Christmas Island.

If I had to choose my favourite era of Depeche Mode (and I had a gun to my head, natch), I'd probably choose their "industrial" phase; the one they went through during the mid- to late-'80s. Construction Time Again, Some Great Reward, Black Celebration, and Music For The Masses rank as my favourite works of theirs -- and frankly, it wasn't just the A-sides of the singles that got my blood flowing. Often times during those years, they'd release the single, and then on the B-side there'd be two or three live tracks from a 1983 show at the Hammersmith Ballroom in London, and a "throwaway" instrumental that somehow didn't make it on the album. In 1986, when they released the 12" maxi-single of "Question of Lust" off of Black Celebration, they included for the B-side a most curious track: "Christmas Island," a very odd instrumental penned by both Martin Gore and Alan Wilder (which in itself was very odd; Gore was famously stingy about sharing songwriting credits with anybody).


Beginning with a background television set tuned to some kind of revolutionary recording, with a menacing throbbing synth building up in the distance, "Christmas Island" then proceeds to bust out some serious industrial EMB rhythms, filled with the brim (as was their norm back in those days) with sampled percussion, found sounds, and a distinctly dark overview. Christmas Island itself has been in the news quite a bit these last few months (over twenty-five Iraqi boat-people died horrifically in an incident off the northern coast of Christmas Island just under two weeks ago and set off in the Australian government a major rift over the laws of amnesty to asylum seekers from the Middle East and Asia), and the song is written about the island; but that's one of the things that make this track so listenable. What does it all mean? I'll tell you what: It's certainly not about tinsel and holiday trees.


Here's "Christmas Island" from our favourite boys from Basildon in 1986. Enjoy.

depeche mode

"christmas island"

a question of lust 12"

It's A Wham! Christmas!

Recently voted as one of the "most irritating Christmas songs ever," Wham!'s "Last Christmas" sure does earn that accolade. But due to the fact that electronica, goth, new wave, and dance really don't have much in the way of holiday music (Depeche Mode's brooding "Christmas Island" might make an appearance later, though it has nothing to do with Yuletide caroling) -- so what can I do? Here's some schmaltz, and here's a very young George Michael and Andrew Ridgeley cavorting with young, pretty people on a ski holiday! Look at the hairstyles! Look at George's teeth!

Released in 1984 as a B-side on "Everything She Wants" for the coveted Christmas #1 spot in the UK, it was of course beat out by "Do They Know It's Christmas?". Wham! ended up donating all the money earned through sales to the Ethiopian famine, too, so bully for them! But my God, it's an irritating track, alright. But here it is, in case you dig it.

Love, and many happy holidays,
Second Drawer Up From The Left

wham!

"last christmas"

everything she wants 12"

Do They Know It's Christmas?

Honestly, did you really think I wasn't going to have this track on my playlist? Now, a load of people out there have attacked this track, "Do They Know It's Christmas?", by noting that:

A) Indeed, rains do fall and there are in fact rivers in the mighty continent of Africa,
B) Many folks in Africa probably don't know it's Christmas, if only for the fact that they might not be Christians, and
C) The song itself, comprised as it was of a veritable who's-who of mid-'80s British pop royalty, was (and let's face it, it's kind of true) a little on the twee side.

Bono's impassioned lyric "Well, tonight thank God it's them ... instead of yoooooouuuuuu" notwithstanding, I'd like to just share it today, on baby Jesus' birthday. The sun is out and shining bright, galah parrots are taking wing from a small grove of gum trees, and a red-bellied black snake is sunning itself on a crag next to the neighbouring garden. 'Cos really, when one thinks of it, "Do They Know It's Christmas?" still has a pretty awesome calibre of coolness to it.

Written by Bob Geldof (Boomtown Rats) and Midge Ure (Ultravox) in order to highlight the plight of Ethiopians in the midst of one of the worst droughts of all time, "Do They Know It's Christmas?" was released 29 November 1984 and became the Christmas #1 single, selling over three million copies and becoming the (at the time) biggest-selling British single of all time (knocking "Bohemian Rhapsody" out of the water in the process). With John Taylor from Duran Duran on bass, Phil Collins (back when he was still kind of cool) on drum duty, Ure on keyboards, and Mr Gary Kemp from Spandau Ballet on guitar, I really have to say that the music certainly outshines the lyrics.

And what a treasure trove of vocalists! There were the gals from Bananarama, Simon le Bon, Bono, Sting (back when he was cool), Paul Weller, George Michael (Wham!), Paul Young, Boy George (Culture Club), Adam Clayton (U2), Tony Hadley (Spandau Ballet), Kool & the Gang, Nick Rhodes (Duran Duran), Holly Johnson (Frankie Goes To Hollywood), Martyn Ware (Heaven 17), the blokes from Big Country, and (recording their voices on tape and mailing to Geldof after the fact) David Bowie and Paul McCartney.

We here at Second Drawer Up HQ wish you, our dear readers, a very happy, healthy, and safe holiday season! Thanks for reading, and keep in touch -- SDU's TOP 5 ALBUMS of 2010 are coming up, and boy oh boy are they corkers, or what?

