20 for 2020 #2

Last week I gave you my Top 5 albums of the year. The thing is, it wasn't quite that simple, as when it came down to it, only the top 3 were unarguable. For positions 4 and 5, I had three to choose from. In the end I plumped for Nadine Shah and Katy J Pearson to take the slots.

So while the rest of the albums in this series are not listed in any particular order, the first of today's choices is 'the one that got away', the record that just missed the top 5 by an absolute whisker.

PHOEBE BRIDGERS 'Punisher'
Phoebe only became known to me in the latter part of the year. I can't really believe how she'd escaped me before. 'Punisher' is an album of personal, confessional, sometimes confrontational songs that no one her age should be able to write. But she's channelled her experiences into making some of the most beautiful songs of the year. The apocalyptic I Know The End also has one of the most stunning videos of 2020.

POLLY SCATTERGOOD 'In This Moment'
I was a big fan of Polly's debut album way back in 2009. It took her four years to follow it up and sadly that one didn't do much for me. Her new album, arriving a further seven years later, is a real return to form. Plenty of quirky songs that veer from dark masterpieces like Red, to gentle piano ballads, to strange electronic spoken word pieces. She's not one to rush things, but on this evidence that's no bad thing. Another exceptional video here.

SONGHOY BLUES 'Optimisme'
What a record this is! Mali's finest Songhoy Blues have been building to this, their third album, which knocked me for six. As wll as the sociological lyrics that depict struggle and adversity, the power of the music is ramped up a notch, giving us their hardest hitting set of songs to date. "Ir Badala in Songhai means "I gon't give a fuck", and is inspired by the youth in Mali, especially young women, who are pushing back against patriarchy & societal controls. This song celebrates that courage, fearlessness & agency through the story of a woman ending her relationship, and choosing her own destiny."

BOB MOULD 'Blue Hearts'
After last year's album of sunny, happy songs, Bob made a quick turnaround with a record of extra-loud angry noise. In many ways, it sums up the times we live in, especially this past 12 bizarre months. My fave track on the album is also its most melodic, but its message is as powerful as Bob's usual barrage of sound!

IDLES 'Ultra Mono'
Having reached mainstream-level status, Idles are showing no signs of letting up. Some may write them off as punk for the woke generation, but you know what? They make great music. That's all I care about. 'Ultra Mono' saw the band reach out to friends and acquaintances, and as a result you'll hear David Yow of The Jesus Lizard shouting on this, as well as a piano intro from, erm, Jamie Cullum...

More to come next week.

The Devil's Music

Lucifer And God by Bob Mould

Bob Mould is something of a god in the alternative music universe. Exactly what his relationship with Satan is I can't be sure, but the ear-bleeding volume of his live shows over the past 30-odd years - from Hüsker Dü, through Sugar and his solo career - is beyond devilish. Of course, any opportunity I get to squeeze one of Bob's songs into a blog post I'm going to take with both hands. Today's offering is taken from last year's 'Patch The Sky' album.

• Lucifer And God - Bob Mould (from 'Patch The Sky')

Memories of 2016 gigs #1 & #2

I'm not sure we're going to get to quite as many live shows as last year - 2015 was a particularly good year. But even though we've waited six weeks for our first shows of 2016, it's been worth it with two absolutely ear-blistering shows to kick us off...

#1: Bob Mould
The Globe, Cardiff - 10 February 2016
Support: Estrons

Bob Mould? At The Globe? What a prospect. If someone had come up to me and offered me a large bag of cash in exchange for my ticket, I'd have probably turned them down. Bob Mould, for chrissakes -  unmissable. My excitement reached new heights a few days before the show when I saw that Estrons were supporting. You'll remember them - they were the subject of a particularly popular Welsh Wednesday post a couple weeks back. Sadly, we arrived a little late and only caught their last two songs, but I can honestly say this band have it in them to be the next Wolf Alice. Taliesyn is a brilliant and striking frontwoman and the band as a whole sound amazing. Look out for them.

