The Shadows - apache cover, 1960

"Apache" is a song written by Jerry Lordan and first recorded by Bert Weedon. Lordan played the song on ukulele to the Shadows while on tour and, liking the song, the group released their own version which topped the UK Singles Chart for five weeks in mid-1960. The Shadows' guitarist Hank Marvin developed the song's distinctive echo and vibrato sound. After hearing the Shadows' version, Danish guitarist Jørgen Ingmann released a cover of the song in November 1960 which peaked at number 2 on the Billboard Hot 100 in the US. A 1973 version by the Incredible Bongo Band has been called "hip-hop's national anthem". Although this version was not a hit on release, its long percussion break has been sampled countless times on hip hop and dance tracks since the 1980s. In March 2005, Q magazine placed "Apache" by the Shadows at number 96 on its list of the 100 Greatest Guitar Tracks."

Club 8 - the beauty of the way we're living, 2003

"Club 8 is a nice indiepop band from Sweden released under Labrador Records, after their release with FFWD Records a few years ago in Indonesia, they become a very influential indiepop sound here in Indonesia. We are lucky to catch their live in Bandung a few months ago. And now I’m trying to catch them again to answer some short questions"

Beach House - wild, 2012

"When something happens, I am fortunate enough to be one of those people who just let it go. My teenage years were made up of nagging thoughts that I was sure would haunt me forever; they thankfully leave in time. Those nagging thoughts were replaced with something else. They were replaced with just attempting to take it easy on myself. I have good days and bad days. My own worst critic. It’s alright. But something happened exactly two weeks ago at about 9pm. Something happened that just will not leave me alone. You know who is to blame? Alex Scally and Victoria Legrand. Beach House."

Keane - crystal ball radio session version, 2006

"We then ended up having a massive row about something a couple of days later and it came out of that that we were all feeling this sense of numbness, this feeling of kinda fading away as people. And I just tried to write about that, and it ended up becoming Crystal Ball."

El Perro Del Mar - people, 2006

"Sarah Assbring, the sole member of Swedish musical project El Perro del Mar, doesn’t shy away from darkness. Rather, it intrigues and soothes her — especially in the form of music. She describes melancholic sound as a place to go to, for relief and respite, and perhaps, spiritual salvation. While each of Assbring’s enigmatic albums have showcased shapeshifting new sounds, the throughline has always remained an incredibly analytical air of melancholia. There are no tropes in the work of El Perro del Mar — no sense of sorrow just to be sorrowful."

The Cranberries - every morning, 2001

"O’Riordan died in January 2018 at the age of 46. Fortunately for fans, she had recorded an entire album’s worth of vocals back in late 2017 in her New York City apartment. The support of the O’Riordan family over the past year inspired the rest of the band to build new music around those vocals, in order to finish what they consider to be “one of the best Cranberries albums that [they] could possibly do.” Thanks to their songwriting capabilities and English producer Stephen Street, The Cranberries will deliver O’Riordan’s parting gift in complete to the band’s longtime fans — one they hope will serve as both a worthy goodbye and a fitting tribute to the late legend."

Belle And Sebastian - night walk, 2002

"I just like reading history on wikipedia"

Don McLean - vincent, 1971

"In the autumn of 1970 I had a job singing in the school system, playing my guitar in classrooms. I was sitting on the veranda one morning, reading a biography of Van Gogh, and suddenly I knew I had to write a song arguing that he wasn't crazy."

Marillion - he knows you know, 1983

"He Knows You Know" is a song by the British neo-prog band Marillion. It was their second single, with "Charting the Single" as the B-side. It was released from their first album, Script for a Jester's Tear, and peaked at number 35 on the UK Singles Chart. The song's theme is drug abuse, and alludes particularly to intravenous drug use."

The Waterboys - it should have been you, 1983

“This feels wrong to me. It should be the Waterboys. The musicians should have the status of being Waterboys.”