So -- here's Band Aid and the single "Do They Know It's Christmas?". Enjoy!

band aid

"do they know it's christmas?"

Recycled Post! Orchestral Manoeuvres in the Dark.

I swear this album just gives me shivers, it's so good. I've been incredibly busy juggling through the hoops set up by the Australian government in regards to immigrating, so I have to admit that I haven't been posting as much this month as I normally would. Don't worry, some new stuff is on its way! But for now, here's my review of "Organisation" by Orchestral Manoeuvres in the Dark -- probably one of my favourite albums of the '80s. Cheers, have a lovely day, blah blah blah. Talk soon.



Atmospheric. Majestic. Sombre. A dark-hearted cocktail of heartbreak and misery. With no further ado, I'd like to tell you, dear readers, about Orchestral Manoeuvres in the Dark's second album, Organisation. Released in October 1980, I would be tempted to say that this is probably their bleakest release, especially coming so soon on the heels of their much poppier eponymous debut (which, in essence, was basically a faithful reproduction of their live shows up to date). What's rather interesting about Organisation, now that I think of it, is how the entire affair begins: with the energetic and quite poppy "Enola Gay." I'm pretty sure everybody, at one point or another, has heard this classic anti-war track. As we all know, Enola Gay was the airplane (USAAF B-29 SuperFortress) that dropped the atomic bomb "Little Boy" on Hiroshima, Japan on the 6th of August, 1945, instantly vaporizing (and slowly killing) 140,000 citizens. Even due to its grim subject matter, it's certainly the catchiest single on the album. Such a juxtaposition - noodling synths, an immensely hummable tune, and snazzy drumbeats layered over lyrics such as "Is mother proud of Little Boy today?" and "Aha, this kiss you give, it's never ever gonna fade away." And now that that story has been told, it's time to move on to the rest of the album.

When the German experimentalist band Kraftwerk (more, much more, on them later) played in Liverpool, UK in the October of 1975, a certain spark was ignited in the imagination of one Andy McCluskey, who, immediately after the show, knocked on the backstage door and introduced himself to the band. According to Wolfgang Flür in the BBC Four documentary Synth Britannia, McCluskey had said, "We've just been shown the future - we're going to throw out all our guitars, and buy nothing but synthesizers TOMORROW!"

And how that inspiration shows, in Organisation! Andy McCluskey, his long-time partner in music Paul Humphreys, and the permanent replacement for their drum-machine (lovingly entitled "Winston"), Malcolm Holmes, came together and created an interesting hybrid of pop music, electronic experimentalism, and industrial chic - all thrown together with a punk-rock ethos of, in Humphreys's words, "just go out there and do it, already!"

So they did, and, in the heyday of synth-pop, they put out a piece of art that's nearly unprecedented in its audacity and originality. It practically goes without saying that the surge of brilliant synth-pop that launched from the UK was mightily helped by acts such as OMD and others that sprouted like wildflowers from the bleak Northern towns during the rubbish end of the '70s, when Victorian slums began to be ripped down and replaced by the narrow and grey concrete high-rises of modern-day England.

Take a fine track like "Statues." The KORG sends a seamless stream of smooth doom in the background, as finely tuned harpsichord synths pluck and bend in the fore. An organ-borne clickety-clack drumbeat pulls gently, as the most forlorn and defeated vocals I've ever heard sag like dead orchids.

What is faith

And when belief

And who knows how

These things deceive;

I never said,

And though I tried

If I could leave,

I'd sleep tonight.

 The song's just bloody haunting. There's such an imminent gloominess that lurks underneath everything, like a fungus you know grows under the most beautiful of gardens. And how the notes just hang there, and how, as the song fades into the ether, McCluskey's vocals just wail in pain, "I can't imagine how this ever came to be." Fade into nothing. Written as a post-humous dedication to Ian Curtis (15 July 1956 - 18 May 1980), I'd like to think that Ian himself would have been so fucking proud.

I'd like to make a quick side-note on how damn catchy "The More I See You" is, before I move on to the highlight of the album - "Stanlow." "The More I See You" is a subtle and somewhat funky marriage between Kraftwerk and Gary Numan. This immensely hummable track practically dares you not whistle its charms after hearing its lovely lilts and turns. It's also the only cover on the album, based on the 1945 single by Harry Warren and Mack Gordon. Like I said earlier in this paragraph, it's as catchy as all hell, and sometimes I'll find myself attempting to play the imaginary keyboard on the edge of my desk! Great love song, filtered through the emotive lens of early '80s synth-pop.

Which brings us to the final song on the album (unless you happen to purchase the remastered 2003 version, which has six extra tracks on it, including a nifty re-working of their first single, "Electricity"), "Stanlow." It's certainly rare to hear a love-song devoted to an oil refinery near Liverpool Bay, Merseyside, but here you have one. At six minutes, forty-one seconds long (of which the first two and a half minutes are comprised almost entirely of samples taken from within the refinery itself!), this is ... well, it's fucking amazing, is what it is.

