The Radio Dept - all about our love, 2010

"No, they’re not exactly Dream Pop. There is an essential sun-drenched and lo-fi quality to the Radio Dept. that I can only relate to the memory of playing cassette tapes in your parents car in the 1990’s. Melodies and vocal layers have a whining treble-heavy sound that isn’t harsh to the ear, but just adds a different aesthetic to this sub-genre of indie dream pop."

The Rolling Stones - tell me you're coming back, 1964

"Written by singer Mick Jagger and guitarist Keith Richards, "Tell Me" is a pop ballad. In a song review for AllMusic, critic Richie Unterberger commented, "It should be pointed out ... that the Rolling Stones, even in 1964, were more versatile and open toward non-blues-rooted music than is often acknowledged by critics." The Rolling Stones' two previous singles bear out this observation: one had been the Lennon–McCartney-penned "I Wanna Be Your Man" (later recorded by the Beatles as well); another was Buddy Holly's "Not Fade Away".

Azure Ray - nothing like a song, 2003

If you only listen to one song today, make it “Nothing Like A Song” by Azure Ray (2003, from the album Hold On Love). Azure Ray is an indie pop duo made up of Maria Taylor and Orenda Fink. They’re originally from Athens, Georgia, and they later relocated to Lincoln, Nebraska. They formed in 2001, made two records, took a hiatus between 2004 and 2008, then released another record in 2010. I’m not sure how I first learned about this band, but it was one of those things where I heard a couple of songs and immediately went out and bought everything I could get my hands on. At the time, in 2002, what I could get was the November EP and the Burn and Shiver album. I eagerly anticipated the next record, and when Hold On Love came out the next year, it was a big winner around here."

U2 - a sort of homecoming, 1984

"Like much of the album, the song replaces the hard-hitting martial drum sound of War with a subtler polyrhythmic shuffle, and the guitar is no longer as prominent in the mix."

Barclay James Harvest - sip of wine, 1978

"Back in 1967 the band was playing rhythm and blues, and was called The Blues Keepers. As they began to write songs and develop an original stayle, they decided that they needed a name change, and that they wanted something flowery, like the West Coast psychedelic bands they admired, e.g. Quicksilver Messenger Service, Jefferson Airplane etc. Each of them wrote single words on pieces of paper which were drawn out of the hat one by one, and all were rejected until only three were left: James, a guy who used to sign with the band, Harvest because they were living in a farmhouse, and Barclay after the bank, because they aspired to make money! These were then rearranged to get the best-sounding name - Barclay James Harvest."

Bear's Den - only son of the falling snow, 2019

"I have always written about a single song in my posts. A song that I have found magic in, but this time I am writing about a broader work. “Bear’s Den” released this EP on December 6, 2019, titled, “Only Son of the Fallen Snow.” The title track was released a short time before the EP and I knew when I heard it, I would write about it, and then when I heard the other two, “The Star of Bethnal Green” and “Longhope”... I knew I would write about them too. All three songs are treasures of magical wonder. I couldn’t just write about one or two, I had to explore, ponder and extrapolate the magic from all three. A feat, ladies and gentlemen, yet to be accomplished on this lullaby of prose and magic. But this is right and perfect, because this release from Bear’s Den is right and perfect... aw the magic. Kev and Davie, I thank you..."

The Housemartins - the mighty ship, 1986

"The Housemartins lyrics were an odd mixture of Marxist politics and born-again Christianity, reflecting Paul Heaton's beliefs at the time. The band split in 1988, but the members have since remained friends and worked on each other's projects. Norman Cook has enjoyed significant success with both Beats International and then as Fatboy Slim, while Heaton, Hemingway and roadie Sean Welch formed The Beautiful South. Stan Cullimore has become an author of children's books. Despite repeated requests from fans, they have never reformed."

Enya - to go beyond one, 1987

"I wrote a piece called ‘To Go Beyond’, and it appealed to me because we wrote the middle section in a very classical feel. And it was, um, very different to the music we were writing for The Celts. And we combined the two sounds together, and the first section is a very slow, sad moving piece, and then it goes into a very classical piece which is played on violin. And it was used to illustrate the artwork of the Celts."

