1985)

Mandinka (Sinéad O'Connor, 1987)

Letter From the Editor – OCGM#1

Dear Loyal and Very Imaginary Readers,

This is Forrest, typing to you straight from Retro Arcadia. I am also known as: The Editor, The Boy, The Idiot, or online as buru5; the latter of which derived from the color, but with butchered spelling resembling poor Japanese-English pronunciation and the number 5 tacked-on at random; an ancient and very-insensitive-inside-joke that is now worn like a scarlet letter of bygone days when ridiculing how people talk was peak humor, or: being seventeen-years-old.

But enough about me; welcome aboard the Pequod, or: the first issue of On Computer Games Monthly. The name “Pequod” feels appropriate here as this magazine has been an obsession of mine since at least sixty moons ago, much to the detriment of my wife and children who have allowed me to build an office-shed in the backyard to contain the clickity-clacking of my absurdly-loud-and-very-mechanical keyboard. But here I am, getting off track again.

Within the wistful pages of On Computer Games Monthly, you will find articles covering computer games released during a specific month and year of the standard Gregorian calendar; be warned, however, as you may find the occasional article that breaks the rules. Outside of my own writing, every issue of On Computer Games Monthly features guest writers of kindred spirit sourced from open corners of the internet; and, in this way, On Computer Games Monthly is a collaborative writing effort; a digital collective of people who take computer games way too seriously.

A core tenet of On Computer Games is that gaming, like most things in this heinous world, is a subjective experience, and even the most poorly 'reviewed' games can produce intense feelings of joy and nostalgia and make you think real hard about serious-real-life-stuff. Likewise, a critically acclaimed “masterpiece” can make you scream in rage and walk into oncoming traffic on purpose. At On Computer Games, we strive to capture this subjective quality of gaming, and as such, you won’t find traditional reviews here – this is not Game Informer – instead, you will find stories about wanting to kill your friends, tanuki lore, karate belt tests, nuclear bombs, religious dogma, and the fishing pond behind grandma’s old house.

The ethos of this publication is straightforward. I have always been of the belief that mixing money with art is a sure-fire way to dilute the artwork; once money is exchanged, the art suffers and, inevitably, money becomes more important than the art itself. As such, On Computer Games will never beg, paywall, or accept money from anyone ever. Neverever. We are self-funded forevermore; some may think this is a noble pursuit, others may think it’s a proactive deflection of the fact that my writing is not good enough to warrant making money to begin with – and, as with most things, the truth lies somewhere in the middle.

If any of this resonates with you and you would like to contribute to a future issue of this publication or advertise one of your own passion projects within these pages, please reach out to me directly on Mastodon @buru5@mstdn.games or through email at f0rrest@protonmail.com.

But without further ado: computer games, or something.

#computergames #autobiographical

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The butterfly is a symbol of change – of transformation; from caterpillar, to cocoon, and finally to butterfly.

Metamorphosis, it can mean whatever you want it to mean; a new job at K-Mart, shaving your head, getting a tattoo without mom’s consent, breaking up with your “true love” that you only met three weeks ago, being grounded “for life” because dad found a bag of pot hidden underneath your dresser, or: things a high school kid in 1995 would be doing between episodes of The X-Files and listening to noisy alternative rock on a portable Magnavox Discman that takes eight double-A batteries and comes complete with DBB – Dynamic Bass Boost – and digital servo processing and incessant skipping at even the slightest movement. That kid may be listening to No Doubt’s “Tragic Kingdom” or The Smashing Pumpkins’ “Mellon Collie and the Infinite Sadness” or even Beck’s “Mellow Gold,” but they would be missing out if they weren’t listening to Helium’s new record: “The Dirt of Luck.”

For Washington D.C. local Mary Timony, metamorphosis meant channeling the leftover angst and “fuck you” energy from her own transformative teenage years into walls of sound. Timony received classical training at the Duke Ellington School of the Arts and had already established herself in the underground noise rock scene with her previous band Autoclave, known for their technical guitar noodling rather than cohesive song structures. Timony would go on to channel this technical noodling into noisy pop rock after moving to Boston and joining the band Helium as their lead singer and guitarist. The journey to cult status began with the release of the EP “Pirate Prude” in 1994, followed by the critically acclaimed LP “The Dirt of Luck” in 1995.

If Autoclave was the cocoon, then Helium was the butterfly that emerged from that cocoon. And this butterfly wore all black, Doc Martens, and a serious chip on her shoulder.

