Why 4AD Is An Age-Defying Record Label

words fae tilly o’connor (@tilly_oconnor)

4AD is the independent record label responsible for bringing us genre-defining acts such as The Cocteau Twins and The Pixies, to boundary-pushing modern artists such as Daughter and Grimes.

The label was founded in 1980 by friends Ivo Watts-Russell and Peter Kent, with financial backing from Beggars Banquet, a record store chain the pair worked for. Throughout the 80’s the British based label gained a reputation for backing trailblazers. Watts-Russell loathed all things trendy and “pop”, (despite being home to the first independently released No 1 single, M/A/R/R/S’ Pump Up The Volume, in 1987) and instead favoured musicians that reflected his own idiosyncratic worldview.

Through the works of company album cover designer Vaughan Oliver, the label curated a mysterious and enticing public image, which is often considered to be “goth/ethereal”. This notion irks Watts-Russell to this day, speaking with Mark Aston he said, “I was just responding to things I enjoyed, that I emotionally connected to, that had possibilities.


In fact, what the founders loved most about the label’s name was its lack of ideology and precise meaning, almost directly juxtaposed to Manchester’s
Factory Records. It could be whatever they, or indeed you wanted.

From the point of view of current 4AD artist Claire Boucher, AKA Grimes, “If the music industry is The Simpsons, 4AD is Lisa. She’s not the most popular person in the family but the cool, intelligent, subversive one. 4AD don’t sign buzz bands, they’re super-tasteful instead, and often distinctively feminine.” To this day, the label has signed a higher percentage of female artists than any other independent.

Another aspect of 4AD’s appeal was its musical collective This Mortal Coil. Quoting the label’s website:

This Mortal Coil was not a band, but a unique collaboration of musicians recording in various permutations, the brainchild of 4AD kingpin Ivo Watts-Russell. The idea was to allow artists the creative freedom to record material outside of the realm of what was expected of them; it also created the opportunity for innovative cover versions of songs personal to Ivo.

The group’s cover of Song to the Siren by Tim Buckley, with Elizabeth Frazer of the Cocteau Twins on vocals, peaked at number 66 on the UK charts and spent 101 weeks in the UK indie charts. This song among many others from the label has gone on to be used in film and TV soundtracks (Lost Highway, The Lovely Bones, Texas Chainsaw Massacre) no doubt because of its deeply haunting qualities.


Top 5 4AD artists


5. 
Lush

Build on a teenage friendship between two Londoners Miki Berenyi and Emma Anderson, Lush formed in 1987 and were one of the first groups to be given the label “Shoegaze”. Their track Ladykillers is a not so subtle dig at Anthony Kiedis of the Red Hot Chilli Peppers, who Berenyi met when playing Lollapalooza.

4. Bauhaus

Despite eventually being dropped by the label for covering a T-Rex song which Watts-Russell reportedly despised, Bauhaus are hugely responsible for the gloomy, gothic reputation 4AD just can’t seem to shake. Their debut single Bela Lugosi’s Dead remained in the UK independent charts for a whopping two years and got them substantial airplay on Radio One’s John Peel show despite it being over nine minutes long.

3. Grimes

 Grimes is signed to both 4AD and Montreal Based Arbutus Records. Her work is much more electronic and, dare say, more pop than most acts associated with the label, which is probably why she’s their most commercially successful signing in modern years. At its core, however, her music has the same emotional charge and surging possibilities as any 80’s doom-monger.

2. Pixies

 The group had recorded a $1000 demo, which was initially overlooked by 4AD for being too “Rock n Roll”. Label boss Ivo Watts-Russell was at first reluctant to work with American artists, but changed his mind following some persuasion from his girlfriend who loved the band.

1. The Cocteau Twins

 The Grangemouth trio are quintessential 4AD. Inspirational, yet never once copied, The Cocteau Twins are the exact sort of “trailblazers” sought out by the label bosses of past and present. Robin Guthrie’s infinite soundscapes coupled with Elizabeth Fraser’s soaring soprano vocal that at times abandons language altogether is a perfect combination. Listening to a Cocteau Twins record is like traveling to a different country or planet for the first time, and drinking in the culture in simple, visceral, primal ways.

 

  

Top 10 Tyler The Creator Tracks

words fae ryan martin (@ryanmartin182)

Who exactly Tyler the Creator is, has always been up for debate. He started as the driving force behind hip-hop collective Odd Future that made superstars out of Earl Sweatshirt, Frank Ocean, and more recently, The Internet.

The group’s aggressive image attracted the media’s attention instantly and Tyler’s bizarre antics, as well as interviews, helped land him a show on Adult Swim with his buddies joining him on Loiter Squad. Tyler’s music reflected his behavior in the public’s eye when he released Goblin in 2011: critics pointed out the absurd number of times Tyler uses homophobic slurs throughout the album but failed to mention the immensely dark and troubled tone of the album itself. There is a track near the end of the album where Tyler metaphorically kills his friends, and the album itself deals with Tyler talking to a therapist named Dr. TC (Tyler’s Consciousness.)

Following up Goblin was Wolf, the second effort from the face of Odd Future still retained the jagged edges from Goblin but featured much more tender production and a theme centered around summer camp, love, and jealousy. It would be the last album Tyler would put together while Odd Future was still active. Cherry Bomb followed almost exactly two years later and contained some of Tyler’s messiest and most beautiful tracks he has ever released. Altogether, it made for a cluttered release that most die-hard fans will defend but the public has forgotten.

A little over two years later, Tyler emerges as a confidently bloomed bud. He releases Flower Boy, a personal album that references his sexuality for the first time and his relationship with friends and family. Long gone are the jagged edges of Goblin, in its place rests a perfectly crafted album with memorable tracks, excellent production, and amazing features from the likes of up-and-comers Rex Orange County, Kali Uchis and Steve Lacy, in addition to established acts like Frank Ocean and Lil Wayne. Now proving himself as a creative genius after fashion shows, a successful collaboration with Converse’s One-Star, grammy nominations for Flower Boy, we wonder where he will go from here.

Revisiting Tyler’s old discography can be fairly nostalgic despite being less than a decade old, memories of watching him evolve being particularly rose-tinted but it’s difficult to argue that a good chunk of his early material hasn’t stood the test of time. It took a bit for Tyler to find his footing as a musical artist and though he may have had a certain vision for all of those albums, it doesn’t mean that every song in its own way fits or is actually good at all. There is quite a number of duds on his first 4 albums (if you include mixtape Bastard). With that being said, where there is darkness there is light and Tyler is responsible for some of the best rap music of this decade. He should not be viewed as anything but a monumental inspiration to this generation and an artist to watch for years to come so, without further ado, here’s the cream of the crop when it comes to Wolf Haley’s list of tracks.