The Lightning Seeds - joy, 1990

"emotionally it wasn’t the place [for me]. I don’t aspire to be the centre of attention. That’s definitely not the place I’m comfortable, I prefer to be slightly off to the left… I definitely [became] a lot more anxious. It broadened my horizons massively but at the same time kind of put me through the wringer.”

Saint Etienne - haunted jukebox, 2012

"After the superlative song cycle Tales From Turnpike House, I couldn’t imagine what Saint Etienne would do next—apparently, neither could the band, at least not right away. Seven years passed before the release of their next album, Words and Music By Saint Etienne. Concerning the rituals and pleasures of pop music itself, the concept seemed ideal for a trio of self-avowed fans-turned-aspiring-popstars; in practice, it worked well enough, widely viewed as a comeback on both sides of the pond. It featured some of their very best singles (“Tonight”, “I’ve Got Your Music”) and, as usual with this group, exceptional album tracks that could’ve easily been singles as well (“Heading For The Fair”, “Last Days Of Disco”, “DJ” and the song this blog takes its name from.)"

Azure Ray - for no one, 2001

"Maudlin at its best. Or maybe it's good at its most maudlin. Either way, that's Azure Ray. Even visually. Their album cover is simple: just an old, sepia-toned photograph of a little girl. She looks like my grandmother as a child. Nostalgia and melancholy rub off the liner notes and stain your fingertips. The little girl clutches her palms to her ears and wears an inscrutable expression that vacillates from pouty to fearful to verge-of-tears, depending on what mental angle you hold it at. Or she could just be pressing hard on earphones concealed beneath her baby tresses, trying to soak up every bit of this album."

Stars - reunion, 2004

"Sometimes the packaging is too big for the small sentiments, with the title track rattling inside so many pretty bows and colour. But most of these powerful pop songs bloom to match the intensity of the feelings they lament."

The Smiths - half a person, 1987

"This song to me signifies that no matter how famous and rich Morrissey is; it’s not actually going to change his life. He’ll always be 16, clumsy and shy. He even repeats, ‘It’s the story of my life‘ – like his fan who reached out. The song, written in 1986 by Johnny Marr and Morrissey – allegedly on the stairs of Mayfair Studios, London – is one of the lesser known songs by the group. It has remained a fan favourite, although rarely played live by Morrissey."

Devine And Statton - hideaway, 1990

"Best known for her work with the groundbreaking minimalist post-punk group Young Marble Giants, Alison Statton’s detached, icy warm vocal delivery influenced dozens of indie pop artists following the release of Colossal Youth in 1980. After the unfortunately premature dissolution of Young Marble Giants, Statton teamed up with Mark “Spike” Williams (violin) and Simon Booth (guitar) to form Weekend. Their 1982 debut, La Variete, would go on to become a musical touchstone for a number of twee pop acts over the years, including Belle and Sebastian."

Death Cab For Cutie - grapevine fires, 2008

"Grapevine Fires" is a song by American indie rock band Death Cab for Cutie, the fourth single from their sixth studio album, Narrow Stairs, released February 3, 2009, on Atlantic Records."

Pet Shop Boys - radiophonic, 1999

"Very much in a hi-energy mode, "Radiophonic" sounds almost like one of Chris's instrumental workouts to which Neil has molded lyrics. Those lyrics focus on an extended metaphor in which Neil compares the feeling of falling in love—and, as he told an interviewer for Manchester City Life, of "lying in bed with a hangover" — with loud, driving, pounding dance music ("like a dub sub-sonic beat-box booming bass under the bed") that permeates your brain and body, staying with you, even remaining a part of you long after you've left a dance club."

