Record #950: Cocteau Twins – Head Over Heels (1983)

There’s never been another band quite like Cocteau Twins. Not before, not since. Still, for all of their idiosyncrasies and obscurity, they cast a long shadow. Their influence can be heard in bands like Sigur Ros, My Bloody Valentine, Deftones, Smashing Pumpkins, and the legions of acts that those bands influenced.

But Cocteau Twins didn’t become Cocteau Twins™ out of the gate. The ethereal dream pop giants cut their teeth in the post punk and goth scene of the early ’80s before becoming untethered in the clouds (Elizabeth Fraser notably has a Siouxsie and the Banshees tattoo on one arm). And while their debut Garlands received plenty of praise in the post punk scene, Head Over Heels is where they start to pupate into something entirely unique.

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Record #949: The Cure – Standing On a Beach (1986)

I usually don’t put much stock in compilations. Most of them are cash grabs aimed at casual fans, and as someone who prefers to listen to songs in the context of their album, they offer little value to me.

There are, however, some exceptions. For instance, if a band has released a significant number of non-album singles—especially if those singles were as formative to the band’s career as The Cure’s non-album singles were.

While Standing On a Beach was, in fact, intended to introduce American fans to the Cure’s back catalog after the success of The Head on the Door, it remains the best collection of the singles that had a huge impact on their career despite never appearing on an album—even more than Japanese Whispers or 2001’s Greatest Hits, making it an essential bit of Cure history.

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Record #948: WHIMZ – PM226 (2022)

I’m going to break the (self-imposed) rules of the blog for the moment and skip way ahead in the alphabet because I’m worried I’ll never get to this if I wait, and I have some feelings about this record.

A couple weeks ago, I was browsing the used section at a local record store and found a bit of cover art that intrigued me. After some quick googling and about thirty seconds on Spotify, I took a gamble on this record—largely driven by the term “sludge pop” that I saw in a review.

And boy, does this disc live up to every possibility that phrase put in my head.

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Record #947: Depeche Mode – Violator (1990)

Speaking of gaps in my collection…before a few weeks ago, I’m not sure I ever intentionally listened to a single Depeche Mode song. Yes, I know this was a foolish move on my part. Yes, I know they’re regarded as one of the best bands of all time, casting a long shadow on pop culture that stretches from Marilyn Manson to Johnny Cash and beyond.

Fully aware of the huge mistake I had spent my life making, I bought Violator without hearing anything beyond the singles. It was a great decision.

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Record #946: Body Void – Bury Me Beneath This Rotting Earth (2021)

They say music can soothe the savage beast. But what about the times when the music proves the more beastly of the two? The moments when the feral creature might run for safety from the music that is far more monstrous than it?

If you’re looking for the latter, consider Body Void’s Bury Me Beneath This Rotting Earth, a positively eldritch piece of sludge metal that leaves no wonder as to why anyone would call a genre that. It’s as black and thick as tar, and just like the thousands of specimens at Le Brea, there is no savage beast that bears a chance of survival.

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Record #945: Drowse – Wane Into It (2022)

When Kyle Bates holed himself up in his Pacific Northwest apartment to record an album about isolation, grief, and personal traumahe had no way of knowing how universal those feelings would become by its release. On the other side of lockdowns, protests, and relationships frayed by the above, Bates’ examinations are endlessly relatable—however, they still sound deeply personal, almost as if he never intended to release it.

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Record #944: The Antlers – Hospice (2009)

Elephant in the room: this is probably the biggest hole in my collection. I’m a huge fan of The Antlers, but my saying that has usually come with the caveat that I mean what they did after this record. I’ve listened to it, of course, and it’s been on my wishlist for over a decade, but as my tastes have gotten weirder and heavier, I’ve never pulled the trigger.

But sometimes you just gotta do what you gotta do.

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Record #942: Lewis – Even So (2002)

I’m not sure anything contributed more to my music taste than Deep Elm’s Emo Is Awesome, Emo Is Evil compilation (maybe Songs From the Penalty Box 4, but that’s a different story). Like many a Millennial youth, I grabbed a copy after seeing it next to the register at Hot Topic. I didn’t recognize a single name on the tracklist, but it introduced me to a group of bands that showed just how diverse emo could be, like Red Animal War, Planes Mistaken For Stars, Logh, Benton Falls, the Appleseed Cast (still an all time favorite), and so many more.

Lewis was on that compilation, but their contribution didn’t grab me. I mostly ignored them until I got a copy of Even So in a $1 Random CD sale the label was having. It didn’t take much convincing for that disc to join my regular listening rotation.

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