Son Volt's Trace - Childhood Nostalgia & Pure Americana

 

Son Volt in 1995, photographed by Bob Berg

It's been a hard couple of months. Hell, it's been a hard couple years now- I'm sure we can all relate to that. For me, it's been pretty hard to find that "creative spark" or the drive to use my brain at all really, after I clock out from the long day of using it for eight hours straight. I know I've been fairly inconsistent with my writing for a while now, but I'm also the type of person who can't force it or fake it... it has to be natural, you know? But I think last night's dream was my sign to finally come back to it again. 

I had a dream I was at a concert, specifically a festival, where a childhood favorite band, Son Volt, was playing. Their unrealistically short set finished, and everyone but me walked away to see whoever was next at another stage. The band lingered on the stage, packing up their own instruments (as if they were too underground for roadies), and I approached to give them kudos for such a great set. They said they'd play one more, just for me, and my response was asking them to play their 1995 release Trace, front to back. Lead singer and principal song-writer Jay Farrar (who I'd admittedly never seen in photos much before... so not sure how my brain manifested his image) chuckled and asked if I'd settle for "Tear Stained Eye", to which I humbly obliged. 

All-in-all, a very out-of-left-field sort of dream. I haven't listed to Son Volt consistently for a long time now, although they were a childhood staple, with their Trace CD a regular in my Dad's six-disc changer player. I mostly find myself listening to them during the most nostalgic time of year, summer, because didn't it just feel like those summers lasted forever when you were little? In any case, I felt the need to share a little bit about Son Volt's debut record with the world, despite their massive success of course, because I'm sure there's still many young and old who've never listened to them.

Alternative country at it's finest, Trace is weathered, classic country meets 90's alternative, fuzzed-out guitars, and pure Americana lyrics. Hailing from Belleville, Illinois, Son Volt know exactly what it's like growing up in a small, Midwestern town with nothing to do but drive. Opening with "Windfall", an upbeat, soothing track, blessing you with its chorus, "may the wind take your troubles away"- this song could always make me feel better as a child, and still can to this day. Driving is something I've used as an escape and a de-stressor for as long as I've known how to do it. The lyrics in this song really capture the feeling of bliss I get from just getting in the car and driving far away from whatever is causing me pain back home. There's just something about driving with your windows down, through a rural, woodsy road, with no one for miles that really gives me an unmatched sense of peace. I wonder if any of you feel similarly. 

The complete opposite vibe of "Windfall", "Ten Second News" illustrates what it feels like when you're stuck in that stagnant, small town, as opposed to driving away from it. I don't think there's any song that better describes small-town, Midwest America than this one. From the first note, this song is bluesy and purposefully slow-paced, as if you can feel the isolation and sheer boredom of living in there. "It's hard enough, soaking up billboard signs", is an especially relevant line, and makes me think about driving through Bible Belt towns (or even Northern Wisconsin), with their hilarious billboard arrangement of "Jesus Saves" and "Strip Club" signs, back-to-back. There is something uncanny, and even unnerving about spending time in a town like that, speaking from someone who was definitely raised somewhere more suburban. But even having not grown up there, Farrar's lyrics take us there, and can tell us exactly what it was like.

If you're in the mood for more of an angsty rocker, "Drown" has got you. I definitely enjoyed this song while not really understanding its meaning as a little kid. As an adult, having gone through a few romantic relationships- this is a cynical, sarcastic even, comeback from someone dealing with a fickle, impatient partner. At least that's the story the lyrics appear to be telling. "When in doubt, move on, no need to sort it out", is definitely a dig at someone who just leaves when things are getting tough in a relationship, and doesn't take any responsibility for themselves to make it any better. "You're with me now, will be again", makes me think of the fickleness, of a lover that leaves every time there's a disagreement, but can't stand to be alone, so they keep coming back. "If living right is easy, what goes wrong you're causing it", I always took this one to mean, we all cause most of the problems in our life. If we took more time to work on ourselves, instead of blaming it on someone else, we'd probably be a lot happier. 

