Monthly Archives: March 2022

#937: Pixies – No. 13 Baby

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You go onto YouTube and search for this song. The majority of the comments go along the lines of “Man, this song’s good, but the ending though? Human perfection. Best endings of all time,” etcetera, etcetera. And, yeah, the song’s outro is quite special. But the rest of the song ain’t too bad. Black Francis/Frank Black sings with the usual unhinged style of vocal delivery, working well with the song’s theme of a stalker-like fascination with a lady. He describes the characteristics of this subject like some sort of mad scientist looking for another experiment, it’s quite menacing. The obsession is too much, as made clear in the “I’m in a state” repetition, and its seemingly never-ending fade-out ending signifies the endlessness of the situation. At least that’s how I like to think of it.

Doolittle is an album of subtle surprises. The lone guitar chord strum at the beginning of this one is just a small taste. But generally there will be elements of a certain track that you wouldn’t pick up on the first time, but after a number of listens make themselves more and more apparent. Like on ’13 Baby’, I never took into account how the verses are made of one chord that doesn’t progress into another until the choruses. Or how bassist Kim Deal just stops playing at certain points to highlight those bending guitar wails at various points. There’s also a subliminal shout-out during the choruses to a Los Angeles gang that was active around the time of the album’s making. The way it’s incorporated into them is real sneaky, once you get the melody and the words down you’ll barely know your singing it.

What’s peculiar about this track though is that the vocals are out of there after two minutes. The rest of the track is essentially its ending, what a lot of people love about it, consisting of a slow building of layers. Kim Deal and drummer David Lovering keep the track steady with the rhythm alongside Francis’ acoustic guitar. After a few measures, lead guitarist Joey Santiago rushes in with a frantic guitar fill. After that fades out, he re-enters with a dreamy arpeggiated chord that goes on and on before being drowned out by a wild rhythm guitar from Francis that sounds like it’s being strangled its chords are strummed. It’s all so hypnotizing up to that point, then that guitar adds a bit of nightmare fuel to the proceedings. It’s creepy, it’s sneaky, it all sounds so good. Pixies were very good at getting those things down.

#936: Cloud Nothings – No Thoughts

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All I can remember about ‘No Thoughts’ is that it was the last track from Cloud Nothings’ Here and Nowhere Else album that I added to my phone library. Now there were 5/8’s of the record instead of just half. I heard Here and Nowhere Else within the first week of its release in April 2014. There were tracks that immediately became favourites, two of which I’ve covered in this series. There were those I weren’t so keen on. ‘No Thoughts’ fell under a bit of a sleeper category. I’m sure I liked it, but clearly not enough. May have been a year or two until I really got it. And when it hit, it was instant.

Like the other tracks on ‘Nowhere Else’, ‘No Thoughts’ is propelled onward by harsh, overdriven guitar and a pummelling rhythm section, most notably driven by the crushing rush of Jayson Gerycz drums. Despite the wild nature of the band performance, the song is also carried by a great melody within the lyrics which helps bring some stability. One thing you have to admit about this track is… well, it’s a bit repetitive. But not in the way that repetition can irk some people. The second verse is the same as the first, but with a few subtle changes of words here and there. The chorus though, and the bridge, are made up of just one phrase or two. Just want to clarify I’m not complaining here. There’s something about the lyrical simplicity matched with the intensity of the music that all in all results in a fantastic combination.

That’s all I gotta say, I think. Just a great three-minute rush of noise rock on show here. A good time’s always had when hearing it, even if it does almost as quickly as it starts.

#935: Radiohead – No Surprises

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Again, I think this track falls into that group of those that seemed to have always existed in my life. Couldn’t pinpoint a particular time, event or moment where I saw/heard it for the first time and explain how I felt there and then. What I could tell you is that the music video was what introduced me to it. Though I want to say the guitar intro was used in a advert on television or something, that’s maybe my mind playing tricks on me. In the video, Thom Yorke’s head is miming to the song in a tank which slowly fills up with water. When it gets to the bridge, he’s fully submerged and he holds his breath until the end of the instrumental break, where the water flows out, he gasps for air, smiles ’cause he got the right take and closes his eyes as the song ends. The kid I was when I saw it wasn’t shocked at this. Really I wanted to see if I could hold my breath for that long too and tried on many occasions.