It's not often you get a bonafide LEGEND on your doorstep. When you do, you really hope they don't disappoint. Bob Mould nowadays looks like a kindly granddad, but he still rocks harder than most bands whose members are less than half his age. From the opening blast of the Sugar classics A Good Idea and Changes, this was fast, furious, ferocious stuff. Staying true to the power-trio line-up that has served him well throughout his career, Bob and his band seemed to be on a mission to cram as much into 75 minutes as they possibly could. Rarely pausing between songs, it was relentless. You can imagine the conversation during rehearsals:

Bob: "I wanna play all these songs."
Band: "But Bob, if we're going to play all those, we are going to have to play like bastards."
Bob: "Then play like bastards we shall!"

The set was rooted firmly in crowd-pleasing territory. With six Sugar songs (four of them from 'Copper Blue') and another five Hüsker Dü numbers, the long-terms fans were kept well happy. Perhaps strangely though, the solo stuff all came from his most recent three albums, including a selection from his as-yet unreleased new one. Mind you, I'm not complaining. I'm of the opinion that his recent solo career is as good as anything he's done.

Main highlights for me were Hey Mr Grey, Hoover Dam, If I Can't Change Your Mind (with a new vocal melody) and Hate Baby Doll. He even squeezed in a cover of Generation X's Your Generation which was every bit as brilliant as you think it was. Damn, I could write 10,000 words about this show with consummate ease, but I'd better reign myself in. I think you've got the message: this legend did not disappoint, even if he didn't play New Day Rising. I can forgive that. The rest of 2016 has a lot to live up to.

MrsRobster's verdict: The poor girl's been suffering with a bad back for more than a week. When I asked what she thought after the show, her reply made me think she was high on some extra-strong pain killers or something. "Like a curry that's really hot," she offered, cryptically. "Eh?" I understandably answered."Well, a curry that's too hot, you can't really taste it. A gig that's too loud, you can't hear it. I couldn't enjoy it."
A nice analogy, but sadly, this was one of those very rare occasions when MrsRobster was wrong. Bob and loud go together like poppadoms and mango chutney. You can't have one without the other. It sounded great to me!

Soundtrack:

• If I Can't Change Your Mind [live] - Bob Mould (from 'See A Little Light - Bob Mould & Friends Live')
• Flip Your Wig / Hate Paper Doll [live] - Bob Mould (recorded for KEXP Seattle, 2013)

#2: Snuff
The Globe, Cardiff - 12 February 2016
Support: Bad Cop Bad Cop, Spoilers

If Bob Mould was loud, the volume greeting us as we arrived at the Globe two nights later was deafening. Spoilers, from Canterbury, had found 12 on the volume knob and were blaring their fast, heavy punk at a ridiculous level. My ears actually were buzzing. MrsRobster came prepared - she had her earplugs and it proved to be a wise move. Fortunately, by the time the next band came on, it had been turned down to something far more bearable. A shame the band quickly became rather tiresome. Bad Cop Bad Cop are four women from LA who kind of look how you'd expect an all-girl punk band from LA to look. They sound like the Go-Go's would sound if they had more distortion pedals but left all their good songs at home. I'm not sure any decent punk bands have ever come out of LA. Let's face it - it doesn't have much to rebel against.

This Snuff tour is a triple celebration: the 30th anniversary of the band's existence; the 20th anniversary of the band's comeback record 'Demmamussabebonk'; and the release of a new 7-track EP 'No Biting'. Every Snuff gig feels like a celebration of sorts though, it's just a lot of fun all the way. The set did contain quite few songs from 'Demmamussabebonk' and the new record, but it did span the band's entire career with more than a few old faves thrown in: Somehow, I Know What You Want, Martin, Soul Limbo (aka the theme from the cricket), etc.