10. Treehome95

Treehome95 is just a taste of the potential Tyler had in jazz when it was released. While the cut may have been off-putting to a lot of fans when it showed up on Wolf, it still shows a connection to his current work. The gentle side of Tyler that didn’t often come out was a change of pace that much desired and this cut was only something that amplified it. Erykah Badu and Coco Owino lend gorgeous vocals to help fill out the track. By the time it ends at its 3-minute mark, it’s too soon.

9. Answer


Tyler speaks bluntly to his father on Answer with a fiery flow that resembles early Eminem.  The production on this track is easy to love: the drums sound incredible paired with the guitar tone and sure, Syd could have done really well with a bigger role than background vocals on this cut, but there’s a reason why it’s appearing on this list regardless.

8. Where This Flower Blooms


The ‘proper’ introduction to Flower Boy, Tyler sounds fearless on this track with Frank; like they have both come into their own. Tyler brings the listener into his world with great production and even better verses. 

7. She

She doesn’t really seem like it’s a stand-alone Tyler track. Frank Ocean takes such big strides at the beginning of the track that Tyler quickly falls behind. With that being said, the hook is something most Tyler fans will never forget. Infectious, unsettling, and oddly beautiful. The unfortunate part about revisiting this track is thinking about how Tyler’s early lyrics will affect the replayability of his music in the already-quick pace our culture is moving at.

6. IFHY

When the music video for this came out, it was hard not to be blown away. Tyler standing in an enormous doll-house plastered is prosthetics captured the creepy vibe that this song gives off. Released during a peak in Tyler’s aggressiveness, this cut also came off Wolf, which is also the first time we are able to see any vulnerability from Tyler. It’s an excellent blend of the two in this song especially, the brash opening lines compared to the exquisite performance from Pharrell to end things off.

5. November

This beat can really fuck you up on first listen, featuring some of the best production on the album. The theme of the song and the features from his friends that lead into the beat switch up make it an easy one to adore, seeing Tyler deliver one of his best performances in the first verse with an incredible flow.

4. OKRA

A standout cut after the release of Tyler’s most popular album, Flower Boy. Tyler unexpectedly dropped OKRA with a fantastic music video in 2018 after staying relatively quiet, retaining the lyrical elements of Flower Boy by keeping it real and bluntly rapping from a personal perspective. The production elements are very thick with a quick tempo, making it one of Tyler’s most hard-hitting songs ever.

3. Smuckers

A fan favorite, Smuckers was a huge standout on Tyler’s most polarizing effort, Cherry Bomb. Kanye West, Lil Wayne, and Tyler all bring their writing chops to extreme highs and pays off in one of the best posse cuts of this generation. For die-hard Kanye fans, his verse is one of the best he has dropped this decade. Lil Wayne is able to bring the song to a satisfying close with his verse towards the back end of the song. Smuckers is a song so well put together that it will age like wine.

2. See You Again

See You Again is the prime example of the current Tyler era and the best way to be able to pin down his current sound. Kali Uchis takes a chance to really shine on this track and even though she and Tyler have collaborated, nothing they’ve done has ever sounded this grand. The hook is infectious, and the flow of Tyler’s verses is something we come to expect from him. It could very well be debated that See You Again helped break down the doors for stars like Rex Orange County and Steve Lacy to bring this “anti-pop” sound into an underground mainstream audience.

1. 911/Mr. Lonely

This is one of Tyler’s best examples of when everything comes perfectly together in his head. Steve Lacy’s vocals, the Frank feature, the seamless transition into Mr. Lonely, the energy that flows from the funk of the first track into the bangin’ second. The grasp this track has you is scary, making itself an immediate favourite for many fans and a welcoming update to any listeners or critics that had written Tyler off early in his career.

TRANSISTOR’S 10 Best Albums of 2018 (Mid-Year Update)

intro and thumbnail fae liam menzies (@blinkclyro)

While we could start this off with some drivel about how 2018 has been fraught with political debate, general discourse and a shaky quality in memes, we know what you’re here for: a ranking of subjective apart, decided by people you don’t know and/or care about. We might not be in the same league as Pitchfork and the likes but we feel our contribution to the discussion is… somewhat worthy, plus, we’ve got some solid patter so why not get into the list season spirit early?

10 Father John Misty – God’s Favourite Customer

Josh Tillman is a man on a hot streak. Since leaving the Fleet Foxes in 2012, he has reinvented himself as folk rockstar Father John Misty – releasing 3 critically acclaimed records, 2012’s psychedelic Fear Fun, 2015’s wildly romantic I Love You, Honeybear and 2017’s world-weary Pure Comedy – which topped many end of year lists. However – Pure Comedy also proved somewhat divisive – with many criticising its 75-minute run time, filled mostly by less-than-energetic instrumentation.

Tillman’s response? He’s returned just over a year later with God’s Favorite Customer – his shortest record yet at just 39 minutes. GFC feels like more of a sequel to Honeybear than Pure Comedy, detailing a rough patch in Tillman and his wife Emma’s relationship when he was living in a hotel –hilariously depicted on lead single Mr. Tillman, with the lyrics coming from the perspective of a hotel receptionist concerned for Tillman’s welfare.

However, things get considerably darker on other tracks, like Please Don’t Die, where he details “pointless benders with reptilian strangers” and the chorus comes from the perspective of Tillman’s wife, begging him not to take his own life. Remarkably, on the darkest moments of this incredibly personal record, Tillman keeps up his absurd sense of humour which has been a staple of his FJM records. On the solemn The Palace, Tillman undercuts his confessional to declare “last night I wrote a poem/man I must have been in the poem zone” and perhaps even references the internet’s favourite Jeff meme. In a sentence – God’s Favorite Customer is hilarious, heartbreaking and incredibly catchy – all at the same time. It’s just what we expect of Father John Misty now. – Andrew Barr (@weeandreww)

HEAR THE ALBUM

9Jeff Rosenstock – POST

POST- is an album rife with conflict, vacillating between furtive political references and forthright internal turmoil. Yr Throat questions the efficacy of self-expression as the narrator’s body and mind lock into a stalemate: “What’s the point of having a voice when it gets stuck inside your throat?!” All This Useless Energy stages a contentious dialogue between under-informed neurotypicals and frustrated depressives: “You’re not fooling anyone when you say you tried your best.”  I’m worried of abandoning the joys that framed my life, but all this useless energy won’t hold me through the night.