Before its release as a single in December 1997, ‘No Surprises’ would have been known as the tenth track on Radiohead’s OK Computer, the song that comes as a sweet, sweet lullaby-like tune after the somewhat terrifying ending to the preceding ‘Climbing Up the Walls’. The twinkling arpeggiated guitar intro begins alongside some light bass guitar work, and after a short computer boot-up-like sound, an acoustic guitar, glockenspiel and drums come in. Thom Yorke enters, singing in a much lower register than usual, providing lyrics filled with imagery that have very much given a number of people out there the idea that the song is about suicide. It very may well be. I’ve taken it as one that’s about just waiting for life to end with no hang-ups or sudden unexpected situations. The mentions of ‘carbon monoxide’, a ‘final fit’ and the harmonised cries of ‘let me out of here’ do steer the meaning more toward the suicidal route though. Maybe I’m the fool here.

Now, it’s one of Radiohead’s most well-known songs. Its release as a single helped, as did the video. It’s come a long way and taken a life of its own. You would think so, having been around for 25 years at this point. The band will get to the “Bring down the government/They don’t speak for us line” at live performances and the audience will holler and cheer in agreement. Some people may like it just for that line. I’d like to think that the large majority are struck by its warmth and comforting tones. Everything’s played so straight, yet it’s still so powerful. Also helps that it’s really easy to sing along to. Got beautiful melodies and hooks in abundance.

#934: Manic Street Preachers – No Surface All Feeling

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‘No Surface All Feeling’ was one of the last tracks Manic Street Preachers worked on as a quartet before the sudden disappearance of guitarist and lyricist Richey Edwards in February 1995. When he vanished, the band’s three remaining members went through a bit of a crisis wondering whether they should continue working together. Thankfully they did. Despite the circumstances, they got to work and returned in the spring of ’96 with Everything Must Go. The album contained a few tracks with some of Edwards’ lyrics that had been given to each member before he left, and ‘No Surface’ closes the record out as the full dedication to him.

A lot of the track’s elements seem to be directly taken from its original demo. While the demo pushes Edwards’ rhythm guitar right into the back of the mix with James Dean Bradfield’s lead guitar right up front, the decision was made – and suitably so – to make Edwards’ guitar prominent. His power chords effectively drown out Bradfield’s guitar and vocals during the introduction and the choruses. The lyrics of ‘No Surface’ were written by bassist Nicky Wire, and I can only think to describe them as the account of a man disenchanted with the rock ‘n’ roll life looking in the mirror and telling the listener what they see. Though Wire is essentially describing himself, the lyrics took on another level upon Edwards’ leaving.

Up to 1995, the Manics had established an image of being something of an outsider band. An outspoken one at that. Before they even had one album out there, they announced that it would be the greatest rock album ever. Wire wore dresses on stage. Edwards carved the words ‘4 Real’ into his forearm with a razor blade. They appeared on Top of the Pops wearing military clothing, Bradfield wore an IRA-style balaclava on his head. ‘No Surface’ was made to say that whatever they did or said or sung, it wasn’t for show. Every sentiment was straight from the heart.

#933: Enter Shikari – No Sleep Tonight

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If I was writing this to you on the home computer rather than my personal laptop, I could tell you the exact date I downloaded Enter Shikari’s second album. I guess I was something of a follower; I owned a physical copy of Take to the Skies, and if the first single ‘Juggernauts’ was anything to go by, Common Dreads was going to be massive. And it was. At least to me anyway, I think a lot of critics weren’t feeling it at the time. I think it goes down as their best these days.

I have to admit, ‘No Sleep Tonight’ didn’t make that big an impression on me on that first listen through. It was probably a track I’d forgotten about until its music video started playing on MTV2. It was going to be the second single. Through repeated watches and listens, the track inevitably seeped into my consciousness. The video’s entertaining enough. A narcissistic businessman bumps into frontman Rou Reynolds as they pass each other on the street, and for revenge the band and a crowd of fans gather in his back garden and play a concert until the dead hours of the night. It certainly depicts a disdain for those types of people, a theme that runs throughout a lot of their music. But the track is properly about wondering how scientists accept money from companies to deny climate change and are still able to sleep at night. Enter Shikari also care about the environment, another major theme in a lot of their material.

Listening to this through headphones rather than the TV speakers particularly changed my feelings on the whole track. Obviously, there would be, I hear you murmur in your heads. But to the teenager I was then, I didn’t understand. It begins with a bit of rhythmic ambiguity. When the bass initially starts playing, you might be thrown off thinking that it’s come in at the completely wrong time. The drums start to kick in though, and things start to properly set off. What I really, really enjoy about this track though is the music during the chorus. There are no cymbal strikes during them, so it’s like this huge glossy wall of guitars and synths blaring at you while Reynolds belts out the refrain. You’ve got to love the sudden key change that occurs for the final choruses, cheesy as they may be, but you may notice that Reynolds subtly changes the melody of the refrain so he doesn’t reach a high note. Got to do what you’ve got to do to save your voice, but I sometimes wish he did.