I - I just can't do it justice. I'll let the final lyrics set the tone.
A morning comes just as it left

The warmer feeling seldom owned

And tonight all I see alone

And as she turned we always knew

That her heart was never there.

What does it all mean? Frankly, I've never been to Stanlow, nor have I experienced what it meant to have it in such close confines during the waning years of the '70s. But it must have been one hell of a landmark, to be honest, to have inspired such a beautiful, heartfelt paean. And, just when the lyrics and music fade away, the intense, heartless churning of the machine takes over once again and slowly disappears, as if into the River Mersey.
And this is one hell of an amazing album. And that, dear readers, is what I think of when I think of Organisation.

And I leave you now with OMD performing "Statues" in 1981. Enjoy, dear readers, and have good dreams.

Electro Classic Jukebox: Duran Duran.

Two things. First, a heartfelt "thank you" to EMI Records for finally enabling embedding on their music videos. Truth be told, I'm not really sure what the issue with embedding was in the first place -- it's not like I was stealing the music and sharing it with somebody else without giving EMI their piece of the pie or anything like that! Rather, I like to think that the act of embedding music on a blog or a website actually is a form of free advertising for their "product," more than anything else. Somebody sees the blog, likes what they hear, and maybe -- just maybe -- they'll go to their local record shop or iTunes and make a purchase. Everybody wins, and blah blah blah. So thank you, EMI, for finally seeing the light. Embedding is not stealing. Yay.


Secondly, thank you to Chez Pazienza at Deus Ex Malcontent for posting Duran Duran today.  Their 1982 masterpiece Rio, long a favourite album of mine, is mind-bendingly chockfull of brilliant moments, and always well worth a listen from front to back. Every song on this work is a highlight, whether it's the title track with its chorus "Her name is Rio, and she dances on the sand," the monumental minimalism of "The Chauffeur," the heady (and probably best-known) urgency of "Hungry Like The Wolf," or the out-and-out rock 'n' roll rollicking of "Last Chance On The Stairway." Rio is a work of genius, and frankly has not aged a day since it was released nearly thirty years ago.


For what it's worth, my favourite track off Rio is "Save A Prayer." It has racked up hundreds of plays on my iPod and iTunes; and that's not even taking into account how many times I've played it on vinyl, cassette tape, and CD. There's something magical about it -- is it the slightly Asian influence in the opening synths? John Taylor's immaculately performed bass riffs? Simon le Bon's mature and realistic musings on a one night stand? Is it how the entire band gels and performs a nearly 6-minute perfect pop song in a day and age where the norm was three and a half? Who knows? It's just a fantastic song. "And you wanted to dance, so I asked you to dance, but fear is in your soul / Some people call it a one night stand, but we can call it paradise." 


Indeed.

duran duran

"save a prayer"

rio

The Crystal Ark.

Producer Gavin Russom is known by the nickname "Wizard" -- a moniker that's rather fitting, considering his flowing red mane of hair and his almost mystical ability to program, play, and build synthesizers. Also a member of DFA's ridiculously talented family of musicians, this gentleman from Providence, Rhode Island also sometimes performs as The Crystal Ark. His music, to me, represents a sort of subsonic melding of technological prowess and an almost organic, shamanistic spirituality that dives deep beneath the surface of the listener's subconsciousness and subverts the definition of reality, and how encapsulated the broader surface of life really is. And hey! It's fucking fabulous to dance to.

The Crystal Ark has released two EPs this year: The City Never Sleeps and The Tangible Presence of the Miraculous. Ten days ago, the video for "The City Never Sleeps" was released, and it's simply amazing. Directed by vocalist Viva Ruiz (whose hypnotic and chanty voice propels the transcendent track), this video has everything: Insomniac New Yorkers, old-school synths, spiritual quests, a shaman dancing on a table, and brilliantly realized animal costumes. And lasers! So yo, check this shit out.

The Crystal Ark - The City Never Sleeps from DFA Records on Vimeo.

Tron Legacy Light Show.

From the good folk at io9: 


This is some crazy, awesome shit. For most of late November and early December, the Queen Elizabeth Hospital in London, England was used as the canvas for a projected Tron: Legacy light show featuring the soundtrack from Daft Punk and sound effects from the film. Behold! Here's the 9 1/2-minute video of the proceedings! Man oh man, this kicks some serious ass. I remember seeing the original Tron in theatres when I was a young lad; in fact, that was one of those movies (E.T., Empire Strikes Back, and Predator are others that come to mind) that I went and saw, over and over and over again. I, for one, am frothing at the mouth to see this bugger -- I really hope it's as awe-inspiring to me as an adult as the original was when I was a child. Go, Tron Legacy! And go, Daft Punk! You guys were born to provide this soundtrack.


I recommend putting in headphones, or turning up your volume to full-blast. This is epic.

HP ePrint & TRON: Legacy projection mapping - complete animation from Guided Collective on Vimeo.

Art Vs Science!