Trace will always be close to my heart. It is a nostalgic but everlasting presence in my life, reminding me to take the long way home every once and a while, just to have more time cruising and away from the real world. There are so many beautiful parts of these small towns we live in, we only need to take the time to pause and really see it. I hope whether you're more of a rocker, or a folk & country lover, that this album will give you that same kind of feeling. Please give it a listen in full, and let me know what you think. Thanks as always for reading, and keep hanging in there. Remember to take care of yourself and, "Let the wind take your troubles away." 

Photo of the night sky I took at a truck stop in rural WI, on one of my many 'getaway' drives, years ago

The Sound - "From the Lions Mouth", and into Obscurity

 

It's been a long time since a band has captured my attention and held it there, the way The Sound has. How they managed to fly under my radar for so long, I don't know. But I am so glad to have finally found them. And because they remain relatively unknown to other, well-versed post-punk and 80's alternative aficionados like me, I want to take some time to introduce them to more potential fans.

My introduction to their perfectly-crafted post-punk was a song called "Skeletons" off 1981's, From the Lions Mouth. Not many lyrics to it, but a simple yet thoughtful point to be made- "we're living like skeletons". A metaphor for being depressed, perhaps, to the point where you're going through your days like you're already dead. Or at least you feel so empty inside, you may as well be just bones with nothing but the wind flowing through your hollow shell. That last detail was purposely over-the-top dramatic and goth, because that is the vibe the song gives off. But, the Sound are much more than goth camp. 

*TW: mention of s*icide. 

To give some background, the Sound formed in 1979 in South London, and disbanded in 1988. They never reached mainstream success, like many post-punk bands of the time. However, they were even more obscure than their genre contemporaries, and still really only have a cult following today. Their frontman, principal songwriter, and lead guitarist was Adrian Borland. Borland was the creative force behind what gave the Sound, well... their sound. Those who knew him even in his early teenage years recall his creative nature and natural ability. He notably played guitar left-handed. Along with all his talents, unfortunately, Borland also suffered from multiple different mental disorders. His whole life he dealt with schizoaffective disorder, as well as depression and alcoholism in his later years. He attempted suicide at least three times, according to himself and his family, before sadly succeeding in it, on April 26th, 1999, by jumping in front of a train. Heartbreaking as it may be, there is a reason I didn't spare you the details of the dark side of Adrian Borland's life. It is necessary to understand the chillingly beautiful depth of his music. 

The next song I heard from the Sound, is not from "the Lions Mouth", but is still absolutely worth talking about. From their first album, Jeopardy, I found "I Can't Escape Myself". A poignant callback to Borland's mental struggles, the title really says it all. A simple post-punk rocker, that drifts from quiet murmured verses, to shouted, angry choruses, that help convey the frustration of living with mental illness. "So many feelings, pent up in here. Left alone I'm with, the one I most fear", the opening lines warn. Even if you are neurotypical, and don't live with mental illness, I'm sure you're still able to understand that feeling of not wanting to be alone with yourself, at least one point in your life. For some people, that feeling isn't something that ever goes away. Listen to it for yourself, below. 

One more song I would like to mention before I let you all go off to enjoy this band for yourself, is "Winning". The gorgeous yet haunting opening to From the Lions Mouth, this has become my favorite song by the Sound. It has so many different feelings to it, depending on where you're at in life when you hear it. The title sounds like it's going to be about success, and overall a positive message. But with our knowledge of Borland's life, there is surely more to it than that. I think it can be taken either as a declaration of determination to fight back against whatever is plaguing you in life, or a reminder of the futility of fighting yourself (or both at the same time). The guitar starts off droning on dreamily, but towards the end of the song, turns to incessant wailing, almost as if to remind you that the struggle is never really over- you won a battle, not the war. But that is a lot of what mental health / mental illness struggles are. It is winning the daily battles, trying to keep a leg up in the war, but in many cases, never really winning it, always just living around it. But hey, that in itself is something to be proud of. 