Whatever the meaning you choose to ascribe to the term “post” (Post-Obama, Post-Trauma, or for the overdramatic, Post-America) POST- refers to the end of an era. Every generation grapples with its social and political conventions, and now the Millennials have been called to action. A daunting task, to be sure, for a throng of young people consistently written off as thin-skinned, lazy, and disinterested. But with Jeff Rosenstock at the forefront of punk’s socially-inclined philosophes, we’re sure not to be tired and bored with the fight. May we never be again. – Sean Hannah (@shun_handsome)

8Ty Segall – Freedom’s Goblin

Last January, Ty Segall quietly delivered one of the finest records of 2017. That is, of course, quiet as in it was met with little fanfare. The music, on the other hand, was a short, sharp shot of frenetic energy that blew the new year’s blues away with consummate ease. And now, almost a year to the day, a new project, entitled Freedom’s Goblin, has been unleashed upon the world to do the same. A double album of 19 tracks, the record sees Segall at his most dynamic, hopping nimbly from futuristic disco to some of the fuzziest rock seen since Dwayne Johnson grew out his beard last year. In lesser hands, this sort of smashing together of styles could have resulted in a disjointed mess of a record, but instead, the constant variation creates an exhilaratingly sprawling joyride of ups and downs that at the very least, will leave you with a gigantic ear-to-ear smile.

According to the man himself, the concept of the album was to effectively eschew one altogether, and it undoubtedly has been a resounding success. Not all of the tracks work, Shoot You Up, for example, sounds a little too similar to last years Break a Guitar to really satisfy, but the general level of consistency across such a mammoth and diverse tracklist is nothing short of astounding. Segall tips his toes into disco, metal, and a whole host of other styles and comes out of the other side a bona-fide genre-hopping hero.

This may well be the musician’s finest release yet, at the very least standing toe to toe with some of his previous classics. It’s a treasure trove that demands multiple listens to uncover its hidden gems, of which there are a great many, but it’s difficult to imagine anyone begrudging a few extra listens to really get to grips with it when the music is this good. – Rory McArthur (@rorymeep)

HEAR THE ALBUM | READ THE REVIEW

7 A.A.L – 2012-2017

Returning with a surprise album under his Against All Logic (A.A.L) moniker, leading electronic producer Nicholas Jaar ditches most of the experimentation for what could be pretty much summed up as a deep house album. Now, as this Jaar, this isn’t your chart-ready, sanitised house. Here, Jaar again samples with aplomb, but unlike other releases where the samples are manipulated into something totally new, here Jaar lets these groove-laden samples sit by themselves, letting the samples play out, with expert flourishes of percussion and electronic trickery to flesh out the instrumentation.

It might be contentious to some to include what is essentially a compilation album of previous songs onto this list, but it is for good reason. Here, Nicholas Jaar has arguably made a house album that will transcend normal genre barriers; this is an album that will go down in the history books as one of the best house albums ever made. Funk and soul samples are paired with some of the smoothest percussion heard this year, to make an album that is oozing style, charisma, and panache. – Charlie Leach (@yungbuchan)

HEAR THE ALBUM 

6UMO – Sex & Food

On their newest release, Unknown Mortal Orchestra hone in on the best aspects from each of their previous projects and produce some of their best work yet. The album swings from 80s pop to the psychedelic rock of the 60s and 70s so effortlessly and constantly applies a modern spin to each song, whether it be from the lyrics or production. On ‘Sex and Food’ an excellent mix between a vintage sound and modern ideas if found, as UMO refine their sound and deliver a cleaner than usual selection tracks that may be some of their best yet.

The brilliant songwriting and interesting production of Unknown Mortal Orchestra are sounding as good as ever with this latest project. Sex and Food sees new inspirations emerge and blend with the signature sound of UMO to continue the great track record that the band have formed since 2011. The album also finds more of a cohesive and clean sound than some of the distortion-heavy releases prior to this, which works well with the grooving baselines and beautiful melodies that can be heard throughout the project. Overall, it seems that Unknown Mortal Orchestra have matched, if not exceeded, the quality of Multi-Love, and continue to add to their already intricate and unique sound with a great album that continues to impress. – Ewan Blacklaw (@ewanblacklaw)

HEAR THE ALBUM | READ THE REVIEW

5Confidence Man – Confident Music For Confident People

When Australian dance-pop four piece Confidence Man burst onto the scene amidst a flurry of Triple J hype and YouTube comment section detractors with a stunning live rendition of their first single, “Boyfriend”, few expected them to capitalise on that potential and become 2018’s most surprising success story.  It goes without saying that a key component to this sudden rush in popularity is down to their near-flawless debut LP, which is in itself the most fun you’ll have with an album all year.  It kicks off the party with “Try Your Luck”‘s earworm of a melody and doesn’t let go until the final echoes of “Fascination” fade out into the night as you stumble out, breathless and hungry for more.

In the rest of its forty minute runtime, Confidence Man cover a lot of ground for a band who could have been a one trick pony, taking the best bits of house, techno and disco and repackaging them in a contemporary format that recalls the best of Daft Punk, LCD Soundsystem, and Fatboy Slim.  Along the way, they will make you dance, laugh, sing, dance some more, and be oh so grateful that they exist in such dour times like this. – Josh Adams (@jxshadams)

HEAR THE ALBUM

4Arctic Monkeys – Tranquility Base Hotel & Casino

After 2013’s still-quite-good-but-underwhelming AM, you’d be forgiven for writing ArcticMonkeys off for good, god knows I did. But now the naysayers as a collective have egg on their ruddy faces! The Sheffield 4 piece are back in town, and they are back with a vengeance. Tranquility Base Hotel & Casino is the self-inflicted kick up the arse the band had simply to give themselves after the AM album cycle left them positively stagnant.

Gone are the grease and leather jackets from AM, replaced with a Hugh Hefner-esque robe, a stiff whiskey and a wee pipe. TBH+C is lounge music for the modern era. A trip through an astral Las Vegas through the eyes of an aging patron. It’s straight out of left field and it’s all the better for it.