Junip - line of fire live, 2013

"Junip, the Swedish rock band that counts indie-folk star José González as a member, released their song “Line Of Fire” back in 2013; it was the opening track on their self-titled sophomore album."

The Flaming Lips - do you realize, 2002

"Whenever I analyze the scientific realities of what it means to be living here on Earth – in this galaxy – spinning around the sun – flying through space – a terror shock seizes me!!! I'm reminded once again of how precarious our whole existence is..."

REM - i believe, 1986

"If R.E.M. has a credo, it is most certainly “I Believe.” Though the song has its share of self-deprecating jokes and baffling Michael Stipe-isms, it is essentially a litany of virtues and aphorisms that inform the band’s outlook on politics and life in general. It’s earnest, but it’s also rather playful. One of the best tricks in the song is the way Stipe strings together aphorisms until they collapse into nonsense, which has the curious effect of making the listener reflect on the actual meaning of cliches that normally go in one ear and out the other."

The Triffids - hometown farewell kiss, 1987

"The Triffids were never labeled as a Christian band, but there's an undeniably spiritual feel to several of the songs on Calenture. Moreover, vocalist David McComb spews his words with the fiery passion of a backwoods preacher. The orchestral sweep of "Bury Me Deep in Love" recalls the Waterboys' expansive sound; the lyrics are unmistakably religious as McComb looks for salvation in a chapel."

Moby And Damien Jurado - helpless cover, 2023

"if I have to pick two biggest influences on this record it would be Neil Young and the Marianne Faithful song “Broken English”. Considering “Broken English” was written and recorded like 30 years ago, and the Neil young songs I was listening to were like “After the Gold Rush”, “Helpless”, and “The Needle and the Damage Done”

Genesis - down and out, 1978

"And Then There Were Three has a distinct sort of sound to it that pervades every song. Fittingly, that exact sound, that distilled “Essence of Three,” if you will, is the first thing you hear when you spin up the album. It’s not just the instrumentation, but the way it’s played. There’s something almost-but-not-quite otherworldly about it. And then that riff kicks in, and you think you’re maybe getting something a bit different, but a few measures later you’re firmly entrenched in that inescapable “Three” sound, crawling up your spine in lockstep with Tony’s keys crawling up the melody during the second half of the verses."

Headlights - tv, 2006

"nostalgic? We love good melodic music. We love pop music. We don’t have rules or pursue specific guidelines in our song writing, it just comes out the way it does. Sometimes we try to make people dance."

Neva Dinova - the tin man, 2002

"Neva Dinova's music contains elements of folk, psychedelia, rock, acoustic, and country. They are known for having small and intimate live shows."

Bear's Den - elysium, 2014

"'Elysium' was one of those tracks that became very personal to me very quickly. It made me think about my younger brothers and their transition from kids to adulthood — how they are carving out their individuality and quickly leaving youth, innocence, and wide eyes behind. "Brother don't grow up.... /Just hope that age does not erase all that you've seen/Don't let bitterness become you/Your only hopes are within you."

Still Corners - welcome to slow air, 2018

"Still Corners is the musical project of Tessa Murray and Greg Hughes. The group formed shortly after Murray met Hughes by chance at a London train stop in 2009. For over a decade, the band has delivered a steady stream of music that is at once reflective, searching and romantic. Sub Pop quickly signed the band after their first few singles and went on to release their debut album Creatures of an Hour in 2011 and followed that with Strange Pleasures in 2013. Shortly thereafter the band started their own record label Wrecking Light Records and have gone on to release albums Dead Blue in 2016 and Slow Air in 2018 to critical acclaim."

Saint Etienne - french detective, 1999

"The Misadventures of Saint Etienne (1999) is an album by Saint Etienne. Released only in Japan, it served as the soundtrack to a British indie film called The Misadventures of Margaret, starring Parker Posey. The soundtrack was recorded during winter 1997 just before the period when the band were starting to promote the Good Humor album, Sarah Cracknell said in an interview with Melody Maker that "Saturday" was being remixed by Trouser Enthusiasts as a possible single release. The single and remix never appeared, and the film itself was only released in Spanish cinemas."