Dismal as a lot of the Sound's music and Adrian Borland's writing may seem after reading this, I promise that listening to it should ultimately uplift you, rather than bring you down. I find comfort in knowing a creative soul out there like Borland has put a lot of things I have felt into relatable, beautiful post-punk anthems. While the Sound never got the critical acclaim and fame that they rightfully deserve, they still have a devoted cult following I am proud to call myself a part of, and soon maybe you will too! 

I just wanted to sign off by saying, thank you all so much for reading. I am sorry for such a long absence since I last wrote, but I hope you'll continue to hang on with me, through future creative lapses. Knowing someone's still with me, makes all the difference. Now, go out there and start "winning", whatever that means for you!

Bryan Ferry - Boys and Girls - Sensual 80's Crooner Rock

If the 1980's could be remembered for only one thing, it would surely be decadence & debauchery. At least from my romanticized, nostalgic perspective, that is a singular culturally defining trait of the decade. It permeated everything, from the film, literature, television, and of course- the music. And if there's any album that encapsulates and romanticizes this concept even further, it would be Bryan Ferry's 1985 solo record, Boys and Girls. 

His first since disbanding the iconic, glam / art rock group Roxy Music, it showcased the refined, sleek image he first began to curate on their last album together, Avalon. Ferry's style was always in stark contrast to that of his former Roxy collaborator, Brian Eno, who was more interested in how bizarre and artistic the music could get (which he expanded on in his own solo work), than making refined artistic rock, that was still accessible to the masses. Their creative differences led to Eno's eventual departure from the group, and Ferry taking Roxy to their peak of popularity. 

On Boys and Girls, Ferry dives deeper and deeper into the romantic, modern crooner image, resulting in one of the decade's most sensual, decadent works, but while still maintaining his artistic, sophisticated side. He capitalizes on his striking good looks, and suave aura, by creating a record that is as attractive as he is. I feel the need to discuss this record, because of how powerful it is, and what sets it apart from other romantic / sensually-driven music of its time. 

The album begins with the pretty overtly sexual, "Sensation". Simplistic in its lyrics, it seems to clearly be depicting the desire and need to spend a night of passion with someone. Musically, it is luscious and smooth, almost is if Ferry is trying to seduce the listener into going to bed with him by sound alone. His voice takes the old-fashioned crooner vibe, and corrupts it, taking it to a place that surely would have been unacceptable and "raunchy" at that time. This of course will only be expanded upon by the next track, and the rest of the album.

Then there is the track that most will remember from the record, "Slave to Love". Probably Ferry's best known song, there are even many from my generation who know it (though most probably couldn't say who it's by). The song is featured in countless film and TV show soundtracks, from the 80's to the 2010's. There is a reason for this fame and notoriety. It is on par with the Police's "Every Breath You Take", insofar as the ideas of obsession and needing to have someone as your own being heavily romanticized and sought after. The lyrics follow along the sensual, romantic path the rest of the album takes, but is more subtly lustful- some listeners even taking the song's lyrics to a sadomasochistic place. Think of it what you will, but there is no denying the entrancing, passion this song exudes. With renowned "slap" bassist Tony Levin (Peter Gabriel), Guy Fletcher on keyboards (Dire Straits), and Keith Scott on guitar (Bryan Adams), the track has enough musical prowess and star-power to stand tall on that fact alone. But it is of course Ferry's modern 80's crooner voice, and sexually, romantic-driven lyrics that make this song the stand-out that it is. Give it a listen for yourself, below. 

The third track pumps the breaks on the "hot and heavy" motifs, if you will, and goes for a dancier song about well...dancing! "Don't Stop the Dance" has such a unique sound, with its low-key synthesizers and saxophone, stays on the sensual track of the beginning of the record, but focuses more on a need to simply dance. "There will always be more time to find a perfect lover, but for right now, all I want is to dance until the sun comes up", might be the universal feeling of every single person dancing the night away, finally feeling at peace with just being with themself, not needing a partner to be happy. This is at least, my take-away from the song, but there isn't much to go off of, so feel free to develop your own theories. 