The year was 2007, and Dan McNamee had gone to see a Daft Punk concert in Sydney. Inspired by the techno spectacle (as well as anybody should!), he rang up two old high school mates, Jim Finn and Dan Williams, and proposed that they form a band. Art Vs Science was born, and the rest, as they say, is history. And I'm really, really impressed by what they've turned out so far.

There are many pleasant surprises that have engaged me during my stay here in Melbourne (if one is interested, then visit my Oz-ward Bound blog to read about my adventures trying to gain Australian citizenship). Victorian architecture,  flocks of parrots, the colourful flora and fauna, the laid-back personality of the local population, and -- yes -- the nearly obscene wealth of fantastic electronic acts that have been formed here. From the Presets, to Severed Heads, to Cut Copy and Midnight Juggernauts, to Pnau and Empire of the Sun, to Grafton Primary and Infusion, and to Art Vs Science and Sean Quinn and many, many more, Australia has produced some of the more original and eclectic electronic soundtracks to grace my playlist in many a moon.

So, back to Art Vs Science. They formed in early 2008, and have so far released two EPs: 2009's Art Vs Science and 2010's Magic Fountain. Their first full-length (title TBA) will be released in February of 2011, and they've also covered Split Enz's "I See Red" for the new compilation record He Will Have His Way, a compendium of Tim and Neil Finn covers. They've also recorded a minute-and-a-half little ditty about bad breath for the Australian kid's science TV show Sleek Geeks (think about rhyming "halitosis" with "diagnosis"), and are currently on tour with Infusion and Sean Quinn (they hit St Kilda on the 10th of December at the venerable Prince Bandroom -- you should totally go)!

An enthusiastic and bombastic stew of experimental synths, disco-punk, and techno, Art Vs Science's music is fantastically catchy, a frenzied hodgepodge of forward-thinking boom 'n' bass 'n' noise. Utilizing guitar and bass and live drums, their work has something for everybody, including those music snobs who tend to steer clear of bands that "just noodle at keyboards and sequencers." But holy shit, there's a lot of fun to be had here. "Parlez-vous Français?" will not only get your ass moving on the dancefloor, but will also make you smile -- there's a lot of quirky humour on display. "Take Me To Your Leader" delves deep into Empire of the Sun territory -- it reminds me quite a bit of Mr Steele's "Swordfish Hotkiss Night." "Magic Fountain" maintains a serious Daft Punk sensibility throughout its hardcore bangin', and -- if you're listening to their Magic Fountain EP -- there's even a live cover version (recorded at Splendour in the Grass) of DJ Jazzy Jeff and the Fresh Prince's "Boom! Shake the Room" that's just ... fucking special.

OK, I've talked enough. Here's some music for y'all, my favourite readers in the whole wide world.

art vs science

"parlez-vous français?"

art vs science ep

art vs science

"magic fountain"

magic fountain ep

New Music: David Lynch.

Well, what can I say? David Lynch, author, practitioner of transcendental meditation, producer and beloved writer and director of classic films such as Blue Velvet, Twin Peaks, Eraserhead, Dune (I know it was critically mauled, but dammit, I liked it), and Wild At Heart, can now add "electronic music composer" to his long and admirable resumé.


For on the 26th of November Mr Lynch released through iTunes a catchy little piece of pop confectionary entitled "Good Day Today." And here it is, for your listening pleasure!

Good Day Today by threeminutesthirtyseconds

What do you think? I quite like it -- it's got a cheery and pulsing beat, a groovy early '90s trance vibe going on, and Lynch's digitally distorted vocals seem so ... Lynchian, if you'll forgive me for using that term. "Good Day Today" chugs merrily along, and makes me smile. There's real hope and wonder going on in this track -- I love it. Kudos to Mr Lynch; he really is a Renaissance Man.

R.I.P. Leslie Nielsen.

LESLIE NIELSEN

11 FEBRUARY 1926

28 NOVEMBER 2010

Any reader who regularly checks into Second Drawer Up knows that from time to time we enjoy showcasing comedy. So today we would like to take a moment to fondly wish brilliant comedic actor Leslie Nielsen farewell. He died peacefully in his sleep in a Ft Lauderdale, FL hospital the 28th of Novermber, 2010 from complications with pneumonia. Rest in peace, good sir; you were always a class act, and were funny as hell.

Though he began his career as a dramatic actor (Forbidden Planet and The Poseidon Adventure are two thrilling films of his that will live on indefinitely in the annals of time), it was his scene-stealing comic turn as Dr Rumack ("I am serious. And don't call me Shirley.") in 1980's fabulously brilliant Airplane! that sealed the deal and caused his comedic star to soar. From there, he played the overly serious and deadpan Detective Frank Drebin in the woefully short-lived TV show Police Squad!, and its cinematic brethren, the Naked Gun series of films. Following those were a series of rather silly send-up movies such as Scary Movie 3 (2003), Wrongfully Accused (1998), and Spy Hard (1996), that -- while not as blazingly hilarious as his earlier comedies -- were still pretty damn good, graced as they were by Mr Nielsen's thoughtful, deadpan comic timing.