Each song weaves into the last effortlessly. This isn’t an album you can put on shuffle, it’s as deliberate as it is sexy. There’s no banger single on here (bar maybe the album’s centerpiece Four Out of Five), but what you, dear listener, gets instead is an album from a band finally totally free from the shackles of indie rock, and finally comfortable in their own skin. Tranquility Base Hotel & Casino sounds, to me, like the album Alex Turner and the boys have wanted to make for a long, long time. It is truly out of this world. – Jake Cordiner (@j4keth)

HEAR THE ALBUM | READ THE REVIEW

3 Parquet Courts – Wide Awake

Who would’ve thought that four white guys playing in a punk outfit in 2018 could sing about how “woke” they are and make it sound convincing? Parquet Courts have long played the role of rock and roll philosophers; co-songwriters Austin Brown and Andrew Savage often dive into popular rock fodder like relationships, travel, and technology, detailing each phenomenon with an enlightened, if blunt, sentiment. And on Wide Awake!, the group return with their trademark urban nervousness, this time with a wider musical palette, courtesy of guest producer Danger Mouse.

Removed from the context of the music, Brown, and Savage begin to sound like paranoiacs, their lyrics veering close to the basket cases spouting off outside of grocery stores and banks. “Lately I’ve been curious/ Do I pass the Turing test?” Savage sings on Normalization, his voice not so much panicked as it is angry, demanding. But for all the furor, the Brooklyn quartet remain woke, even if it’s the kind of social awareness that keeps you up at night: “Mind so woke cause my brain never pushes the brakes!” As always, Parquet Courts make anxiety catchy—to them, the human condition is a mix of mundanity and revulsion, terror and desensitisation, and on Wide Awake!, it’s never without a strong hook.

Oh, and fuck Tom Brady. – Sean Hannah (@shun_handsome)

HEAR THE ALBUM | READ THE REVIEW

2Young Fathers – Cocoa Sugar

One of the most exciting acts Scotland has seen in years, Young Fathers returned this year with the much anticipated Cocoa Sugar, an album which continues to showcase their ability to create an explosive collection of innovative and experimental tracks. On Cocoa Sugar, Young Fathers are catchier and poppier than before but sacrifice none of their talent for packing so much intricate detail into short but powerful blasts of music.

The Edinburgh hip-hop trio are as versatile as ever here as well, going from almost spiritual places on tracks such as In My View and Lord to the grit and sinister tones of Wow, Wire, and Toy. Cocoa Sugar gets more impressive with each listen and it’s most impressive aspect is just how layered each track is with its intertwining vocals, driving beats, backing choir and many minor details that you appreciate more and more with each listen. – Ethan Woodford (@human_dis4ster)

HEAR THE ALBUM | WATCH THE REVIEW

1Car Seat Headrest – Twin Fantasy

What to say about Twin Fantasy that hasn’t already been said? Will Toledo’s lo-fi opus is a source of inspiration to all indie fans of this generation. Toledo’s enormous presence mixed with honest but cryptic storytelling led his diehard fans to pick and dissect every bit of truth behind the album. Usually, this kind of reaction would generate a pretty negative feeling towards the album from the musician’s standpoint, but the art Toledo created in 2011 stood the test of time.

Prompting him to redo the album completely; submerging himself in lyrics and feelings from years prior. This led him to create what is arguably his most grand record to date, labeled as (Face to Face). The structure from the original album is there but everything has been redone in the best possible way. There is enough for fans of the original to feel it has been done justice, but it also stands on its own enough to attract new fans. It’s the perfect love letter to what Car Seat Headrest used to be, written from where the band is now. – Ryan Martin (@ryanmartin182)

HEAR THE ALBUM | READ THE REVIEW

Riff University: Seek and Destroy by Metallica

All aboaaaaaaaaaaaaaaaaaaaaaaaaaaardahahaha! Welcome to Riff University, where each week, Dr* Oliver Butler (@notoliverbutler), with his PhD in Riffology** will walk you through some of the biggest, baddest and boldest riffs of all time, right from the genesis of rock and roll, to some of our future classics. By the end of this intensive course, you will be able to recognise a classic riff from the first note, make pub conversations awkwardly unbearable, and alienate Tinder matches from the word go.

*Abbreviation of “Dad Rock”
**Not a real PhD

Up This Week: Seek & Destroy by Metallica

Read Last Week’s Lecture on Passenger by Deftones here.

Your opinion on them is strong but either way, you know who they are; their albums, the hits, the members, the t-shirts, the drama. The band is a brand, and the brand is Metallica. But long before the widespread commercial success, the thronging crowds and Some Kind Of Monster (2004), a fledgling Bay Area thrash band had just thrown out their first album, Kill ‘Em All (1983).

Marrying the sounds of bands like Motörhead, Diamond Head and Blitzkreig to turbocharged tempo, Kill ‘Em All is widely regarded as a groundbreaking album for the thrash movement as one of the ‘Big Four’ bands along with Megadeth, Anthrax and Slayer. That being said, Kill ‘Em All is not the first thrash album: that accolade is often given to Exciter‘s Heavy Metal Maniac released in January of the same year, whereas Kill ‘Em All came out in July 1983, nearly 35 years ago.

The groundbreaking sound is what set Metallica apart from their peers in the early eighties. Whilst an album like this is familiar to us now, there must have been nothing like this in 1983. This is the sort of album that is a watershed moment; there was music before Kill ‘Em All, and then there was music after Kill ‘Em All.

The whole album, as is standard with all pre-Black Album Metallica records, is a masterpiece from front to back. Arguably one of the best ways to raise the curtain on your recording career, Hit the Lights announces Metallica right off the bat, then you have Motorbreath, Whiplash, Metal Militia, Phantom Lord and of course the masterful Cliff Burton on Anaesthesia (Pulling Teeth). However, every crown must have its jewel, and the one song that stands taller than all its peers is the legendary Seek and Destroy.

The whole purpose of Riff University is to explore the writing, meanings and impacts of the biggest, baddest and boldest riffs of all time, and in Seek and Destroy’s case, it’s a struggle to find a riff bigger, badder or bolder (please @ us if you think otherwise). Second only to Master of Puppets in terms of live play, having been played nearly, or just over 1,500 times to millions, upon millions of Metallica fans across the globe.

The opening riff is quite simply, iconic; with James Hetfield and Kirk Hammet crawling along the necks of their guitar in perfect harmony, before Cliff and Lars join in the fun. The verse is pretty simple, but to be honest, so is the riff. The real tasty bits of guitar work come into play during the three solos in the song, but the simplicity of the riff is what makes it work so well. Crowds can sing along to the riff as loud as they can the song, and THAT is what makes a riff iconic; if someone can sing the riff as well as they can sing the lyrics, you know you’ve got a major hit on your hands.