Beach House - the hours, 2012

"Across all time and space, all across the hours. This first verse is to me climbing this tower of a conversation so that the deeper truth of the matter can be expressed like a beautiful sunset seen from a higher vantage point. The second verse is getting into the biblical idea of being made in the reflection of God. I think this could be taken in a few different ways but I think it's a reference to love itself."

The Lightning Seeds - fishes on the line, 1996

"When I started, with ‘Pure’, I mainly recorded it in my house. The whole of the Sense album was recorded in my brother’s front room, where I set some stuff up. Now I have a similar thing on the top floor of my house – a room with some stuff in it. I did most of the new album there, but I did the bass and drums in Liverpool, and a little bit in Zak Starkey’s studio, in Henley."

Alvvays - lottery noises, 2022

"So what is the song "Lottery Noises" about? Because when I first listened to it all I could think is that it's literally about someone lost in the woods who gets found. Weird I know, but this is from the same band that wrote "Next of Kin." I'm probably wrong, and it doesn't really fit with what I understand the other songs in the album to be about."

Rita Redshoes - once i found you, 2008

"Rita Pereira (born 10 July 1981), known by her stage name Rita Redshoes, is a solo musical artist from Portugal. In 1996 she sang with her first band, Atomic Bees, releasing an album in 2000 entitled love.noises.and.kisses."

George Harrison - my sweet lord, 1970

"Harrison wrote "My Sweet Lord" in praise of the Hindu god Krishna, while intending the lyrics as a call to abandon religious sectarianism through his blending of the Hebrew word hallelujah with chants of "Hare Krishna" and Vedic prayer. The recording features producer Phil Spector's Wall of Sound treatment and heralded the arrival of Harrison's slide guitar technique, which one biographer described as "musically as distinctive a signature as the mark of Zorro". Ringo Starr, Eric Clapton, Gary Brooker, Bobby Whitlock and members of the group Badfinger are among the other musicians on the recording."

Bright Eyes And Neva Dinova - rollerskating, 2004

"‘Rollerskating’ comes with that long-time staple of Bright Eyes records: a weird opening sample. This time round it’s spooky pre-pubescent ramblings which, coupled with the old dude at the start of ‘Tripped’ rattling on about time looping in on itself, means that the record now possesses not one but two weird opening samples, and yet doesn’t quite grate. Perhaps mindful of the pitfalls inherent in such things, neither of the two are more than a few seconds long, and being familiar with its original incarnation makes ‘Tripped’ difficult to contemplate without said old dude at its fore."

The Durutti Column - requiem for a father, 1980

"When you think of 80s Manchester you tend to imagine the dark post-punk synths of Joy Division and the proto-acid-rave music of the Happy Mondays. Not the instrumental etherealism of The Durutti Column. Largely the project of the composer, guitarist, synthesiser programmer and arranger Vini Reilly, The Durutti Column was one of the first acts signed to Tony Wilson’s Factory Records label in 1978. Recorded over a period of a week, their 1980 debut instrumental album The Return of The Durutti Column is probably the best place to start with their music. After the producer Martin Hannet spent two days doing nothing but creating noise tracks on the synthesiser whilst Vini sat pissed in a chair shouting at Martin and occasionally playing some notes on the guitar, the pair stumbled across the bird noises that form the first twenty seconds of The Return‘s opening track, Sketch for Summer. Probably the band’s most famous song, Sketch for Summer is a winding soundscape that combines Vini’s ambient jazz guitar arpeggios with Martin’s darker electronic synth beats. It’s ridiculously dreamy and the kind of song you want to preserve exclusively for long hazy days in the sun. It also only took two run-throughs and 5 minutes to produce, a monumental and, arguably crazy, feat. Later tracks on the LP liked Requiem for a Father and Conduct are chant-like and transcendental. Conduct in particular continually repeats the same cosmic refrain, slowly introducing an array of percussion instruments until gently petering out after five minutes."