There will never be another Mr Nielsen to grace our slapstick comedies, and I look back fondly at the heady days of Airplane! and Police Squad! with a wistful smile on my face. So here are some of my favorite bits of his! Enjoy, laugh, and take a moment to thank Mr Nielsen for all the laughs he provided through his tremendous talent. Cheers, Leslie! I hope you're making somebody laugh right now, wherever you are.

And while we're at it -- how about an entire episode of Police Squad!?

R.I.P. Peter "Sleazy" Christopherson.

It is with great sadness that we at Second Drawer Up have learnt that Peter "Sleazy" Christopherson, one of the founding members of legendary industrial band Throbbing Gristle, its reincarnation as Psychic TV, and part of experimental troupe Coil, has died unexpectedly in his sleep Wednesday night the 24th of November. He was only 55 years old. 


Many great things can be said about Peter. Alongside his stellar work with Throbbing Gristle, widely believed to have been the progenitor of industrial music, he is also credited with the first usage of a sampling machine onstage; which in itself is one hell of a fucking accomplishment. After the end of Throbbing Gristle, he and Genesis P-Orridge went on to form Psychic TV (whilst Chris Carter and Cosey Fanni Tutti went on their own for Chris & Cosey). A Throbbing Gristle fan by the name of Jhonn Balance joined Psychic TV and then, after a spell, Christopherson and Balance left and formed Coil - which, to this day, remains the be-all end-all of industrial electronica in my humble opinion. This partnership lasted over two decades, until the untimely death of Balance (who, ironically, fell off a second-floor balcony) in 2004.


Christopherson was also an accomplished music video director, responsible for videos by a disparate spectrum of musical acts, including Ministry, The The, Rage Against the Machine, Yes, Sepultura, Van Halen, and Paul McCartney (!).


No words I can write at this moment can completely convey how important Christopherson's contributions to the world of electronic music were. 55 years old?!?! That's just way too fucking young - no one in this dimension knows what else he could have done. So it is with a heavy heart that we here at Second Drawer Up HQ bid "Sleazy" a fond adieu. Rest in Peace, dear sir. You will be sorely missed.


UPDATE: Chris Carter and Cosey Fanni Tutti have written a lovely remembrance to their longtime friend and collaborator. You can read it here.

throbbing gristle

"valley of the shadow of death"

d.o.a: the third and final report of throbbing gristle

throbbing gristle

"d.o.a."

tg live vol. 2

coil

"windowpane"

love's secret domain

Album Review: Sigue Sigue Sputnik.

Who knows what was going on in my mind yesterday when, whilst I was in the midst of doing some household chores, I thought to myself, You know what would be nice right about now? Sigue Sigue Sputnik. So, with me being a creature of instant gratification, I cued up their 1986 debut album Flaunt It and let fly! And I got to thinking, Hmm, does it hold up after 24 years? And the surprising answer is -- yes. Yes it does, and funnily enough, it almost sounds more apropos now as when it did back during the years of Reagan, the Cold War, and the burgeoning years of digitalism.


For here is an album that wears its star-fucking soul on its sleeve. It's no coincidence that the first time you hear Martin Degville's voice on album opener "Love Missile F1-11" he's saying over and over again, "I wanna be a star! I wanna be a star!" 


Founded by Generation X and Lords of the New Church bassist Tony James, Sigue Sigue Sputnik (named after a Moscow street gang, whose name translates roughly to "Burn Burn Satellite") was originally a concept borne from a desire to capitalize on the rampant commercialism on display in popular culture -- and make a killing while at it. Choosing the rest of the band pretty much based on their looks (vocalist Degville was a clothing designer whose retail shop, Ya Ya, was ransacked for the band's crazy outfits), the next step was to find a motto. "Fleece the World" seemed appropriate, and then the theme -- "Hi-tech sex, designer violence, and the 5th generation of rock n' roll." Thrown into the mix was a futuristic dystopian world run by multi-national corporations in which instant gratification could be yours with the touch of a button (sound familiar?), and everything was ready to roll!

Tapping Ray Mayhew and Chris Kavanagh for drumming duties, Neil X for guitar, and Martin's co-worker at Ya Ya, Yana on synths and "club effects," Tony James had finally all his pieces put together. Now it was time to put together an album and sell it to the unwashed masses!


Taking their cue from science-fiction films, exotic international locales, video games, sex magazines, high-design, haute-couture, Japanese manga, and the all-mighty dollar, Sigue Sigue Sputnik's sound was all over the map. Featuring heavy-duty rock guitars, heavy and intensive percussion, drone-y insect-like sound effects, vocal distortions, liberal usage of samples from films (Dirty Harry, Blade Runner, and The Road Warrior featured large), and even advertisements for products real and imaginary dispersed between the songs, Flaunt It was (and still is) a wild roller-coaster ride through the fevered imagination of a world in which anything and everything is for sale. Tracks such as "Rockit Miss USA," "21st Century Boy," and "Massive Retaliation" are prime examples of all these disparate influences at work at the same time, and frankly, are just a shitload of fun. "High-tech sex and rockets, baby," indeed, Mr Degville! Does Moscow rock your baby? It sure does.