Saint Etienne - clark co record fair, 1998

"This deluxe edition features the original UK tracklist-- in the words of Nitsuh Abebe's review, "one smooth, seamless thing" that remains as strong an entry into Saint Etienne's world as just about anything in its portfolio (and not just because the chart-minded British production team Xenomania had a hand in a couple of its tracks). Unlike the clearinghouse-minded bonus disc of Good Humor, the second disc of Tales From Turnpike House includes several unreleased songs. Sadly, it's missing the album's attendant EP of would-be children's music Up the Wooden Hills as well as some other esoterica. Predictably there are some pleasant surprises, including "Another Cup of Coffee" (an honest to goodness Mike & the Mechanics cover), the clubby "Must Be More", and still more forays into jazzy exotica like "Holiday Song" and "Missing Persons Bureau". The previously released "You Can Judge a Book By Its Cover", on the other hand, would sound almost like a lost new wave nugget were it not for Sarah Cracknell's cosmopolitan coo."

The Decemberists - we both go down together, 2005

"If Picaresque sounds pretentious, well, fine. But it's a charmer and is well served by a verve that keeps things loose and fun. The fuller sound on cuts like 16 Military Wives (with its Spector-y production) and The Bagman's Gambit, which transforms from a formless acoustic ditty into an imposing rumbler, doesn't really rock you like a hurricane per se but certainly provides a sufficient gale to send you on an enchanting journey, matey."

Electronic - try all you want, 1990

"The gestation period between Johnny Marr and Bernard Sumner’s debut single (Getting Away With It) and its parent album was a vast 18 months, but it shows that the pair were intent on taking the time to build something that freed them of the “constraints” of their own bands – and to reflect the emerging UK dance scene they increasingly buzzed around."

Stars - the loose ends will make knots, 2012

“This is my favorite Stars song from my favorite Stars album.”

The Housemartins - time spent thinking, 1984

"The Housemartins originated as a Kingston upon Hull busking duo composed of singer Paul David “P.d.” Heaton and guitarist Stan Cullimore. Heaton (b. May 9, 1962; Bromborough, Merseyside) spent his childhood in Sheffield and his adolescence in Chipstead, Surrey, where he played in his first band, Tools Down, with his brother and local youth. He lived for a year in Leeds and busked around Europe before 1983, when he settled in Hull, where he met Cullimore (b. April 6, 1962; Stapleford, Cambridgeshire), who attended grammar school in Birmingham and enrolled (in 1980) as a mathematics major at the University Hull. They cut a demo tape with the rhythm section of local goth rockers Les Zeiga Fleurs. Heaton and Cullimore pressed 100 copies of Themes for the Well-dressed Man, a demo cassette with nine songs"

U2 - a sort of homecoming live, 1985

"A Sort of Homecoming" is live from Wembley Arena in London on 15 November 1984. The song was produced by Tony Visconti and recorded during a soundcheck at the concert, with the crowd noise mixed in later during post-production at Good Earth Studios."

Laurent Voulzy - a sept-mille-sept-cent-huit, 1977

"Voulzy is a renowned perfectionist, capable of locking himself away in the studio for months on end to craft his delicate pop melodies. And it shows - Voulzy's songs are veritable gems of musical perfection. Believe us, their catchy arrangements and melody lines are guaranteed to stay in the mind for years to come!"

The Moody Blues - send me no wine, 1969

"The upbeat "Send Me No Wine" and "To Share Our Love" are both written by bassist John Lodge. The lyrics of "Send Me No Wine" reflect a country music style. Varnals suggests, "'Wine' is really a country and western song. When you play it, imagine it slower, with some of the repetition taken out. Listen to the song and note that the Mellotron parts are very much like a pedal steel guitar as well."

U2 - walk on, 2000

"The song was written about Burmese academic Aung San Suu Kyi, who was the chairperson of the National League for Democracy and was placed under house arrest from 1989 until 2010 for her pro-democracy activities, which led to the song being banned in Burma. The song won the Grammy Award for Record of the Year at the 2002 ceremony, marking the first time an artist had won the award in consecutive years for songs from the same album (following "Beautiful Day"'s win the previous year)."

Stars - no better place, 2014

"We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you're going to have to say goodbye to them."

Pet Shop Boys - always on my mind in my house, 1988

"More than two decades later, in a 2010 interview with Mike Atkinson of the Nottingham Evening Post, Neil himself neatly summarized his and Chris's take on the song. It's "sung from the point of view of a selfish and self-obsessed man, who is possibly incapable of love, and who is now drinking whiskey and feeling sorry for himself. It’s a completely tactless song." Selfishness, self-obsession, and tactlessness aside, it was a brilliant rendition and proved to be one of the Boys' all-time biggest hits."