The riff, as Lars Ulrich will and has happily admitted, can be traced back to Dead Reckoning by Diamond Head, a New Wave of British Heavy Metal band that greatly inspired the young band, and you can absolutely hear the similarities between Seek and Destroy and Dead Reckoning. Of course, most of Kill ‘Em All was either written by NWOBHM bands, James Hetfield or Dave Mustaine, but bands in their early days should be allowed to write in the shadows of their inspirations, because that’s how we all learn, grow and do better, by borrowing from those who inspire us. Or massively fucking shaft their original guitarist who’s kind of a dick and cause them to start Megadeth, the edgy teenager’s choice of thrash band.

Seek and Destroy is a song that doesn’t run out of puff either, an absolute highlight of the song is right after a burning solo from a fresh-faced Kirk Hammet, and the song slows down, before bursting right back into that riff all over again for a second round.

Whilst not the original lyric, it’s hard not to resonate strongly with “Our brains are on fire with the feeling to kill // And it won’t go away ’til we drink all your beers” from the band’s 1989 performance of the song in Seattle. This video also captures the live power of Seek and Destroy, right at, arguably, the height of Metallica’s thrash metal assault; post …And Justice and pre-Black Album, the mix of a band at full tilt, capacity and power is something to truly behold. Late eighties Hetfield is beyond fucking frightening and has likely sent that ESP Explorer up someone’s arse, body first

That video just sums up Seek and Destroy: it’s a fan favorite, arguably more so than Master of Puppets, as it has closed out hundreds upon hundreds of sets; the song that allows everyone to go home happy, the song that everyone spends the whole gig excitedly bouncing around waiting for. Of course, Metallica offer a wide variety of fine thrash metal tunes that span nearly forty years, but nothing rouses the Metal Militia like the first few bars of Seek.

Lyrically, Seek and Destroy is overtly and unsubtly about wanting to kick the shit out of someone, but not actually doing it. It’s pretty obvious that the band are looking for a fight with “Scanning the scene in the city tonight // looking for you to start up a fight // there’s an evil feeling in our brains // but it’s nothing new, it drives us insane”. Which against why it makes it such a great live track, because “scanning the scene in [your city] tonight // looking for you to start up a fight” is enough to get the coldest of crowds warmed up.

Same goes for the chorus, with “Searchiiin’ // seek and destroy!” making for a fantastic call and response from Papa Het and the fans. Deliberately or totally by accident, Seek and Destroy was designed for the live Metallica show, especially with their fan-centric stage setups. Of course, the lyrics are second to the riff, but the simplicity of “Running, on our way // hiding, you will be // dying, a thousand deaths” just lets you scream it in a car, an arena or an interview, each with the same amount of aggression.

Metallica would go on to hone and develop their craft, especially with Ride the Lightning just one year later, and oh, we’ll get right into that album, but Seek and Destroy loudly heralded the arrival of your new metal overlords, and would go on to be a centrepiece of the Metallica stage show.

5 TRANSISTOR Writers On Their Favourite Music Videos

thumbnail and intro fae liam menzies (@blinkclyro)

While music is *shock* for your ears to enjoy, it was only a matter of time before it branched into a medium that could stimulate most, though maybe not all of your senses (only Spy Kids 4D can offer you that).

It’s been almost four decades since the first music video aired on MTV in 1979, aptly titled Video Killed The Radio Star by The Buggles, but since then, we’ve been blessed with experimental, haunting and evoking pieces of visual spectacle that have only gone to add to our enjoyment of certain music. Here are just five of these pieces, chose by none other than the writers of this very site – enjoy.


Isabella McHardy (@izzmchardy): Oblivion by Grimes

Oblivion is pretty simple in comparison to Grimes’ other more theatrical, character-based music videos. But somehow delivers the strongest message. Grimes puts herself in male-dominated spaces, reclaiming her body after sexual assault. Although such an intense topic, she manages to bridge the gap between her and the men in the video.

She breaks down the intimidating reputation sports arenas and male locker rooms have, as well as flipping the male-gaze on its head. The start shows her cautiously navigating unfamiliar places but the video ends with her standing tall amongst her male counterparts.


Gregor Farquharson (@grgratlntc): Lost Little Boys by Fatherson

The way this video follows two best friends dealing with the loss of one of their wives is beautiful – it shows the fun the three always had and the heartache of the man who’s lost his lover.

The feeling when we find out the best friend had an affair with the wife tears apart the viewer but when the two come together at the end and makeup, the emotion felt is unreal. Put together with a strong song, this music video is a real treat to watch.


Liam Menzies (@blinkclyro): Come To Daddy by Aphex Twin

While the videos so far have been about evoking empowerment or sadness, there’s one feeling we haven’t quick chatted about yet.

Seeing as it’s appeared on various “100 Scariest Moments of TV” lists, it should be no surprise that this one is a bit creepy. Filmed in the same estate that Stanley Kubrick’s classic A Clockwork Orange was, the video includes a gang of small children with Richard D James’ face wreaking havoc while an evil spirit emerges who’s face is very much nightmare worthy. Watch this one with the lights off.


Ewan Blacklaw (@Ewanblacklaw): Sabotage by Beastie Boys

The video for one of the NYC trio’s biggest hits really speaks for itself. The Beastie Boys took a much different approach to their videos in comparison to some of the more glamorous productions that became popular in the 90s. With that being said, the videos of the Beastie Boys were often just as extravagant, but took a less serious approach and implemented their unique style just as they had done with their music.

The video sees basically comes off as an 80s-cop movie, with plenty of moustaches and bad special effects. As their popularity increased, their music video budget seemed to stay the same as the video for Sabotage looks like a video made by the class clowns of a film class. This all plays into the Beastie Boys charm and makes for one of the funniest and most memorable music videos from the 90s.


Will Sexton (@willshesleeps): Sweetheart What Have You Done To Us by Keaton Henson

Keaton’s haunting musicianship alone is always enough to bring you to tears but the sheer vulnerability and simplicity of this music video bring it to a new level. The spacey guitar and vocals compliment the image of the open sea and staring straight into Henson’s eyes aren’t easy considering the pain and anguish expressed in the lyrics.

However, the climax of the song where it physically gets too much for the musician and he walks off set is hard to watch without feeling something at the very least. Whether it was scripted or not (knowing about his chronic stage fright and anxiety issues we would presume not) it doesn’t matter as the closing scene of him crying offset breaks your heart.