"Windswept" harkens back to an Avalon sort of sound, with its abstract lyrics, depicting a magical, enchanted landscape that could only come from the mind of Ferry. It maintains the romanticism contained within all of Boys and Girls, via heavy sax, this time giving the song its more mystical feel, done in such a stylized way, and castanets also contributing to this vibe. Topping it off with Pink Floyd guitarist David Gilmour on lead guitar, "Windswept" is a mystic rocker of a track, which is unfortunately often overlooked. I invite you to check it out below.

I'll leave the remainder of Boys and Girls a pleasant surprise for you to discover on your own (or a pleasant reminder, for those of you already familiar with it). Other highlights, however, include Mark Knopfler of Dire Straits and his signature guitar genius on the track "Valentine", and the album's ender, and title track, "Boys and Girls".

When you look at it from a modern perspective, Bryan Ferry's Boys and Girls is everything a romantic 80's album should be. From Ferry's 80's take on the crooner (sometimes referred to also as "blue-eyed soul") voice, to the luscious synths and over-indulgence of saxophone and slap bass, and the sensual (often sexual) lyrics- it's enough to get anyone in the mood. Ferry lets his fascination with decadence run free, but keeps it suave, charming and never-overbearing. Boys and Girls is the record you put on, with candles lit, wine flowing, and a prospective lover sitting on your couch, trying to make some magic happen. And who could blame you? Certainly not the 80's!

Thank you as always for reading, and have a romantic start to your new year!

Bryan Ferry, photographed by John Swannell, in 1985.

Sonic Youth's "Bad Moon Rising" - The Terrifying Truths of America

Sonic Youth's 1985 album, "Bad Moon Rising"

In keeping with the "spooky" theme, I had meant to get this post up before Halloween, but a wedding, among other important life things, took precedence. But! I think this album is still very relevant to talk about, as it is not just a spooky album for its Halloween themes, but for the darker, true history of America that its lyrics discuss. And after the presidential election just occurred, I think that makes it plenty relevant! 

Noise rock pioneers Sonic Youth released their second album, Bad Moon Rising, in March of 1985. It combines elements of noise rock, no wave, and experimental rock. For those unfamiliar with the term "no wave", it was essentially a short-lived avant-garde musical subgenre and scene in New York in the late 70's to early 80's, that was distinctly anti-mainstream pop and rock, and anti-new wave. The lyrical themes were usually brash, in your face, and anti-establishment like punk, but more nihilistic or misanthropic, and paired with atonal, non-standard guitar work. And Bad Moon Rising certainly follows these patterns. 

It is my favorite Sonic Youth album, and while I love the rest of their catalogue- there is nothing else like this one. It is a sweet, half-way point between their earlier, almost completely devoid of melody, screeching works, and before their more accessible, indie rock releases. I definitely do consider it a Fall / Halloween album, partially because of the flaming pumpkin head album cover, and the bonus track named after the holiday. But I also find it to be a "Halloween album", because of the overall sound, vibe, and dark, unsettling (and often true) stories in the lyrics. 

Sonic Youth, posing for a photo in 1985.

The album opens with a one minute "Intro", which is a melancholic arpeggio of multiple guitars, and no lyrics. It smoothly slides into the second track, "Brave Men Run (In My Family)", which is a reference to and a play on Edward Ruscha's painting of the same name. The lyrics are repetitive, and simple yet cryptic, with a multitude of possible meanings. For me, I consider it to be talking about early Europeans first arriving in America, as this is a theme that will come up later on the album, and the painting it references is of a sailing ship on the sea. It sets the tone for the remainder of the album, which continues to delve deeper into this country's dark past. Listen to it for yourself, below.

"Society is a Hole" talks about singer Thurston Moore's distain for the modern world, and how much of the country still lives in fear, despite how advanced the world has become. It is of course, still obscure, but "white powers sneakers on the beautiful beat of black feet", definitely has hints of racism in it for me, and it would make sense considering he is talking about what is wrong with society. It drones on in combination with a chanting of the title, sounding like a tired sort of protest- like wanting to fix the world, but not knowing where to start, other than complaining about it. 