Mar de Sintra, hoje, 26 de Fevereiro de 2025, de manhã

The National - tropic morning news, 2023

"packed with nostalgia and a desperate attempt to grasp the past."

Guillemots - tigers, 2011

"As ‘Tigers’ trills with spiralling melody and what feels like the sound of flowers opening, Dangerfield fancies himself “A tumbling star/Home isn’t ever anywhere we are”. He’s gazing in wonder at the heavens, but he’s still lost."

Sambassadeur - migration, 2007

"Sambassadeur's Anna Persson sings softly and fluidly, favoring held notes that sound like they might dissipate into the music around her. Her voice often seems more typical of shoegaze or introverted folk than 1980s-cribbing pop, but she strikes the right note of dreaminess and cool drama in Sambassadeur's songs. The band gently buttresses her vocals with guitar and synth rhythms that percolate playfully, creating a wistful contrast with her sustained vocals. This combination of textures - like tweed under silk - lent past singles like "Between the Lines" and "Kate", from the band's 2005 home-recorded self-titled debut and their Coastal Affairs EP respectively, their melancholy charm and distinctive personality among their Swedish contemporaries."

Sintra hoje, 25 de Fevereiro de 2025, alguns minutos atrás

Beirut - guericke's unicorn, 2025

"‘A Study of Losses’ is an 18-track odyssey commissioned from Zachary by the theater and performance art company Kompani Giraff, for an acrobatic show of the same name. As a free interpretation of Judith Schalansky’s novel ‘Verzeichnis einiger Verluste,’ ‘A Study of Losses’ travels through eleven songs and seven extended instrumental themes, named after lunar seas and inspired by the chilling tale of a man obsessed with archiving all of humanity’s lost thoughts and creations. As with the novel, the new Beirut-signed album sees Condon writing about the disappearance, preservation and impermanence of everything we know: extinct animal species, lost architectural and literary treasures, the aging process and other abstract concepts."

The Lightning Seeds - brain drain, 1997

"Like You Do... Best of The Lightning Seeds is the first greatest hits album by English alternative rock band The Lightning Seeds, released on 10 November 1997. The album includes the band's singles from 1989 up until the album's release, plus two previously unreleased tracks and one new version of a song from a previous studio album. "What You Say" was released as a single from the album in December 1997 and peaked at number 41 on the UK Singles Chart."

The Radio Dept - heaven's on fire live at wfuv, 2011

"Sonically, the song has been noted for its “production clarity (a departure from the static lullabies of 2006’s Pet Grief) to the Balearic note-bending hidden in the mix to the soft snare backbeat that adds rhythmic propulsion”. KEXP noted that the song may have been influenced by shoegaze, dream-, noise-, and twee-pop, “referring to the electronic dance music from the 1980’s, influenced by Pet Shop Boys, The Cure, The Jesus and Mary Chain and My Bloody Valentine.”. It heavily relies on the synthesizer variation and singer Johan Duncanson vocals."

Art Garfunkel - the sound of silence live, 1996

"In this concert, Art sings some of the songs from his days singing with Paul Simon, as Simon & Garfunkel, like El Condor Pasa (If I Could), Homeward Bound, Bridge Over Trouble Water, and Mrs. Robinson. And he does some of his solo songs, mostly a few like A Heart in New York, and he is even joined by his wife and son James, he sings with James The 59th Street Bridge Song (Feelin' Groovy)."