Every Arcade Fire Album, Ranked From Worst To Best

Since their first demo back in 2001, up until their critically divisive fifth LP last year, Canadian indie rock outfit Arcade Fire have had a knack for inciting strong reactions from the general public and critics – most of the time positive. Not one to stick to the same bread and butter formula, the Montreal band have constantly changed up their sound which helps to make them one of the most exciting acts the 21st century has provided thus far.

Of course, we can’t simply sit idly by and not ask the question: what’s their best record? Well you won’t have to ponder for much longer as Transistor’s fantastic four Jake (@jjjjaketh), Josh (@jxshadams), Kieran (@kiercannon), and Sarah (@hollowcrown) have helped to 100-per-cent-definitively rank their albums – will there be hot takes? Absolutely. Will there be an obvious loser? Most definitely? Will you be pissed off at us? Probably. Anyway, let’s keep the car running and skrt off to our ranking…

Quick disclaimer: This is, like, our opinion or whatever, dude. Disagree? The comments down below will house whatever rage you’re feeling.


5. Everything Now (2017)

Jake [5th]: While I don’t hate Everything Now with the feverishness that many other people do, there’s absolutely no denying that it’s the black sheep in Arcade Fire’s discography. The promo campaign in the lead up to the album rubbed a LOT of people the wrong way, with the band adopting a satirical über-capitalist facade, and unleashing the Everything Now Corporation on the world.

We’re not here to talk about that, however (though I, amongst many others, have plenty to say on the subject). We’re here to talk about the tunes, and while it’s the weakest Arcade Fire album, there are still bangers to be found here. The title track, for instance, is a natural progression (or regression?) of the sound Arcade Fire adopted on The Suburbs, with a bit of Reflektor thrown in.

Creature Comfort is a barnstormer of a song, with Reginé rocking a FUCKING KEYTAR during live sets, and the undeniably massive sounding Electric Blue gets its funk on. An incredibly divisive album, then. But a quote-unquote “bad” Arcade Fire album is still better than most other records.

Josh [5th]: What is there to say about this record that hasn’t already been said? By and large considered a disappointment except for the few aurally challenged, Arcade Fire’s fifth LP saw them aim for the nosebleed seats of the stadium with infectious pop melodies, danceable grooves, and biting social commentary that was hinted to be a more streamlined version of the group’s last album, “Reflektor”, thanks to its phenomenal lead titular single.

However, their reach went beyond their grasp, and lazy songwriting, embarrassing marketing, and tired performances hampered down their latest, with few highlights scattered amongst the track listing (“Creature Comfort” and “Electric Blue” being amongst them). They may have attained new commercial heights with “Everything Now”, but at the cost of their reputation as critical darlings and one of our generation’s most forward-thinking bands.

Kieran [5th]: Despite generating astronomical levels of hype with a multitude of teasers and visuals of the band marching about in matching EN regalia, Arcade Fire’s latest release ultimately fell rather flat on its face.

The cryptic social media promo campaign had us all hoping for an even bigger, bolder expansion on Reflektor’s avant-garde approach and while some tracks delivered to a certain extent, such as Creature Comfort and ridiculously catchy title track Everything Now, the album’s overriding narrative of subversive consumerist critique felt all too often like a crutch to fall back on; a cover-up for a lack of songwriting ideas.

Chemistry, for example: is it steeped in countless layers of irony, or is it just a bit terrible? Overall, the reason EN languishes so far behind the rest is that, unlike any album they’ve released up to this point, it’s simply not an enjoyable listen from front to back.

Sarah [5th]: Parody-like promotion aside – 2017’s Everything Now fails to deliver the multifaceted creativity explored in Arcade Fire’s previous works. It is clear that the band attempted to push their own boundaries by following a simpler and slightly more abrasive path, however, this shift wasn’t well received for good reason.

There are some listenable tracks from this record, such as Electric Blue, that stray from AF’s sound but still deliver. With a career spanning almost 15 years and a cult following, changing your core characteristics and drawing from completely abstract influences can challenge fan loyalty, as this isn’t the sound they have grown to adore.  

4. Neon Bible (2007)

Josh [4th]: There’s nothing bad per se about “Neon Bible” – the production is a step up from the lo-fi smudge of their debut, the performances are as tight as ever, and it features some of Arcade Fire’s greatest hits. But ultimately it suffers from middle child syndrome, lacking both the shock-of-the-new of “Funeral” and the grand, overblown ambition of “The Suburbs”.

The expansion into Americana is a nice touch, expanding the group’s instrumental palette to include organs and mandolins (see: “Intervention” and “Keep The Car Running”), but it does little to keep certain tracks memorable, especially in the latter of the LP. At least it features their greatest album closer to date, a cover of Peter Gabriel’s “My Body Is A Cage” that is bursting at the seams with teenage tension and adolescent angst before erupting into a heavenly climax that could fill a cathedral.

Kieran [4th]: I feel rotten about Neon Bible ending up in this lowly position, I really do. In fact, it’s the album that got me into Arcade Fire in the first place and it’s arguably the one that propelled them into stadium-filling indie rock stardom. For some reason, though, it’s the only pre-EN album I rarely find myself revisiting.

By most other metrics, it’s a great album. The swelling organs and wonderfully dark lyrics of My Body Is a Cage and Intervention marry together perfectly to create stunning pieces of baroque pop while the intense, upbeat No Cars Go has established itself as a firm fan favourite.

Compared to the sheer single-mindedness of Funeral, for example, Neon Bible has expanded outwards thematically, covering a vast array of topics and incorporating plenty of grandiose instrumentation but it doesn’t quite deliver the same gut-punch as the others.

Sarah [3rd]: A pivotal point in the Arcade Fire discography, Neon Bible is a graduation from their heavily artistic debut but remains stylistically vague – leaving room to play in future albums. Sandwiched between the band’s first studio album and their most refined release, Neon Bible serves as a guide of sorts.

The problem with this album is that the storytelling is somewhat 2D – and with such an emotive album under their belt already, this one feels almost vapid in context. The whole album is frustrating as it fails to deliver any real depth, and we have several examples that Arcade Fire are capable of this on celestial levels.

Jake [3rd]: The darkest of any of their albums, Arcade Fire’s sophomore effort Neon Bible is a bit of a fiddly record to get adjusted to. But when you do, it bloody shines. With song topics ranging from phones and computers taking over THE PEOPLE, MAN! (Black Mirror) to failing religion (Intervention and (Antichrist Television Blues)), the topics are heavy but dealt with with a deft hand.