Beirut - a sunday smile, 2007

"You can usually rely on New York’s Beirut for a rousing drunken sing-along but A Sunday Smile, the new single from his second album The Flying Cup Club, is more like a gentle hangover. The Eastern European influence is less pronounced here than on his excellent previous album and the song’s tempered waltz and French accordions suggest a move west across the Balkans. It’s less bawdy, more refined, like gathering round the piano in your Sunday finest instead of knocking back vodka in a Communist tower block. Not as much fun perhaps but Beirut’s anachronistic music continues to enthral."

Simon And Garfunkel - april come she will live, 1981

"This song, often overshadowed by their more popular hits like “The Sound of Silence” and “Bridge Over Troubled Water,” is a testament to the duo’s lyrical depth and musical subtlety."

The Radio Dept - going down swinging, 2018

"Swedish indie mainstays the Radio Dept. have gotten political in the last few years, and their new song is no exception. Titled “Going Down Swinging,” the track arrives just before Sweden’s national election and builds on the antifascist undertones of albums like 2016’s Running Out of Love, which was specifically written in protest of Sweden’s far-right Svenskarnas Parti. “The Swedish national election is coming up and that means we’re putting out a new single,” the band shared in a statement. “What else could we do?”. “There are references to church bells in the lyrics, listeners from outside of Sweden might want to know this,” the statement continues. “In May 2014 and on a couple of occasions since, churches in Sweden have been ringing their bells during Nazi marches to warn the public. Before 2014 this hadn’t been done since 1939. Because of the huge problems we have with increasing racism in our country it is a very welcome gesture. Personally we don’t believe in gods but we do believe Nazis and their peers – however they choose to present or disguise themselves – should be dealt with like in World War II”. The song makes it pretty clear just how the band feels about Nazism, even speaking out against other musicians who might disagree with their views. “Nazis should be dealt with like Normandie/ Only inbreds join an alt right parade/ Someone please tell that to Morrissey,” they sing."

Sufjan Stevens - fourth of july dumbo version, 2022

"The original version of “Fourth of July” appeared on Sufjan’s 2015 album, Carrie & Lowell. As is (and was) his custom, Sufjan would often rework different versions of his songs while recording an album, and “Fourth of July” was no exception (other versions & remixes of the song were released on “The Greatest Gift” mixtape and on the “Exploding Whale” 7” single). These two latest versions were recently found on old harddrives. The refrain of the song, “We’re all gonna die,” invokes a meditation on human mortality and fragility, even as it acts as an anchor of stoic hope. Its solemnity invites listeners to feel comfort, connection — even joy — wrought from great pain and loss."

The National - i should live in salt, 2013

"In truth, that song is very much—but not on an every line level—about my younger brother, Tom. He was very much in mind the whole time I was writing thoughts and lyrics for that song. It’s about maybe feeling some guilt about having left somebody or abandoned somebody. Not that I felt so guilty. I left for college when my little brother was nine years old, and then we became reunited when he joined us on tour. He just finished making a film about that, and it’s really good. It’s called Mistaken for Strangers. But we spent a lot of time together over the past couple years, and he lives with my wife and I still, actually. It has been a great thing, and it has also been a really toxic situation. But now we know each other as adults, and I think the song is a reflection on our relationship, and some of it is my guilt or feeling that he went in a different direction than I did. He’s a brilliant, hilarious, happy man, but the spirit of the song is about him. The salt in the song, I couldn’t say why I put that in there. It could be something like “I should live in tears” or something. I don’t know. It just felt good. Maybe I’m hiding some of my earnest emotion in that one behind a weird title."