Highly recommended after all these years, I cannot stress enough how fun this album is. If you haven't already, then check it out by all means.

sigue sigue sputnik

"21st century boy"

flaunt it

sigue sigue sputnik

"love missile f1-11"

flaunt it

Album Review: Zola Jesus.

STRIDULUM II

ZOLA JESUS

©2010, Sacred Bones Records

Wow. I mean, just ... wow. I really don't think I have the arsenal of words needed to describe this record and do it justice but, I'll try. 

The story behind Zola Jesus' revelatory Stridulum EP and its fleshed-out followup LP Stridulum II begins with a chance viewing of a rather obscure film from 1979 called "The Visitor." Known also by its Italian title of "Stridulum," this whacked-out movie is essentially an LSD trip recorded on camera, centering around a young girl with telekinetic powers who possesses in her both the seeds for good, and the seeds for a powerful force of evil that may spell the end of civilization. Directed by Giulio Paradisi and with a cast featuring the likes of Mel Ferrer, Lance Henriksen, John Huston, Shelly Winters, and Sam Bloody Peckinpah, it's a weird cult film that was, shall we say, interesting.


This film, particularly a scene in which "Goodness," personified by John Huston, comes down from the sky in a cascade of doves and light and attempts to "wash away" the girl's bad side (and the accompanying soundtrack), did not go unnoticed by a young woman in Phoenix, Arizona named Nika Roza Danilova. Known by her stage name of Zola Jesus, and with ten years training of opera singing under her belt, she was inspired to record Stridulum and, as it turns out, one of the best albums of the year, hands down. 


This is quite literally a thrilling album, deep and mysterious and full of emotion. From the opening number "Night" to closing time with "Lightsick," Danilova brings to mind the best vocal performances of Siouxsie Sioux and Kate Bush, splashing and dashing the flavour with sleek and dark synth brushstrokes and a mighty dollop of mezzo soprano classicism. Something dark and wounded in the night; a decision upon which balances the difference between success and failure; a heavy head, lost in the fog of confusion; and the blindness that careens from the deepest pits of despair -- this is not a happy record. But the music! And her voice! It soars and falls, like tendrils of the blackest smoke you've never seen ... it's a revelation to listen to. At times hopeful, at times bleak, and never, ever less than fascinating, Zola Jesus has created something strange and special -- something that, once heard, can change the way one listens to music. It's that damn good. Pay special attention to "Sea Talk." Like a funeral dirge backed by towering organs and a militaristic drumbeat, when Danilova sings, "Sick / I'm sick, honey / I don't, I don't got the money / Do you want a raincheck?" you can feel the raw emotion all the way down your backbone.


This powerful and emotive record is now officially a contender for Second Drawer Up's Album of the Year. Check it out, by all means. You won't regret it at all.

zola jesus

"sea talk"

stridulum ii

News From Röyksopp.

Norwegian duo and perennial Second Drawer Up favourites Röyksopp have, a few months after the stealthy release of their fourth studio album Senior, finally announced their dates for the United States and Canada on their 2011 tour. And here they are:

Friday 18th March : Toronto, The Guvernment

Saturday 19th March : Montréal, Club Soda

Monday 21st March : New York City, Webster Hall

Wednesday 23rd March : Washington, DC, 9:30 Club

Thursday 24th March : Atlanta, Masquerade

Friday 25th March : Miami, Ultra Music Festival

So there you have it! True, it doesn't seem to be much of a stay in North America (and they're not visiting San Francisco??? Crazy!), but you know how these things work -- at some point they'll add dates, and (almost) everybody will be happy. I recommend visiting their site often and checking out the news ... things do change. Before I sign off on this lovely Friday morning, I'd like to ask you guys: Have you heard Senior yet? I'm listening to it right now, and it's a lovely, lovely piece of electronic work. When Torbjörn Brundtland and Svein Berge announced the followup to 2009's exuberant Junior, they stated that whilst Junior had an "emphasis on vocals, accessible melodies, and harmonies," Senior, they promised, would be the "introverted, dwelling, and sometimes graceful counterpart." 

And how! Flowing nearly seamlessly over nine tracks and 48 minutes, this entirely instrumental work shines with a languid and chill-out beauty. Hypnotic, meandering, and in no hurry, Senior would make a fantastic soundtrack to an imaginary sci-fi spaghetti Western film with lots of dramatic silences and speculative ennui. Think of the best work of Angelo Badalamenti and Ennio Morricone (especially on the aptly titled "Forsaken Cowboy") run through a trance-y filter of smooth and haltingly gorgeous synths, and you might be close. This record is one for a nice night in -- light some candles, pour some champagne, snuggle up with that special someone on a sofa and gaze deep in their eyes ... yeah, you get the picture. I'd like to play for you now a special track off of Senior. Here is "The Drug."

röyksopp

"the drug"

senior

Live On DVD! Depeche Mode.