They didn’t abandon their knack for crafting a bonafide festival classic, however, with Keep the Car Running, No Cars Go and even the ridiculously sad album closer My Body is a Cage being live set mainstays since the album’s release. Neon Bible is another jewel in Arcade Fire’s crown.

3. Reflektor (2013)

Kieran [3rd]: Far be it from Arcade Fire to be accused of resting on their laurels – a trip to Régine Chassagne’s ancestral homeland of Haiti was enough inspiration for the Canadian indie-rock outfit to reinvent themselves, more or less.

Reflektor is a smorgasbord of musical influences spanning Haitian rara to dance-rock, an illustration of the group’s laissez-faire attitude; one which results in their most imaginative and carefree recordings to date, the aural equivalent of letting your hair down and dancing like an absolute bam.

For a band who were previously considered fairly earnest and sombre, they’ve decided to cast off indie-rock conventions and go with the flow – this rhythm-orientated approach is perfectly captured with the syncopated beats of Here Comes The Night Time. It’s loose, it’s unconventional, it’s paranoid and anxious but – crucially – Reflektor is utterly, utterly compelling. The only petty grievance preventing this being a contender for my #1 is its gargantuan 85 minute run time.

Sarah [4th]: Unlike Everything Now, Reflektor breaks the band’s mould while still holding integrity as an Arcade Fire album. Songs like Joan of Arc show a lot of experimentation and exemplifies the bands’ infamous ability to create highly interesting, enjoyable music. Into the records second half we see foreshadowing with Porno – a blunt, steady song – arguably better than anything from Everything Now, but still lays the foundation for that release.

Jake [4th]: Reflektor is very, very, very good. It’s also, to me, a bit scatterbrained (like Everything Now). Reflektor knows what it wants to talk about (namely the rise of technology) and it utilises a smorgasbord or genres to convey its messages.

Reflektor is punky, disco-y, electro…-y(?), glam-y… you name it, Arcade Fire touched on it with this album. And that isn’t really a bad thing, Win sacrificing a cohesive identity allowed Arcade Fire to be as free and as experimental as they wanted, and for the most part, it paid off.

Birthing songs like We Exist, Reflektor, Afterlife and Normal Person. It’s an album that’s simultaneously weighed down and elevated by the fact that it’s so all over the place from a genre perspective, and I wouldn’t change it for the world.

Josh [2nd]: A controversial pick for a number two spot? Perhaps. A lot of complaints have been levied at the band’s fourth album: it’s too long, over-indulgent, the change in tone and sound too jarring, the stage show and marketing too gimmicky. But this is Arcade Fire at the peak of their ambition, and if there is one thing Win Butler and co. do well, it’s ambition.

Every song might not be mind-blowing, but they’re memorable and unique in the context of the album, and the listener genuinely feels like they have completed a journey by the time they wrap up on the jaw-droppingly gorgeous “Supersymmetry”. The production comes courtesy of James Murphy, so you know it’s going to sound tighter than your grandmother’s attic (and that’s not a euphemism), and the instrumentation has been made even more eclectic to harbour the influence of African, Haitian and Latin music. From start to finish, this is an absolute joy to listen to – just don’t forget to take a deep breath before you begin.

2. Funeral (2004)

Sarah [2nd]: As a debut, Funeral thrust Arcade Fire into the indie mainstream – and almost immediately helped the band make their claim as important figures in the scene. This record perfectly exemplifies their creativity, be it through the actual songs, the titles or the artwork, with each aspect setting them apart from popular alternative music at the time.

What truly makes Funeral special is its inherent ability to pander to people from all walks of life, it sits happily in the middle of the spectrum between too much and too little. Having this as a debut really pulled in a loyal fanbase from the get-go as it was widely spread across societal groups – and this has been fundamental in the bands following successes. Without Funeral, Arcade Fire would perhaps fail to be the grandeur figure we know it as.

Jake [2nd]: It’s still staggering to me to this day that Funeral is Arcade Fire’s first full-length album. Already masters of their craft at this early a stage of their careers, Win and his merry band of misfits set the world of Indie alight with the release of Funeral in 2004. Imagine writing songs like Wake Up, Crown of Love, Power Out and Rebellion on your FIRST. FUCKING. ALBUM. It’s almost unfair. One of the best debut albums ever, unquestionably.

Josh [3rd]: The one that started it all. It’s hard to remember a time when Arcade Fire weren’t considered A Very Big Deal, and it almost seems like that from their inception they weren’t anything less than that – to be fair, when David Bowie buys all your CDs and distributes them to his friends, you aren’t exactly going to be just an overnight sensation.

And so “Funeral” became a landmark indie record, brimming with tunes and earnest that made the world fall in love with the Canadian band. Yet time has not been kind to their debut, with the production seeming at first charming now being utterly grating, and it lacks the slick, rehearsed nature of later records that made them a joy to listen to. But it still packs one hell of a punch, especially on cuts such as “Power Out” and “Rebellion” that will keep arenas and festivals screaming along until the world implodes in a nuclear haze.

Kieran [2nd]: When we compare Funeral, Reflektor and The Suburbs, we’re really looking at the finest of margins. All three are masterpieces in their own right, and a case could easily be made that Funeral deserves to occupy that top spot.

It’s simply staggering that any group – even one as absurdly talented as Arcade Fire – could release a debut as masterful as this. Far from what the title suggests, it’s neither melancholy nor downbeat; in fact, it’s a vibrant, empowering celebration of life and a wise-beyond-their-years contemplation of mortality, which manages to be uniquely relatable no matter your generation or demographic.

I’m going to stick my neck out and say that Wake Up is the finest track they’ve ever churned out – in fact, if you’ve ever managed to listen to it without welling up *at all*, consider our friendship terminated.

1. The Suburbs (2010)

Jake [1st]: Who’d of thunk that an album about a fake war in a fake town would be so fucking good? This is Arcade Fire’s masterpiece, a stone-cold classic in every sense of the word that’s only getting better and more relevant as the years go on.

From the understated, yet lavish (Half Light I, Sprawl I), to the utterly gargantuan love mainstays of Sprawl II and Ready to Start, each track compliments the other wonderfully and makes for not only the most cohesive album in AF’s discography but the best.

Josh [1st]: This is the one. Where else in Arcade Fire’s discography do the twin peaks of what attracts fans far and wide to them meet so perfectly? The earnestness of their earlier records combines with the ambitiousness of their later to make a concept album that just about anyone can relate to: growing up.