The audience played a big part in the show too. There was a box of song titles and fans were chosen at random to draw one for the band to play. A completely unrehearsed version of I Think We're Alone Now - a song they hadn't played for years - was aired because the bloke who requested it from the audience looked "really scary". Even one of the new songs prompted a mass singlalong, but then everyone knows the theme to Black Beauty, right? The main set ended with Arsehole, at which point the entire place went nuts, pretty much everyone singing "What an arsehole / What a fucking wanker" as one.

The final song of the night was another uproarious singsong, Snuff's famous version of the theme to Whatever Happened To The Likely Lads. No one could have left this show without a smile on their face.

MrsRobster's verdict: "Better than Bob Mould." Is that because she wore earplugs this time? "Probably." I did catch her smiling a few times, so I'm sure she enjoyed it!


Soundtrack:

• I Know What You Want [live] - Snuff (live in Germany 2001)
• Arsehole [live] - Snuff (live in Germany 2001)

Here's the video for Galloping Home (Theme From Black Beauty) from the new EP:

A year in the life?

One year ago today, I posted my very first article on Is This The Life? It wasn't my first blog, but I knew it would be different to others I'd attempted before. I intended it to be somewhat autobiographical, aligning my life to the music I was listening to at the time. I achieved that, but carried on regardless, posting regularly and surprisingly still having plenty of things to say.

And so here we are - one year later and 190 posts to the good. A couple of meltdowns and tantrums along the way have nearly ended the whole thing but thanks to you lot and the interest you've shown, Is This The Life? is still alive and kicking. Well, it's breathing anyway...

To celebrate this special day I'm going to post two tracks, one rather old and one newish. There's no theme or link here, I just like 'em, OK?

Wolf Alice is one of the most hotly tipped new bands of the last couple of years. MrsRobster and I will be seeing them in a couple of months on what is believed to be their last tour of small venues before they go stratospheric. Their debut album is due later in the year. Expect big things. She is a track from the 2013 EP 'Blush'.

I recently found a new barbers in Newport. It had loud reggae blaring inside so I obviously had to check it out. I got one of the neatest trims I've ever received from the Rastafarian barber. I could have stayed there for hours just for the music. One of the tracks that I remember was this take on Cat Stevens' The First Cut Is The Deepest by I Roy. It featured on his debut album in 1973 which launched a successful career for a decade. Sadly his popularity declined in the 80s during the dancehall era. Illness and homelessness plagued his later years before he passed away with heart failure in 1999 aged just 55. He left some great tunes.


Soundtrack:

• She - Wolf Alice (from 'Blush' EP)
• The First Cut Is The Deepest - I Roy (from 'Introducing I Roy')

That was going to be it for this post, but just before going off to bed last night, I came across this and just had to share it. His Holy Godliness Bob Mould live on Letterman on Friday night. Fuck me, can Bob rock! Amazingly incredible awesomeness to get your week started.

TheRobster's Top 10 albums of 2014 (part two)

Here's the other five of my top 10 albums of 2014. One or two surprises? Or pretty much what you expected? Have I missed out something you love? Let me know your top picks of the year in the comments section.

'Pe'ahi' - The Raveonettes
Without a doubt the Danish duo's best album to date. It's definitely their angriest with buzzing guitars and wickedly nasty lyrics, yet still dreamy and tuneful in keeping with their previous work. My album of the year - it's that good!

Soundtrack:

• A Hell Below - The Raveonettes (from 'Pe'ahi')

'Indie Cindy' - Pixies
Look, Pixies circa 2014 were never going to be like the Pixies of 1989, even if they had never broken up in the first place. Once you consider that, you realise what a good record 'Indie Cindy' actually is. Although there's two or three songs on here that wouldn't have sounded out of place on 'Bossanova' or 'Trompe Le Monde', I wouldn't want the greatest band of my lifetime to make a record that sounded like one they made before, so good on 'em. Quality!