The Connells - seventy-four seventy-five, 1993

"'74–'75" is a song by American band the Connells from their fifth studio album, Ring (1993). The acoustic ballad was released by Alternation label as the album's third single in 1993, but it did not chart in the United States. It would later become a European hit for the band in 1995, reaching the top 10 in a total of 11 European countries and peaking at No. 1 in Norway and Sweden. It also charted within the top 30 of the UK Singles Chart on two occasions."

This Mortal Coil - strength of strings, 1986

"Beginning with a dual acoustic/electric guitar riff with an insistent, distinctly Native American texture, other instruments gradually join, as though awakened by, and compelled to replicate, the notes. Drums and bass soon enter, accentuating the final notes of the pattern, as if to gently presage the thundering climax of the song still some minutes away. But the pattern resumes; and each time it is repeated, the song’s intensity rises. An eerie chorale enters in the next cycle, interpreting the riff as hypnotic tribal chant."

The Radio Dept - i don't need love i've got my band, 2003

"Pulling Our Weight and The City Limit are beauty incarnate. And I Don't Need Love... (the song) has gotta be their truest banger"

Death Cab For Cutie - different names for the same thing, 2005

"A gently swinging piano tune that then transitions into a colorful, upbeat, open-hearted celebration of what we can share without ever needing language to galvanize it. A much needed burst of optimism on such a searching and morose record as Plans."

Letting Up Despite Great Faults - sophia in gold, 2011

"There’s a chance you’ll become quite smitten with Letting Up Despite Great Faults’ dreamy indie pop - their name taken from the Blonde Redhead track ‘Loved Despite Great Faults.’ LUDGF’s sound is just as nostalgic."

Muzz - summer love, 2020

"Banks and Kaufman have known each other since they were teenagers and both have also worked with Barrick before. Muzz’s earliest recordings date back to 2015. All three members wrote, arranged, and performed the album. And while Banks is usually the sole lyricist in Interpol, here all three members contributed to the lyrics."

Sambassadeur - new moon, 2005

"They were one of the bands that lead an explosive Swedish pop movement of home recording artists who surprised our country by not only achieving overnight indie fame (thanks to the MP3 spreading kids!) but also reached the sales charts."

Damien Jurado - cloudy shoes, 2010

"Prior to Saint Bartlett, I have lived and attempted a career being known as the artist who is, as my fans put it, underrated. My entire career up until that point was me trying to change that and because of that, I wasn’t authentic to who I really was. I’ll give an example of this. When I did I Break Chairs, for instance. I think that’s a very dated sounding record to me, because it was done in this time of like Seattle’s Indie Rock explosion of Modest Mouse, Death Cab for Cutie, etc."

Summer Of Hate - here we are, 2022

"Summer of Hate is an experimental rock band from portugal that explores symphonic and psychedelic landscapes to make you want to love again and seize the means of production."

Status Quo - when my mind is not live, 1968

"They enjoyed a decent sized hit with Pictures of Matchstick Men in '68 but a couple of subsequent singles didn't exactly consolidate their reputation and when their second album Spare Parts didn't ignite much interest they did a right turn into boogie rock which became their forte."

Tennis - one night with the valet, 2022

"just the other day I was thinking “it’s been two years, we need new music”

Roger Waters - comfortably numb twenty twenty-two, 2022

"It’s intended as a wakeup call, and a bridge towards a kinder future with more talking to strangers, either in “The Bar” or just “Passing in the Street” and less slaughter “In Some Foreign Field.”

Frank Turner - the fastest way back home live, 2015

"The non-Marxist British left is a fantastic tradition: it's all about non-conformism and voluntarism. The advances of the unions are great advances in human society."

Human Barbie - empty, 2022

"What do you think of when you hear the name Human Barbie? Is it the plastic quality that comes to mind; the materialism and consumerism of Western culture? Perhaps the phrase conjures up visions of a puppet on strings, its limbs moving involuntarily at the whim of an invisible force from above. There’s a darkness to being a Human Barbie; an inescapable, undeniable layer of turmoil underneath a superficial surface layer of glitz and glam."