U2 - kite, 2000

"For three weeks in late 1998, U2 worked at Hanover Quay Studios with producers Brian Eno and Daniel Lanois in hopes of quickly developing new material for a studio album, which would become All That You Can't Leave Behind. With Eno on keyboards and Lanois on rhythm guitar and percussion, the six of them composed songs during jam sessions. Guitarist the Edge said that these group sessions did not produce many great ideas, resulting in him bringing in his own individual musical ideas for them to work on. One of these was a loop of a string section that inspired "Kite". After hearing the loop, the others quickly improvised the entirety of the song. During this process, lead singer Bono said his "voice returned" after several years of him suffering vocal difficulties. After hitting a high note when singing the line "I'm a man, I'm not a child", the others in the studio were taken aback. Bassist Adam Clayton called it a "memorable moment", saying, "I don't think we had heard that voice for a long time." With the song near completion, the band was not entirely satisfied and decided it "needed a twist". As a result, they edited in an additional section of the song and the Edge played a guitar solo on his 1964 Gretsch Country Gentleman, which he plugged into an Ampeg Scrambler distortion pedal and a Vox AC30 amplifier. According to him, the addition of the solo "really made that part of the song come alive". The lyrics were inspired by a kite-flying outing on Killiney Hill overlooking Dublin Bay that Bono attempted with his daughters Jordan and Eve Hewson. The outing went quickly awry when the kite crashed and Eve asked if they could go home and play with their Tamagotchis. The Edge assisted Bono in writing the lyrics and felt they were actually about Bono's emotionally-reserved father, Bob Hewson, who was dying of cancer at the time. The Edge said, "[Bono] couldn't see it, but I could." Bono recalled a similarly ill-fated kite-flying outing in his own childhood with his father in the County Dublin seaside towns of Skerries or Rush."

Echo And The Bunnymen - stormy weather, 2005

The single and its parent album re-united the band with Hugh Jones, who produced their second album, 1981's Heaven Up Here. At the time Jones said that the Siberia work was the best he had ever done. The song was written by Will Sergeant and Ian McCulloch and it was recorded at Elevator Studios in The Bunnymen's home town of Liverpool. The cover of the single shows a photograph of Sergeant and McCulloch which was taken in Berlin by photographer Joe Dilworth. Released on the Cooking Vinyl label, the single was available as a CD single (FRY CD246), a 7-inch single (FRY 246) and digital downloads – both as an individual track (FRY DL246) and as a bundled download (FRY DL246X) – which were available from the band's official website. On 14 November 2005, a live version of the song was also released which had been recorded at an HMV store. The acoustic versions of "Make Me Shine", "Nothing Lasts Forever" and "Lips Like Sugar", which are on the 7-inch single and the bundled download, are taken from a live session for Brazilian radio."

Indochine - un homme dans la bouche, 2005

"The album is amazing! One of the best French albums I've ever listened too, Black City Parade is fantastic as well. If you've heard one but not the other I would recommend both albums, both have a great mix of heavy songs, dark songs, slower songs, catchy songs, this is an amazing band! Even my friends who don't know any French enjoyed songs off these albums, Indochine is a wonderful band and they make amazing music."

Van Der Graaf Generator - out of my book, 1970

"Van der Graaf Generator are an English progressive rock band, formed in 1967 in Manchester by singer-songwriters Peter Hammill and Chris Judge Smith and the first act signed by Charisma Records. They did not experience much commercial success in the UK, but became popular in Italy during the 1970s. In 2005 the band reformed, and are still musically active with a line-up of Hammill, organist Hugh Banton and drummer Guy Evans."

Keane - bend and break, 2004

"Keane are a guitarless trio from the sleepy southern British town of Battle who spent six years chasing a record deal, and they’re only now reaping U.K. success with their debut single, “Somewhere Only We Know.” It’s wonderfully anthemic, dominated by a pounding piano and the angelic voice of singer Tom Chaplin, who sounds less like a rock star than a choirboy."

Saint Etienne - shad thames, 1997

"Some may say this album feels scattered or unfocused. But to me it has a strangely cohesive flow for how it ambitiously blends a of sort of minimalistic electronic-pop-folk sound with strong eurohouse, trip-hop, drum n bass influences. Saint Etienne creates some of the most interesting, sophisticated, magical, rich soundscapes I have ever had the pleasure of hearing."