Hey kids! Look what's out now at your favourite music/movie purveyor! It's the new Depeche Mode live DVD - "Tour of the Universe : Barcelona 20/21.11.09." I can't wait to get it - my girlfriend and I went and saw the show at the O2 Arena in London this last 15th of December, and it was bloody fantastic. Everything worked - the lights were engaging and colourful, the stage setup was fascinating, the video projections were nothing short of awe-inspiring, and David and Martin's voices were at their peak. I can totally say, without fear of self-contradiction, that this concert film is going to fucking rock. Get it, get it, get it.


Here is Depeche Mode performing "Personal Jesus" from that very same concert. Jesus (haha), can I say it rocks? Yes it does. It rocks. Hard. And then some.

Electro Classic Jukebox: Soft Cell.

Two years after the triumphant debut of their first album Non-stop Erotic Cabaret and its immediate followup Non-stop Ecstatic Dancing, Soft Cell (Marc Almond & Dave Ball) came back in dark form with their third release, The Art of Falling Apart. While NSEC had more of a playful mentality, singing praises and curses of the sleaziness of late '70s and early '80s Soho, London (think "Sex Dwarf", "Seedy Films", and the lonely doldrums of "Bedsitter"), The Art of Falling Apart found Mssrs. Almond and Ball in much darker territory. From the sadly dysfunctional family at each others' throats in "Where the Heart Is" to the excruciatingly savage and harrowing examination of a stripper's life in "Baby Doll", TAOFA was more interested in telling the stories of people who otherwise wouldn't be noticed by the average Londoner. Maybe that's why it didn't sell as well as its predecessor, but it could also have been the drugs that were beginning to plague the duo. But when I look at the work of Soft Cell during those first three years (their fourth album, This Last Night In Sodom was, to me at least, a mixed bag at best), I find TAOFA to be their most assured and seamless adventure. Almond's voice really reached a level of seedy cabaret brilliance, Ball's synths and drum programming were precise and warm, and their trumpeter John Gatchell delivered some pretty freaking incredible and soulful blasts of jazz into the proceedings. 

All that being said, my favourite track off this album is actually a B-side from the 12" release of "Where The Heart Is". It's a fantastic and really quite weird number called "It's A Mug's Game," and here we find Almond, Ball, and Gatchell delivering what is probably the funniest synth-pop song ever released, ever. This paean to practically the worst day ever has such a silly and incredibly vibrant energy to it, that it nearly explodes out of your speakers. Featuring horrible hangovers, food poisoning, venereal disease, unintended pregnancy, emergency visits to the chemist, money problems, and strict fathers, you've just got to listen to it to believe it. Best lyric: "Oh God, it's another disease / And you just got rid of the last / You were beginning to feel OK / And the friends you gave it to were speaking to you again."

Here's "It's A Mug's Game." Enjoy!

soft cell

"it's a mug's game"

the art of falling apart

A 7 1/2 Hour Train Journey Through Norway, With DJs!

a tip of the hat to io9.com!

When it comes to traveling, there are fewer better options for us here at Second Drawer Up HQ than the train. Comfortable, hypnotic, great views, a decent bar car, and the soothing soundtrack of the rails trundling past, all whilst inclined in a nice seat, stockinged feet crossed in front of you, and iPod earbuds perched in your ears providing whatever soundtrack you desire. I've been in a lot of trains over the years, but have never been on the Bergen Line that traverses the Norwegian countryside. It sounds lovely, and now, thanks to the creators of a documentary called Bergensbanen, I can now experience it secondhand. Add to that the addition of 7 and a half hours of DJ music, invited by the filmmakers to provide the soundtrack to the entirety of the train's route, and you've got something very, very special indeed. Featured on Norway's NRK2 channel, it was watched by over one million people when it aired Friday, 27 November of last year. Needless to say, I thought I'd share all 13 parts of the video with you, my very, very special readers! Chill out, put these babies on full-screen, and crank the volume up as loud as you can. Sit back (or dance your ass off, or throw a party while you're at it), and check this shit out. It's fucking amazing.

New Music: Grafton Primary.

Sydney-sider brothers Josh and Benjamin Garden, AKA Grafton Primary, have been very busy, busy bees this last year, putting together their sophomore album, tentatively entitled Sophomore and preparing for their new tour, which hits Melbourne tomorrow evening in St Kilda's wild Prince Bandroom. Should be a whole hell of a lotta fun, so Second Drawer Up highly recommends heading down there if you've wondered what's worth doing this weekend!

Having been formed in 2006, and with two EPs and their first album Eon under their belts, Grafton Primary (who tour with a live drummer and bass player) are willing and ready to unveil their new(ish) sound to the masses. "This tour's not so much a dusting as an absolute renovation," Josh told Inpress Magazine - and to my ears, it sounds like it's going to be a veritable shitload of fun. I love the sounds that burst from my speakers when I play Eon or the Relativity EP (which I'm listening to right now as I type this) - they're quirky, noir-ish, and clever. Take what's best from Jan Hammer and Harold Faltermeyer's 80's synth-soundtracks, Australia's "2nd wave of nu-rave" (whatever the hell that means), and indie-pop, throw them in a blender, and you might have something similar to the sound made by the brothers Garden. Keep an ear out for the new single, "The Eagle." Josh seems particularly buzzed about it, so I can only reckon it's going to kick ass.