Many of the songs on “The Dirt of Luck” are coming-of-age stories for the modern girl in suburban America, filled with angst, lost loves, obsessions, and anger toward archaic gender roles and the expectations they thrust upon women; these songs are brimming with lyrical flourishes fit for horror films and monster movies. Mary Timony and Helium would have fit perfectly alongside The Breeders or Shy on stage at The Bronze – the nightclub in Buffy the Vampire Slayer – except Timony’s lyrics possess a poetic verve that outshines her ’90s peers. It would be easy to say that Mary Timony sounds like another ’90s female singer, but these comparisons are often vacuous and the prominence of these comparisons in rock journalism is suspicious, especially when the same type of comparison is rarely done for male rock singers. In the ’90s, and sometimes even now, women in rock bands are seen as a novelty with only a few different archetypes used to describe them. “On Pop Music,” however, prefers to hold itself to a higher standard by describing what singers actually sound like, to varying degrees of success: and Mary Timony sounds like Mary Timony – nothing more, nothing less. Timony’s singing is like a sardonic pout whispered in the dark corner of a dive bar occupied solely by vampires; a rage bubbles underneath her airy vocals, and she expresses this anger through walls of harsh guitar noise – and the song “Superball” perfectly showcases this.

Video: Helium – Superball

“Superball” is the metamorphosis – it opens with a dirty vortex of sound, a ritualistic drum beat accompanied by a screwdriver being dragged across guitar strings but suddenly the cocoon bursts with a build-up of Sonic the Hedgehog synths, and the butterfly emerges in a discordant flurry of guitar tones that drift somewhere between aimless chugging and revving a chainsaw while wearing a pink bunny suit. It’s brutal and cute and unexpected and demands your attention. Mary sings in pout and petulance: “I’m small, like a superball. Throw me at the wall. I’m fragile, like an eggshell. I’m mad as hell.” And you feel it. We are small and fragile, and although this heinous world throws us at the wall, we are resilient like a superball, and we bounce back mad as hell. Verily, we are a bundle of contradictions, and this resonates within us, bounces around inside our brains, and compels humming for weeks. And this all happens within two minutes and thirty-five seconds on a song that sounds like it was recorded in fellow Matador Records alumni Robert Pollard’s basement – in the best possible way.

“Whenever Helium took a break from working on the record down in Philly, we played Sonic the Hedgehog. We got super into the video game music on Sonic the Hedgehog (and Road Rash, too, I think). It has this really thin and extreme kind of quality that’s cool, so we were making the record, we found ourselves thinking, Okay, how do we get it to sound more like that? We also literally tried to get the record to mimic the actual sound quality of the four-track recordings, which is pretty crappy—just flat- and trebly-sounding.” -Mary Timony. 2017. Talkhouse Interview.

“Superball” is an example of a perfect pop song: catchy, concise, considered. It builds up and pays off. It combines Helium’s best and worst aspects – unexpected hooks and excessive guitar noodling – into an angsty anthem that resonates with even the most stoic of souls, epitomizing Helium’s unique style of musically juxtaposing the yin and yang of ugly-beauty. And the entire album follows suit. “Pat’s Trick” and “Trixie’s Star” ease the listener into these contradictions slowly before jumping headfirst into full-blown metamorphosis with “Baby’s Going Underground,” which caterpillars with feedback like that of an air-raid siren then cocoons into a wall of noise before butterflying into gentle xylophone-tinged ear candy; “Silver Angel” playfully mixes abrasive chugging with ringing synths before putting on the brakes with a sludgy chorus that sounds like it was fed through an old radio. And “Medusa” opens with repetitive chanting that flows into a fluttering chorus that sticks with you for weeks.

Just as Helium has lulled you into yinyang complacency, they shift gears with “Comet #9”; a haunting piano-only number that could serve as the build-up to a jump scare in a monster flick and signals the final leg of the album. From this point, there is a lull in the noise until the depressive slide-guitar ballad of “Honeycomb” kicks in, describing an obsessive girlfriend with a foul mouth that’s “sweeter than a honeycomb” but “slower than a valium,” and one can’t help but wonder if the song is autobiographical in nature as Mary Timony sings with a sullen irony that could only come from personal experience. The song compositionally mirrors valium with its downtempo groove and simple melody plucked lazily over a thick layer of heavy distortion.

To craft an album full of Superballs would be a monumental feat, and while “The Dirt of Luck” comes close – it doesn’t quite reach that level of consistent brilliance. Songs such as “Medusa,” “Honeycomb,” and, of course, “Superball” are untouchable pop rock classics but the inclusion of more subdued, meandering tracks such as “All the X’s Have Wings” and “Oh, The Wind and the Rain” and “Flowers of the Apocalypse” on the second half of the album hurt the pacing and make Helium’s first full-length album a heavily front-loaded experience.

The butterfly is a symbol of change – of transformation; from caterpillar to cocoon and finally to butterfly. Helium’s music captures this metamorphosis within 44 minutes and 23 seconds on one of the most idiosyncratic albums of the ‘90s – even if it’s a bit dirty sometimes.

#Music #Helium