Micheál And Eilish - róisín dubh, 1990

"Róisín Dubh" ("Dark Rosaleen" or "Little Dark Rose") is one of Ireland's most famous political songs. It is based on an older love-lyric which referred to the poet's beloved rather than, as here, being a metaphor for Ireland. The intimate tone of the original carries over into the political song. It is often attributed to Antoine Ó Raifteiri, but almost certainly predates him."

Vanishing Twin - wise children, 2019

"Romantic futurism with a retro style and panache, but there is a wobbly shadow on the periphery."

Pet Shop Boys - for your own good, 1999

"Soft, ominous, dissonant chords introduce the opening track on Nightlife, which also served as the opening number of the concerts on PSB's 1999 U.S. tour. Booming bass and multitracked female background vocals heighten a general air of desperation."

Neil Young - only love can break your heart, 1970

"'Only Love Can Break Your Heart' is an absurdly simple little tune. It's in waltz time, and the structure and instrumentation are sparse to the point of minimalism. Piano, guitar, bass and drums strike up gently and plod along together, happily oblivious to the fact that there don't seem to be any off-beats."

Club 8 - what shall we do next, 2003

"songs will make you smile and cry and smile and cry... and afterwards you will feel soothened, comforted, awakened, cleaned and enlightened, more alive than ever and never lonely again"

This Mortal Coil - the jeweller, 1986

"What I do know is that the album itself is very very good, just as its predecessor. Again, the meaning of it remains obscure. It's a long long long collection of mood pieces, fully fleshed originals, reinvented covers, experimental avantgarde sonic collages, and what-not. In general, it seems a little bit more accessible second time around, maybe even more commercial in a sense. In fact, many of the songs would probably easily fit the definition of "alternative adult contemporary" - if you thought the two things were oxymoronic, take a listen to this album. These are moody, static-oriented, inoffensive, inobtrusive songs, yet with a certain unique brand of creativity and depth that's all their own. Let me just namecheck a few of these ditties. Dominic Appleton takes lead vocals on the extremely pretty folk ballad 'The Jeweller' (credited to Thomas Rapp of Pearls Before Swine fame), with a gorgeous 'he knows the use of ashes' chorus and typically 4AD-ish otherworldly backing vocals."

Barclay James Harvest - rock n roll star, 1976

"we have Woolly's Ra which is up to his usual standards and Les weighs in with two of his better numbers Rock n Roll Star and The World Goes On. These are good jaunty pieces with singalong choruses. Overall the album has a lovely pastoral feel with some excellent guitar work. To me this is one of the best BJH albums and one I return to regularly."

Enya - the celts, 1987

"Initially released simply as Enya, The Celts shows that the style she became famous for on Watermark was already well under way. With production and lyrical help fully in place thanks to her husband-and-wife gurus Nicky and Roma Ryan, Enya's combination of Celtic traditionalism and distinctly modern approach finds lush flower here. All the elements that characterize her music -- open, clear nods to her Irish heritage, any number of vocal overdubs to create an echoing, haunting feeling, and layers of synth and electronic percussion -- can be found almost track for track. The flip side is that those who find such a combination to be gloopy mush won't be at all convinced further by her work here. It's understandable why folk music traditionalists and anti-mainstream types would get the hives, but those not coming from that angle will find much that's rewarding."

Genesis - silent sun, 1969

"From Genesis to Revelation is the only Genesis album which the band themselves do not own the rights to. Jonathan King retains the rights to the album, which he has reissued multiple times since, including a 1974 release as In the Beginning and a 1987 release as And the Word Was.... A reissue in 2005 included a bonus disc with extra tracks."

Del Amitri - the whole world is quiet, 1992

"Singing this Scottish quintet's praises is easy, but explaining why they sound so appealing isn't. No one would have raised an eyebrow if Change Everything, their third album, had slid out of Britain during the mid-'70s prepunk days. Lead singer Justin Currie sounds like the Guess Who's terminal shlub, Burton Cummings. Still, something at the core of Del Amitri -- intelligent songs, lyrical depth, nifty musical hooks -- sets the band apart."

Marillion - blue angel demo, 1998

"Misplaced Childhood was "not only the band's most accomplished release to date, but also its most streamlined... With its lush production and punchy mix, the album went on to become the band's greatest commercial triumph, especially in Europe where they would rise from theater attraction to bona fide stadium royalty".