So get your ass to the Prince Bandroom, already! Grafton Primary are going to be supported by Wollongong electronic pioneers Infusion; so it's going to be twice as fun as you thought. Serious!

Here's "Relativity" by Grafton Primary for ya - cheers!

grafton primary

"relativity"

relativity ep

Man of Colours.

Well, it's a lovely Wednesday morning, and what should pop up on my playlist but "Man of Colours" by Icehouse? Taken from the 1987 album of the same name, I really have to admit that this track is a quintessential example of what can make Icehouse such a special band. "Man of Colours" tells the story of an old man in an upstairs room painting vignettes from his life and examining them with a mixture of pain and pride. The album itself, Icehouse's fifth release, also contains gems such as "Kingdom," a magical examination of a woman coming to peace with herself, "Sunrise," a scorching anti-war statement of epic proportion, and then, livening things up a bit, the biggest hit of Icehouse's existence, "Crazy," which is, quite frankly, a fun love song.


I'd mentioned before that Iva Davies was an accomplished oboe player - and on "Man of Colours," there he is, playing it to his heart's content. It's a mournful sound, laid over an achingly beautiful synth and a deceptively simple drum beat. It soars - it reminds me, in a way, of the sensation of flying through clouds. Towards the end, when Davies practically cries the lyric "And I can see, see through these tears, tears of a man, a man of colours," it nearly breaks my heart. And what's really nifty about the video for the song is that Iva Davies' father himself is the star, the old man upstairs. It's simply gorgeous.


With no further ado, here's "Man of Colours."

icehouse

"man of colours"

man of colours

And, while there's no video for it, per se, here's the anti-war track "Sunrise." Listen for Davie's anguished scream towards the end as the crashing cymbals signify the end of all that's good in the world. "You'll never see the faces of the fishermen, but you may see their shadows burned against the wall." Damn, Iva - intense.

icehouse

"sunrise"

man of colours

Three Australian 80's Hits.

Well! I've now been in the land down under for just under a month, and it's been absolutely spectacular. Things are going great with my girlfriend, I'm getting some healthy color, and I've lost two and a half kilos (probably from all the fresh and organic food I've been eating) -- so all in all at this moment, I'm pretty tops. Still need to quit smoking, but I'm now under a pack a day, so we'll see where I'm at in another month, shall we?


So today I was thinking: How's about I put together a nifty little package of early 80's Australian music for you, my faithful readers, this weekend? Sounds like a plan, thinks I. So with no further ado, here's some 80's treasures that will, today, be on my humble blog!

From 1983, QED were a Sydney band featuring Jenny Morris, a Kiwi from discontinued band The Crocodiles. Wrapping up the rest of the group was Rex Goh (ex guitarist for Air Supply!) and Ian Belton on bass guitar. Featuring Amanda Vincent on keyboards (though for the life of me I don't know who's doing them in this video), QED evoked a sound that to this day evokes in me a tremendous feeling of nostalgia (because, really, what is this site but a musical nostalgia choo-choo train?). They only released one album, Animal Magic, before disbanding (Jenny Morris went on to great acclaim as a solo artist) -- and "Everywhere I Go" was their first single. And here it is. Love Morris' purple coat!

qed

"everywhere i go"

animal magic

Yeah, yeah -- I know everybody on the planet knows who Men At Work are, and can probably sing "Down Under" line for line at the drop of a dime. But I don't care. I'd like to think of today's post as a bit of comfort food, if you will, and since I've started with the year 1983, I figured I'd stick with it. Think of it as something of a theme. So. Men At Work. From the southern Melbourne suburb of St Kilda (love that 'hood), they only released three albums: 1981's Business As Usual, 1983's Cargo, and 1985's Two Hearts. Today's track comes from Cargo, and personally I find it to be quite an effective anti-war song that still holds water. I'm speaking of course of "It's A Mistake," and here it is for your listening pleasure.

men at work

"it's a mistake"

cargo

Though best known for their (rather crappy) 1986 cover of Lipps Inc.'s "Funky Town," Melbourne's Pseudo Echo back in the day composed music that was extraordinarily similar to the output of fellow 80's stalwarts Ultravox. Their debut record, 1984's Autumnal Park featured many high points in early 80's synth-pop, but none rose so high as their hit single "Listening." I remember back in 1985 when I first bought the album (entitled Pseudo Echo in the United States) -- I probably bugged the shit out of my parents by having kept lifting the needle and going back to start this track over and over and over again. It's a great tune; I haven't heard it in a long time, but it's great to go back to a priceless pop gem. Here's "Listening" for your listening pleasure on this gorgeous and sunny Saturday afternoon. Cheers!

pseudo echo

"listening"

autumnal park