Five a Day: Weekend.

Noisey shoegazers Weekend took some time to talk us through their five favourite records, here are the results:

I don’t think that I could ever decide on 5 albums that are my
absolute favorite of all time, so I will describe 5 albums that I have
been listening to recently and what makes them so special.

DeftonesWhite Pony

At 14 I was already really into the Deftones because of Adrenaline,
and mainly because of their masterpiece Around the Fur. The aggression
was bone crushing due to the drilling rhythm section and Carpenters’
detuned guitars, but the music still had an air of vulnerability to it
largely due to the vocals of Chino Moreno. The way Chino’s vocals
offset the muscularity of the music was compelling for someone who
found themselves listening to Tears for Fears and Vision of Disorder
back to back. White Pony brought the Deftones’ experimentation to new
heights while strengthening the metal backbone the band was built
upon. Songs like ‘Knfe Prty’ and ‘Street Carp’ perfectly balance the
attack and recoil aspects of the Deftones sound. While tracks like
‘Teenager’ and ‘Passenger’ showcase a new Deftones, willing to
experiment with ambient moodiness and sequenced drums. The album is
texturally vast, and Chino’s surrealist lyrics push the music into
purgatory, somewhere pleasure and pain. Like when you can’t stop
chewing on a sore on the tip of your tongue.

Cocteau TwinsHeaven or Las Vegas

Liz Fraser is a goddess and Robin Guthrie is certainly one of the most
underrated guitarists ever. Songs like ‘Cherry-Coloured Funk’ and
‘Fotzepoletic’ weave synthetic and organic textures together into
gorgeous, trotting, dizzying daydreams. I suppose the same could be
said about fan-favorite ‘Treasure,’ but on this record, Fraser starts
working with the english language again and simple, universally
digestible lyrics like “I only want to love you” add an immediately
gratifying heartbeat to songs like ‘Pitch the Baby.’ The title track’s
goose bump worthy chorus is a high-light for me that’s been swirling
around my head for weeks now.


I’ve been listening to this record for a few years now but never did
much research into the band itself until recently. Discovering they
were a three piece musters even more admiration for the slithering
post-punk band than I had before. On Repetition, Unwound pushes
post-punk riffage and bleak atmosphere into spiraling jams condensed
by industrial machine precision and bludgeoning power. And yes,
Repetition. The snaky bass lines and discordant guitar are the
highlights of the record for me. You won’t find verse-chorus
structures on this record as Unwound don’t prefer to repeat themselves
in that way. It’s the drone of songs like ‘Fingernails on a
Chalkboard’ and the slacker beauty of ‘Corpse Pose’ that best showcase
the album’s strengths. Justin Trospers vocals add a steadiness to the
up and downs of the instrumentals, sounding like a post-apocalyptic
newsy shouting disaster headlines in an “I told you so” sort of way.

Sun Kil MoonGhosts of the Great Highway

San Franciscan Mark Kozelek opens this record with a pleasant acoustic
song that humanizes a serial killer, and I was hooked. There is a
great sadness to this like all of Kozelek’s work, but it’s in the most
“americana” sounding Ghosts of the Great Highway that he puts the
nail in the coffin. ‘Carry Me Ohio’ is led by a gorgeous twinkling
guitar riff and plunking bass as Kozelek laments his half-saids and
half-loves. There are songs about matadors, parrots, Pancho Villa and
my favorite ‘Duk Koo Kim.’ It’s a sprawling 14 minute tribute to the
same named Korean boxer, who died following a match against Ray
Mancini in 1982. Kim had never fought outside of Korea, and never in a
15 round match. Against his better judgement, the referee allowed the
fight to continue despite Kim being visually under prepared (Mancini
landed 39 unanswered hits in a row in one round). Kim eventually lost
due to a TKO and fell into a coma. He died days later. Overcome with
sorrow, his mother killed herself by drinking a bottle of pesticide –
and months later the referee of the match also killed himself. Need I
say more? This record is tragic and beautiful and devastating and you
need it.

Section 25 Always Now

I bought this on a whim a while ago – I’d heard the name a ton and I
knew they were on Factory but I’d never listened. I’m so thankful I
did because it’s grown to be one of my favorite albums of all time and
a huge inspiration. It’s hard to talk about this record without using
certain words like “gloom” “darkness” “void” and so on. Larry Cassidy
(RIP) and crew float through ten tracks of krauty, shivering post-punk
/ death-disco – whatever you want to call it. Nevermind ‘Looking from
a Hilltop’ and the Bernard Sumner produced synth crap that followed
this record, Always Now is the masterpiece. With Martin Hannett at the
helm, Section 25 stomp their funeral march through grim atmospherics
and moments of shimmering melody. No one has ever done so much with a
kick and snare as Hannett, as is evident by the various timbres of
production on Always Now. The snares hiss, and the bass rolls in
sludgy chorus and Cassidy is somewhere in the back singing “I want
your love, I want your body, I want your heart” with a cold detachment
that many bands now owe a debt to. Including myself. The last two
tracks on this record are in my opinion, the best two closers on an
album ever. ‘Be Brave’ steps out on a driving drumbeat while Cassidy
contemplates the pursuit and loss of happiness, stepping around a
loose three note bass line. And ‘New Horizon’ sounds like a requiem but
is in fact has some of the most positive lyrics on the record,
complicating things in such a delightful way that it begs repeat

New day
New beginning
New day

RIP Larry Cassidy


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