Art Garfunkel - mrs robinson live, 1996

"I never tire of Art Furfunkel and his energy and spirit I hear when I listen to him. He is a great artist who stays connected to a reality that touches the mind and heart, love, joy and sorrow. He connetcs to the ethos of the spirit."

Soft Cell - bedsitter, 1981

"Bedsitter" is a song by British synth-pop duo Soft Cell, from the album Non-Stop Erotic Cabaret. Released as a single in early 2 November 1981, it reached No. 4 in the UK. A song that explored the underbelly of the London club scene of the time, it has been described by critic Jon Savage as one of the greatest songs of the 1980s. Pet Shop Boys singer Neil Tennant included the track in a 2006 edition of the Guardian's "Soundtrack of My Life" series."

Au Revoir Simone - lark, 2007

"On "Lark", glistening keyboards finally eschew the emotional detachment of the record's earlier slow songs, beneath an even-toned admission: "Sometimes I want to be enough for you."

Beach House - other people, 2012

"I just wanted to shoutout an amazing song that I think is underrated and also cemented my love for Beach House. I first heard Zebra and thought it was cool but it didn't really connect with me then. Years later, Other People was my next introduction to BH and it just resonated. I loved the intro, Victorias vocals, and the buildup to an amazing chorus to then slowly fade out. I then listened to Bloom and well the rest is history. With all of my praise of their whole discography, Other People will always have a special place in my heart."

New Order - turn, 2005

"The most affecting songs here are about second chances, reaffirming commitments and the terrible seduction of straying. Sumner has rarely sung better and "Dracula’s Castle" and "Turn" feel like older, wiser revisions of "Run" or "Fine Time". The title track, meanwhile, is a superb example of the surging, bittersweet grace of classic New Order, at once Apollonian and mordantly English."

Echo And The Bunnymen - flowers, 2001

"Flowers features the familiar psychedelic-tinged pop songwriting, chiming guitars, and unmistakable voice that have always been the group's trademark, but 20 years down the road, experience, nostalgia, and longing have tempered the band's sound."

Saint Etienne - dj, 2012

"Over twenty years on the clock for Saint Etienne and, having been absorbed in various distractions for the last seven of those, here is album number eight. In the early-’90s, the indie dance scene was gathering steam and the band were swept up with it, providing a mellower antidote to bands with an inclination towards rock."

Genesis - undertow, 1978

"Undertow in unashamedly romantic for the ageing prog rockers and the whole album it was taken from – And then there were three – was generally more accessible to a mass market, including as it did tracks such as the rather lovely ‘Many too Many’ and ‘Follow You Follow Me’."

King Crimson - the lizard suite live, 2017

"Jamie also changed mine. I consider it a privilege to have known, and benefitted from the company of, a man of such quiet power, even briefly. He struck me as one of those about whom one might truthfully say he was a beautiful human being. He will be much missed. Goodbye, Jamie."

Electronic - second nature, 1996

"Second Nature" is a song by Electronic, released as the group's seventh single. It has an autobiographical lyric by Sumner which concerns his youth and growing up, while the music has a groovy shuffle which contrasts with the stricter dance tracks on its parent album Raise the Pressure."

The Cranberries - what's on my mind, 1999

"I was into The Cranberries in the mid nineties but lost interest when their third album came out. I re-discovered them a few weeks ago and am completely blown away with their brilliance. I've only heard the first four albums so far but I am seriously in love. My favourite is still 'No Need to Argue' due to it's anger and deepness ( a bit like Dog Man Star). But of course the real star is Dolores's voice. She is definitely my favourite female singer."

Art Garfunkel - bright eyes live, 2019

"The amazing thing about “Bright Eyes” the song is that it actually manages to live up to my terrified imaginings – Art’s lovely, strung-out vocal managing to sound like the graceful, fatal will-o-wisp of the film’s Black Rabbit, the vision you chase even though you know where it is leading you to: “following the river of death downstream”, what a great line, or at least it becomes one with Art singing it with that slight beckon in his voice."