They Live By Night - ctrl+alt+del my heart, 2008

"The band They Live By Night split up in 2007, but are now back with the new self-titled album and it's definitely not a bad restart. The band has dropped some edge and guitars since "Art & wealth" to replace them with a more traditional pop-sound. This might not be something bleeding edge within its genre, considering the strong drums, whistling and the soft vocals."

Lee Scratch Perry - kill them dreams money worshippers, 2019

"It's hard to believe that Lee "Scratch" Perry, the mixing-board maestro who brought reggae into rootsy shape and developed the "dub" production techniques that have become today's stock digital presets, is no longer with us. Perry died not far from where he was born in northwestern Jamaica, resettling there in January after four decades abroad. His music echoes on. Prolific and active into his eighty-fifth year on Earth and sixth decade in the music business, Perry leaves a massive legacy in the form of a seemingly bottomless archive — much of it stellar, some of it interstellar — and a resounding influence spanning reggae, rock, hip-hop, dubstep and remix culture writ large. At the dawn of the multitrack era, Perry reimagined what a mix could be – timbrally, formally, metaphysically – knitting together the past and the future, tradition and tricknology, and imbuing his most inspired music (and there's a lot of it) with eternal currency."

The Clientele - everyone you meet, 2017

“We try to articulate that change in the air that happens when autumn comes. But it’s not a verbal thing; you can’t really express it properly with words. You can express it with music and atmosphere.”

The Moody Blues - tuesday afternoon forever afternoon, 1967

"Justin Hayward wrote the song originally intending to name it "Tuesday Afternoon". At the insistence of producer Tony Clarke, it was named "Forever Afternoon (Tuesday?)" for its release on Days of Future Passed. However, when it was released as a single a year later, its name was changed back to "Tuesday Afternoon". Some of the Moody Blues compilation and live albums list the song as "Tuesday Afternoon (Forever Afternoon)" to reflect both titles."

The 1975 - the nineteen seventy-five, 2013

"Q defined the 1975 as "possibly the first band to take influence from The Thompson Twins, China Crisis and the long-lost Frazier Chorus." "That makes them sound gloriously out of kilter, but the truth is that their jittery genre-jumping is impossibly now," the magazine continued. "Best of all, for all their rarely lauded influence, this is a band who sound like nobody else right now. Hugely intriguing"

Ruby Haunt - headland, 2022

"Cures For Opposites is a gorgeous collection of ethereal songs blending synths and gaze in a way few other bands are capable of. While they may be in a state of constant creation with seven full lengths under their belt, the duo found some spare time to chat with Sunnyvale and JesperL (the proud co-founders of Sputnikmusic’s Ruby Haunt fanclub)."

The Radio Dept - strange things will happen, 2003

"Like the Underground Resistances and Techno Militias that populate the history of Detroit, the Radio Dept. are presenting a version of dance music that provides a means of political activism rather than pure hedonism."

Such a great song!

God Help The Girl - god help the girl, 2014

"The author of the project God Help the Girl is Stuart Murdoch, lead singer of the Glasgow-based Scottish indie pop group Belle and Sebastian. In 2004, during a tour promoting their album Dear Catastrophe Waitress, he came up with the idea of writing a series of songs telling about the life of girls and young women which could be sung not by his group but female vocalists. Thinking about this project, he started writing new songs which were shelved for the time being; after some time the idea of arranging them in a logical whole and making a film occurred to him."

Beach House - wherever you go untitled hidden track, 2012

"Bloom is the fourth studio album by the American dream pop duo Beach House, released in 2012. The album features their signature dreamy soundscapes, with haunting melodies and lush arrangements. It was widely praised by critics and considered a breakthrough for the band. The album’s lead single, “Myth,” received significant airplay and was named one of the best songs of the year by several publications. Bloom has been described as a meditation on the themes of memory, love, and loss, and is often regarded as one of the best dream pop albums of the decade."

