Portishead have a very different approach to sampling especially when it came to the drums on Dummy.
There is a distinctive boom to the drums that was achieved in a number of ways. They would record the drums (or other instruments/Beth), press that recording to vinyl then rerecord from the vinyl. This gave an old school hip hop feel to the samples without having to find old beats that fitted perfectly. This also often resulted in surface noise on the sample, adding another intricacy to the rhythms.
The other technique is to slow down what are presumably stock breakbeats as they are quite explicit about the samples they used on the album.
For Mysterons, Clive Dreamer is credited as the drummer so I assume the first technique was used.
The other reason for picking this song is that sweet tremolo on Adrian Utley’s guitar.
Very strangely, I first saw Trencher at a dance music festival. This was my first year at Glade. Most of the stages were psy-trance or generally down-tempo house music plus the known acts and bands on the main stage. Then there was the Overkill stage playing Wrong Music. This consisted of gabba, glitch, unhappy hardcore and even more odd things.
Trencher were billed as ‘the UK’s Lightning Bolt’, I thought it would be best to go along since I had already missed Lightning Bolt on several occasions.
Trencher’s set is drums, bass and tiny Casio keyboard - it’s like 6 inches long. But then they start playing grindcore and it starts to make sense that they are playing on the Wrong Music stage. In Reverence was a brilliant moment (or at least In Reverence is the equivalent moment on the album Lips). After playing a number of short, fast, angry, screamed songs they then unexpectedly go into one long drone - a complete change pace to settle everyone down before attacking us with the last few songs.
I was introduced to The Decemberists in the lead up to Sleater-Kinney’s day at All Tomorrow’s Parties. Which isn’t surprising as both bands originate from Portland.
The Decemberists protest that they are not a pirate band in spite of this song. I do know someone who is in a pirate band and insist, pretty much every time I see him, that he should be playing The Mariner’s Revenge Song.
First time I saw Rolo Tomassi was in the Barn at Truck Festival.
I have never been so enchanted by a screaming teenage girl. I could not believe the noise that was coming out of this girl who was aggressively throwing herself around the stage. And it’s not just all about Eva Spence, the rest of the band are really impressive. Instant tempo and time signature changes, even complete changes of style out of nowhere. It’s all a bit too clever for me really.
I just found out today that Rolo Tomassi are playing this year’s Truck. Very excited to see them again.
I’d always had a casual fancy for System of a Down from hearing songs at various rock nights.
Oddly, I first heard this song in a Virgin Megastore whilst on holiday in Paris. Around that time something like three different people that I knew had gone to Paris on holiday and got engaged. Thankfully I managed to avoid this trap and have a jolly good time, checked out some groovy art and learnt what ‘I am your father’ is in French.
This should be the Pink Floyd version but they don’t seem to have played it live and EMI don’t want us to listen to their music on You Tube. So instead we have a version by Low.
This song was a snap pick for the Pink Floyd tribute night. It’s a bit awkward because I wanted to integrate You’ll Never Walk Alone into the song. Changing to it at the end would have been a pain in the ass so I decided to rearrange it a bit. The idea was to start the song with You’ll Never Walk Alone and then at the climax, start playing Fearless.
I had hoped for some audience participation, maybe I could encourage everyone to sing along at the climax for a rousing lead into Fearless - I was not prepared for what happened. It turns out that a lot of people know You’ll Never Walk Alone, a lot better than I do. I’d got as far as “When you walk…” And half the room was already singing along, I was so stunned I instantly forgot all the words and the chords. I had no idea what I was doing, the crowd generally quietened as I was standing there doing nothing. I was so relieved after the chorus so I could start playing a song I knew how to play. The rest of Fearless went pretty well. Not exactly my finest moment at a gig.
I have learnt to never assume I know the lyrics at tribute nights and also to practice more thoroughly beforehand. Much like we have for the Pet Shop Boys tribute this Friday.
My favourite song off Mellon Collie and the Infinite Sadness. It’s such an epic and diverse album - I especially like the brutality of this song.
Back in the early days of Boredoms in the Bathroom, I think it was assumed that all our songs were The Smashing Pumpkins covers, even when we were playing an Abba song. This was one of the first songs we played together before we started writing our own songs but it’s not something we’ve ever done live. I can’t imagine that there will be a The Smashing Pumpkins tribute night at The Rising Sun any time soon.
Evil Nine are the only foray into breakbeat on this playlist and my cd collection for that matter. The introduction to them came at Glade Festival in 2006, I think. I don’t know much about Evil Nine, but they were two chaps playing tunes, headlining the main stage. Powered by caffeine tablets and some disgusting guarana elixir, we danced through the whole set.
There is something about listening to this song that takes me back to the fake energy experience whilst at the festival, I find my pace quickens considerably when walking and it comes on my ipod.
I started listening to Silverchair as an angsty teen in the 90s. I saw them play at Reading festival in 1999 where they obviously opened with Israel’s Son. But the most significant thing about this song is the tuning.
This song is in dropped D tuning which isn’t anything terribly significant and fairly common for 90s alternative bands. That just means you tune the low E down a tone making your three lower strings an open chord.
As I play in a band that is fairly influenced by 90s alternative rock music, we have a number of songs in dropped d tuning. We regularly switch from standard tuning to this. Because I’m lazy and I hate watching bands continually tune guitars between songs I tend to tune down my guitar fairly quickly and by ear. After this, a quick run through of the riff from Israel’s Son is all I need to be sure I’m correctly tuned - or at least close enough.