Win Butler’s lyrics are at the top of their game from start to finish, capturing the simultaneous wondrous and jaded nature of your young adult years, when the world is at your feet but all you can see is your hometown, and the performances feel rehearsed to fall apart at any second, from how energetic they are (“Month of May”) to just how damn emotionally tense the whole band can feel on a track (“Half Light II”).

There’s not a weak moment on the track-listing despite its fifteen song-long runtime, which is not something any of the other band’s albums can say never mind any other band in existence at the moment, and by its end, you’ll want to jump right back to the start. When the dust settles, “The Suburbs” will still be standing.

Kieran [1st]: I’ve always thought of The Suburbs as a grown up, 20-something version of Funeral. It’s been at the booze and the fags for a while too long and it’s a little more world-weary, a tad post-apocalyptic even, but it’s still achingly, endearingly human.

In my eyes, Funeral and The Suburbs are both as near as makes no difference perfect, making this an extremely difficult call to make. The latter edges it due to the sheer poeticism of its lyrics. Too numerous are they to list here, but the amount of times I’ve sat in sheer euphoria and appreciation hearing Win Butler’s signature wail on this record is scarcely believable.

Sarah [1st]: The showcase that is The Suburbs is potentially a genre-defining release, and almost definitely a career-defining one for Arcade Fire. With the ongoing support, garnered from the run of Funeral and Neon Bible, the band were absolutely pining for something more impressive, scale and concept wise.

The Suburbs follows a clear path from start to end, is filled with storytelling and is so powerfully emotive it makes the listers hairs stand on end. Ballads like the eponymous The Suburbs, We Used to Wait and Sprawl II propelled the band from venues to arenas, showing the music community that Arcade Fire we far more than just a music group – they were an experience, they are ethereal, atmospheric, creators.

The Suburbs proved them as a timeless band, whose music will provide an escape for anyone who needs, any time.

TRANSISTOR’S Record Store Day 2018 Picks

photo fae Nikki A. Rae at Record Store Day 2016

For those amongst us who enjoy the sound, smell, sight and sheer eye-watering expense of vinyl, Record Store Day is pretty much our musical Christmas, not least because vast sums of money will be spent on gifts, all of them for ourselves. However, with the sheer volume of releases, re-releases and special editions on offer, it’s hard to see the wood for the trees, so we’ve assembled some of our finest vinyl collectors to give you their hot picks for RSD ’18.

Liam Menzies (@blinkclyro)

Twin Peaks – Music From The Limited Event Series

Not to be confused with the indie-pop outfit that share the same name, Twin Peaks is easily one of the finest pieces of entertainment to grace us and while it may have changed over the past couple of decades, its quality is consistent. This includes its score and soundtrack which range from flourishes of cheesy soap opera romance to borderline nightmarish remixes of classic tracks, all adding to the formula that makes Twin Peaks such a stunning piece of art.

Sufjan Stevens – Mystery of Love EP

While its title song may have been “done dirty” at the Oscars according to some people, there’s no denying Sufjan Stevens crafted one of 2017’s most beautiful songs for an equally mesmerising film. Call Me By Your Name wasn’t a film that relied on its soundtrack but it was one that was vastly improved by its gorgeous music which all comes to the tracks featured on this EP. If you’re maybe in the mood for something a bit different from your usual rock affair then this will be right up your street.

Jake Cordiner (@jjjjaketh)

Car Seat Headrest – Twin Fantasy (Mirror to Mirror)

The original version of one of 2018’s best albums (so far), the 2011 version of Will “Massive Furry” Toledo’s best album is a brilliant insight into how a songwriters’ style can change as they do as people. Some of the lyrics are different, some of the breakdowns are different, the whole mood of the album has changed in 7 years, and I just think it’ll be cool to hear the original on a beautiful, heavy piece of vinyl mate, ok?

 

Will Sexton (@WillSheSleeps)

Florence + The Machine – “Sky Full of Song”/”New York Poem (for Polly)”

Really hope someone will be able to pick up this gorgeous new single from Florence + The Machine (AS I’M WORKING THE WHOLE WEEKEND NOO!)*. Lovely new art-pop single from Florence and co. Love the ethereal, stripped back sound and it’s nice to hear something fresh from the band, being the first piece of music in 2 years since the gorgeous How Big, How Blue, How Beautiful. What is more interesting is the new single is backed by Florence’s first recorded poem! Coming from her first book Useless Magic (released 5th of July), New York Poem (for Polly) will be a very interesting listen!

*Prizes for anyone who sorts oor Will out

Josh Adams (@jxshadams)

The National – Boxer (Live from Brussels)

What’s not to love about one of contemporary rock’s greatest bands releasing a Record Store Day exclusive vinyl, documenting their 2017 performance of arguably their most important album front to back?

Anyone who’s managed to catch The National performing tracks from Boxer live, either in concert or on YouTube, will know not only the added energy they bring to certain songs – such as Squalor Victoria or mistaken for strangers – but the deft touch of dynamics and tension the group tweak for some of their biggest numbers (see: Fake Empire and Slow Show). Also, it has a cool as shit reworking of the original album’s cover art. Gimme… NOW.

Oliver Butler (@notoliverbutler)

Motorhead – Death or Glory

In a move that’ll shock absolutely no one, my hot pick for RSD ’18 is a reissue of Motorhead’s 1993 album Bastards under the guise of Death or Glory. If anyone’s interested, which they’re not, ‘Head were, as ‘Head do, having some trouble with their record company, and the family-friendly titled album was only largely released in Germany, and in the rest of the world, you couldn’t even steal it. A real shame considering it was one of the best, if not the best, albums they’ve ever produced.

Sure you’ve got Motorhead by numbers tracks like Burner and Born to Raise Hell, but Bastards had a wider range and more emotional depth with songs like Lost in the Ozone and Don’t Let Daddy Kiss Me, a harrowing song about the horrors of child abuse. A must listen for the most seasons of Motorhead fans, or for anyone who wants a crash course in the band’s range & depth.

Motorhead – Heroes

Heroes was something that came out of the blue, more than a year after Lemmy’s tragic passing. The final word had been growled; no new Motorhead or “lost” recordings. Then seemingly out of nowhere came this emotional, expertly done cover of Bowie’s Heroes. Not too detached from the original that it’s a hatchet job, but retains that Motorhead magic. It then formed part of a covers album, which featured the band covering some of their favourite songs, including a, dare I say it, better than original cover of Metallica’s Whiplash.

Side B features a “live” version of Heroes, featuring the most angelic of voices, the Wacken Open Air Festival choir. Lovely stuff.