Ghost Pop

I’ve noticed a pattern between two of the most popular female-fronted acts that have risen to fame in the year of our Lord 2009 – that is, La Roux and Florence and The Machine – and that is that they both sound a bit like ghosts sometimes. But different kinds of ghosts…

La Roux – In For The Kill

The lovely Elly Jackson of La Roux – in this song more than any others on the duo’s self-titled debut – sounds like (as Chris Moyles pointed out) something paranormal at times. That “ooo-oooooing” all over the ends of lines, spooky.

BUT she seems like a nice ghost. A ghost that hasn’t gone over to the other side due to unfinished business; she was unable to reach her unrequited love before death, and now haunts the grounds of her home, a sad and lonely shell of a woman. You feel sympathy for the ghost of Elly Jackson as she coos like a heartbroken pigeon. But in a tuneful way, over a cool 80s-synth based-backing. If you were haunted by the Human League, it would probably sound like La Roux

Florence And The Machine – Rabbit Heart (Raise It Up)

On the other hand you have Florence Welch of Florence and the Machine, who isn’t a nice ghost that you feel sympathy for. Florence’s voice is a poltergeist, and it is terrifying.

She bellows and howls in a deranged manner, as a vengeful spirit might well do as it flew around your living room, smashing any glass or plates or other such fragile items you own. She would then possess your youngest daughter and make her emit terrifying, guttural moans. Spine-tingling, but in the bad way – the way that give you nightmares, while her demonic backing group strangle violins and traditional folk instruments like Cerebus chewing on a marching band in the fiery pits of HELL. In this case, it’s like Einstürzende Neubauten haunting you.

I hope this post has made my feelings on these two popular music performers abundantly clear. Cheers!

Something For The Weekend

I first heard Manchester’s The Distractions early this year on a radio programme by David Quantick about mix-tapes; he used their song “Valerie” as an example of a prefect song to put on a tape if you’ve only got a little bit of time left on it. He could have just left it at “perfect song”.

Starting with a short piece of dreamy piano, the song suddenly explodes into some Buzzcocks-style punk-with-pop-sensibilities, documenting the narrator’s lost love…

I love Valerie
But now I think it’s through
I love Valerie
But Valerie loves you

Formed in Manchester in 1975, The Distractions played with peers such as Magazine, Joy Division and the aformentioned Buzzcocks, which lead to an EP (You’re Not Going Out Dressed Like That), which lead to a deal with Tony Wilson’s legendary Factory Records. Wilson said of them: “Reminds the management of AustinTexas 66, but take your choice”.

The band’s only album, Nobody’s Perfect, was released in 1980 on Island Records, but failed to break the top 40, despite favourable reviews. The group disbanded a year later.

For some reason, the album has never been reissued on CD, or even tape; it only exists on the few vinyl copies still floating around. It’s a really, really good album, I have no qualms about labelling it a “lost classic”. If it did get reissued and could get to a wider audience, maybe this would finally be recognised. A thrilling mix of punk, power pop and new-wave, the album takes in influences as diverse as the peers mentioned previously, more upbeat 80s pop and even the organ-and-rolling-drums Phil Spector-sound of the sixties.

Thankfully, the blog PVAc to 44.1 khz has been kind enough to rip his own record and upload it, for all fans of top-notch new-wave and punk to enjoy. So enjoy!

Download Nobody’s Perfect
Password: PVAcblog
David Quantick’s profile on the band/review of Nobody’s Perfect