247. remake-remodel

“The first song from the first Roxy Music album makes it abundantly clear. This band is not concerned with the past. This is not a rock ‘n’ roll soaked in blues and authenticity. This is dissonance, angularity and cool high fashion, which no doubt must have felt like a hostile alien invasion if you were a certain kind of hippie in 1972. Hell, I didn’t even hear Remake/Remodel until at least 1979 and I just assumed it was some up and coming New Wave outfit, except they were way better than most. And I suspect the same would be true today. Still more about what’s to come than what has been.” (Philip Random)

roxymusic-1972-promo

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259. soon

“The first thing I ever consciously heard of My Bloody Valentine was Andy Weatherall‘s 12-inch remix of Soon. And it was good, immediately figuring in all the mixtapes I was making at the time, 1991 being a serious watershed year for me. I’d taken the baleful rage and angst of the 1980s further than most, and loved it often as not. But now it was time for a change, and here it was, often as not lyrically vague as it was musically expansive, like 1960s psychedelia all over again, only bigger, richer, pumping cool light and amazing colours. And then the album Loveless showed at the year’s end, and I finally heard the actual original version of Soon, and holy shit, it was everything I could’ve imagined, only more so, the future having arrived.” (Philip Random)

mybloodyvalentine-soon-1991

 

267. halleluwah

“It’s true. Can saved us all at least a decade before most of humanity even knew of their existence (my corner of it anyway). While everybody else was reeling from the meltdown of the Beatles, the deaths of Jimi Hendrix, Janis Joplin, Jim Morrison, the end of 1960s in general, backtracking deeper and deeper into so-called authentic blues, or going all progressive, singing of castles, strange kingdoms, lost dimensions (not that there was anything particularly wrong with it) … the Communist-Anarchist-Nihilist combo known as Can (operating out of their own schloss in Koln, West Germany), were still fiercely working the Now, deep into the pretty much infinite groove of Halleuwah, the Lord be praised indeed! Howls and riffs and passing rips of melody and noise and the best f***ing drummer ever — the whole mad stew still sounding fresh and dangerous and profoundly ahead of our time even now, decades later. Why is it not way higher on this list then? Good question. I guess I must’ve been just post a phase of listening to it too much when I was compiling things.” (Philip Random)

Can-1971-playing

287. freak scene

“I kept hearing about Dinosaur Jr. back in the late 1980s but I never consciously heard them. Apparently, they were a throwback to the pre-punk days of big wild guitar solos, epic intentions … but in a good way, which sounded promising. Then I finally did heard Freak Scene some time in 1990 and hell yeah, truth in advertising. Except they were anything but a throwback — guitar so sheer and beaming with fractal light, it was carving gateways into the future. Or at least that’s what it felt like that time at the Commodore, the top of my head lysergically removed from the rest of my body. In a good way. Later, I drove home, still quite high, listening to classical music on the radio – some Shostokowich as I recall. And it all made perfect sense.” (Philip Random)

DinosaurJR-1988-studio

317. requiem

“I still remember the first time I heard Requiem, track one side one of Killing Joke‘s self-titled debut album.  It was 1981 sometime, a friend’s place. I walked in and he had it cranked LOUD. Like nothing I’d ever heard before. Intense, violent even, yet not in a particular hurry. Like a genuinely dangerous metal band had embodied the vehemence of punk. Or whatever. The best music is always beyond words. Call it the future, I guess, lobbing us a wake up call. I remember it was stormy that day, great black clouds forcing the horizon.” (Philip Random)

KillingJoke-1980-gatefold

322. bogus man

“I think of Bogus Man as where Roxy Music would have gone if Brian Eno had never left: to stranger, deeper, more evocative realms, while great hordes of confused hippies looked on from darkened streets, still coming down from that long strange trip known as the 1960s. Which is rather what was going on anyway with Roxy in their early years, strutting like peacocks through a world full of pigeons. As it was, Bryan Ferry had other ideas for his band, and it’s not as if Mr. Eno didn’t go off and invent the future anyway. Which he’d be the first to say the Germans were already doing. Can in particular without whom we would never have heard the likes of Bogus Man.” (Philip Random)

RoxyMusic-1973-promo

333. numbers + computer world

“I first heard Kraftwerk‘s Computer World at Michael’s place. A sort of slimy guy that we used to buy dope from back in the late 70s, early 80s. He lived in a high rise near English Bay, always had the stereo on loud, usually playing shitty soft rock. Except this one time, a beautiful day, sun glowing in off the bay – it was this cool machine music. Kraftwerk, I would’ve guessed, except Kraftwerk weren’t around anymore, were they? A couple of gimmicky robot records back in the mid-70s and then back to Germany. I was right. It was indeed Kraftwerk, still cranking out the future. I was wrong. They were anything but a gimmick. Suddenly, I had a pile of exploring to do.”

Kraftwerk-1980-computerWorld

336. big science

“It’s 1982 and Laurie Anderson, who no one I know has ever heard of, has suddenly painted a picture of the future, equal parts strange and beautiful, yet already haunted. The whole album‘s a gem but the title track deserves special mention for the way it delivers this future — all shopping malls, drive-in banks and every man for himself. And yodeling, hallelujah to that, and to the big science that makes it all possible — those cooling towers off the edge of town, higher than any church steeple ever towered, hissing and droning, liable to melt down and explode at any second.” (Philip Random)

LaurieAnderson-1982-NYC

360. The 15th

“A tight modern pop song with the kind of sharp, icy edge that defines a sonic future for all mankind. Which is pretty much what Wire did in 1979 with 154 (one of the greatest albums of any time) and songs like the 15th. Hell, I didn’t even hear it until at least five years later, called up the DJ because I had to know what this cool new song was.” (Philip Random)

Wire-1979-promo