Soundtrack:

• Blue Eyed Hexe - Pixies (from 'Indie Cindy')

'Breakfast' - Teleman
One of MrsRobster's top picks of the year, and who am I to argue? In fairness, it is a really good record. Melodic and melancholic, it shows off the quality tunes and lyrics that graced the best work  of Pete and the Pirates (of which three-quarters of Teleman were members) while retaining enough originality to stand on its own as a more than worthy debut.

Soundtrack:

• In Your Fur - Teleman (from 'Breakfast')

'Beauty And Ruin' - Bob Mould
It's Bob Mould - it's all you need. Chunky riffs, good tunes, a bit of screaming here and there - yep, all present and correct. Another triumph, and a great album for the car, especially to get you going in the morning.

Soundtrack:

• The War - Bob Mould (from 'Beauty And Rain')

'Soused' - Scott Walker & Sunn O))) 
Bizarre, compelling, difficult and terrifying in equal measures. The very idea of such a collaboration between a legendary 60s crooner and drone metal exponents is intriguing enough, but the fact I found myself gripped from start to finish proves to me it's more than pure folly. Great to listen to on headphones as there are all sorts of things going on in the background - just don't play it around small children or the easily frightened!

Soundtrack:

• Bull - Scott Walker & Sunn O))) (from 'Soused')

And a few honourable mentions...
'Inspiral Carpets' - Inspiral Carpets Really rather good comeback album;
'St. Vincent' - St. Vincent One of the critics' choices of the year, and for good reason;
'World Peace Is None Of Your Business' - Morrissey He's still got it, you know;
'Shelter' - Alcest Symphonic French shoegaze at its finest;

That'll do for now...

50 albums to take to my grave #10: Copper Blue

This piece was prepared and ready to go when S-WC posted this on Monday. Oh well, I don't have an alternative so here's my effort. Sorry it's not as good as S-WC's...

OK, just to get it out there before I begin - Bob Mould is a fucking rock god. There is no argument, no debate, no discussion. 'Tis a fact and thats the end of it.

Right, now on to the critical appraisal. Sugar was formed by Mould following his first two solo albums. 'Copper Blue', their debut record, has three main selling points: huge riffs, strong melodies and, of course, Bob Mould at the helm. Mould isn't afraid to rock, as everyone knows from his Hüsker Dü days; let us not forget he practically invented alternative rock. But 'Copper Blue' wasn't all about being all groundbreaking and edgy - it had proper tunes, songs that could get played on radio, earworms that would burrow into your head and sing to you for days/weeks at a time.

I was blown away the first time I heard it. We get thick, chunky punk guitar riffs right from the off with The Act We Act, while A Good Idea sounds like the greatest Pixies song that wasn't actually the Pixies. Helpless is a pop song at its core, If I Can't Change Your Mind is just pop all over, while Fortune Teller vomits up the pop within it, spits it out and cleanses its palate with more guitars. Turned up loud.

And that's probably the one thing I still hold dear about 'Copper Blue' - it just FUCKIN' ROCKS LIKE A BASTARD! This is a rarity when you have such a stong set of songs - how do you get those melodies to the fore while keeping those guitars sounding monstrous? Well, it's Bob Mould so if anyone can do it, he can. "Standing on the edge of the Hoover Dam" he sings, and you can quite believe he actually is, the vast space around him filled with loud, melodic alternative rock music.

Bob Mould today.
Well, recently anyway...

What's really interesting is how Bob's most recent solo outings have channelled the spirit of 'Copper Blue'. This may be, in part at least, because 'Copper Blue' recently celebrated its 20th Anniversary and Mould went on tour playing the entire record start to finish. But there's no doubt the 'Copper Blue' formula worked, it remains one of Mould's best loved (and most commercially successful) records.

Few records still grab me by the throat in the same way 20-plus years after they first did. 'Copper Blue' is one of them though. I find it impossible to listen to just one or two tracks without wanting to listen to the whole damn thing. I'm listening to it right now as I type this, and I find myself bouncing around in my seat, smashing my fingers rhythmically on the desk and beaming widely like a complete imbecile. And that's all you need to know about how this album makes me feel.