The Beautiful South - sailing solo, 2003

"The continued existence of the Beautiful South is an affront to anyone who has spent the past 14 years waiting for the wry smile that perpetually plays at the corners of Paul Heaton's mouth to break into actual laughter. Fatherhood and a move to Manchester since their last studio album have apparently done little to convince him that life is any more than a series of bleak vignettes best examined from the detachment of his front room."

Marissa Nadler - katie i know, 2016

“Katie I Know,” Marissa Nadler’s latest single, begins with a style of minor-chord fingerpicking so distinctly hers that it might as well be her DJ drop. But it’s a false start. What follows is an expansive, psych country weeper—one that illustrates just how subtly and gracefully she's evolved from the sparse gothic folk of her early albums to lusher landscapes. “Katie I Know” is another move toward Nadler operating as a full-on balladeer, with her characteristically reverb-coated falsetto carrying a vague drawl that makes even her most cryptic and Lynchian turns of phrase (“So strange to be in that backyard”) sound utterly tragic."

Echo And The Bunnymen - bring on the dancing horses, 1985

"The song is heavy on the reverb to positively Cocteau Twins levels, and for the first time, the sonic focus is less on Will Sergeant's overdubbed guitar lines and more on the layers of synths that eddy around Ian McCulloch's vocals. Similarly, the choruses are sung by a small choir of overdubbed McCullochs, adding to the psychedelic haze of the track. In the long run, this change in sound didn't do Echo & the Bunnymen much good, as evinced by a listen to the extremely spotty self-titled album from 1987, but "Bring on the Dancing Horses" has a dreamily catchy chorus and a nice melody, and the band still had all of its saved cool points from Ocean Rain, so it gets a pass."

The Clientele - the museum of fog, 2017

"What we try and do is reflect things you can't really verbalise - that's what music is about for me."

Still Pigeon - patterns, 2022

"Still Pigeon, the Oxford-born, indie-pop band looking to make their mark on the music scene, have been writing and producing music since 2018. They combine funky beats with fun, often random lyrics, creating music bursting with enthusiasm and originality."

Travis - side, 2001

"Side" is a song by Scottish rock band Travis, released as the second single from their third studio album, The Invisible Band (2001). Frontman Fran Healy began writing the song by composing a rap, which he would later remove, and penning a riff that would support it. In February 2000, he completed the song's lyrics, which describe how everyone shares life and explains that there is no greater existence for anyone who seeks it, as everyone shares the same "side" of life. The song was released as a radio single in the United States in August 2001 and was issued in the United Kingdom the following month."

The Radio Dept - you fear the wrong thing baby, 2020

“You Fear The Wrong Thing Baby” is a shimmery trill of a track. A reverbed-out twee guitar and a prettily detached vocal hover over a Joy Division-style bass-churn. The song is dark and lovely at the same time."

The Stranglers - golden brown, 1981

"this song, you can't dance to it, you're finished"

Vox Rea - julia, 2022

"Indie dream pop duo, Vox Rea, made up by multi-instrumentalist sisters, Kate and Lauren Kurdyak. With their music made of layers of angelic harmonies and moving lyrics it’s clear why they have been a staple of the BC music scene for the last several years."

Mark Knopfler - boomtown variation louis' favourite, 1983

"This album was billed as a Knopfler solo album rather than an original soundtrack album, with the notation "music...for the film." Knopfler brings along Dire Straits associates Alan Clark (keyboards) and John Illsley (bass), plus session aces like saxophonist Mike Brecker, vibes player Mike Mainieri, and drummers Steve Jordan and Terry Williams. The low-key music picks up traces of Scottish music, but most of it just sounds like Dire Straits doing instrumentals, especially the recurring theme, one of Knopfler's more memorable melodies. Gerry Rafferty (remember him from "Baker Street"?) sings the one vocal selection, "That's the Way It Always Starts."