Coming back to the discussion of early European settlers arrival in America, and the effects their arrival had on the land and its people, "Ghost Bitch" is a chilling take on Europeans interactions with Native Americans, from the perspective of an indigenous woman. The lyrics flow like abstract poetry, in fragments or run-on sentences, which gives it a stream of consciousness style, like these are exactly the thoughts going through this woman's mind. Singer Kim Gordon, via the concept of this Native American woman, refers to the Europeans as "savage", which is a twist on how the European settlers called the Natives savage, when it was really them who carried out genocide against the Native Americans. This is my interpretation, but it seems that towards the end of the song, the Native woman is raped by the "founding fathers", and impregnated; it being a metaphor for Europeans raping the land and its people, and how "manifesting" their destiny was more important than preserving and respecting the people and culture who originally resided there ("Our founding fathers laid right down, and Indian ghost from long ago, they gave birth to my bastard kin, America it is called..."). It is incredibly dark, and scary, but it is part of the true history that occurred in this country. If  you feel comfortable hearing it, I invite you to hear its haunting power, here (embedded link because it won't let me embed video).

Kim Gordon brandishing a gun, on the set of the "Death Valley '69" music video.

I'll skip ahead to the last track on the album (before the CD-only bonus tracks), "Death Valley '69". It is a collaboration with no wave musician and poet, Lydia Lunch, and a duet between her and Moore. The song is allegedly supposed to be about infamous cult leader and criminal, Charles Manson. It ties in well with the "dark side of America" theme Sonic Youth has been uncovering already on this album, and ends it on a wild, screeching note- literally. Lunch adds her signature voice, with an extra whiny, childlike flair to the track, making it somehow even more disturbing. Fans speculate that the lyrics are from the perspective of Manson and one of his followers ("Sadie", her part voiced by Lunch), and detail the insanity within the man's mind, and the pair actively murdering someone. To add yet another level of twisted to the concept, the music video shows the band members covered in blood and in various states of dismemberment. It won't let me embed it here (probably for the best), but if you can stomach it, I'd say it's certainly worth watching once (*TW: gore, violence*) by clicking here. The audio only, without the disturbing video, is below for your listening pleasure. 

Bad Moon Rising is truly a wild ride from start to finish. It is Sonic Youth at their most twisted and sinister, but at the same time, it is necessary historical and political commentary that we should be reminded of. I didn't even mention the bonus tracks here, as they're not officially part of the album, but you should also check out "Flower" for a short and sweet, feminist anthem, and "Satan is Boring" if you want to scare the shit out of yourself. And I already spoke about the last one, "Halloween" on my previous post about my Halloween playlist, if you want to read about it there. Bad Moon Rising is scary because it is true. It is our history, whether we like it or not, and Sonic Youth will make sure we remember it, by delivering it in an artistic, spooky, noise rock package. Give the record a listen for yourself, if that concept appeals to you, and if you like what you've heard about it so far. I hope you all had a spook-tacular Halloween and overall October, and thank you as always for reading! 

Tears For Fears "The Hurting" - The Best Emotional Synth-Pop Album

 

 

From reading this blog one or more times, I'm sure by now you've realized I have a few "favorite traits" when it comes to the music I enjoy- particularly when it comes to the lyrics. Sure, I can enjoy some "I like rock 'n' roll and beer" type music as much or more than the next person, but the bands and musicians that claw their way into the deepest part of my soul, and mean the most to me are the ones whose lyrics are much more thought-provoking, and emotional. 

If you're like me in that way, Tears For Fears' debut album, The Hurting, is definitely for you. Released on March 7th, 1983 (a Pisces album, through and through), The Hurting gave listeners a lot of different feelings, many of which they were probably unprepared to feel or deal with. Some critics completely missed the point, in my opinion, calling them "Joy Division copycats" and whiny, self-absorbed, depressed teenagers (though they were in their early twenties at the time). But if I had the chance I'd love to ask them- Why aren't we allowed to indulge, wallow, or revel in our own sadness and personal crises when we listen to or make music? (Clearly they weren't fans of goth music). Because for many of us, that's precisely what creativity and expression is for. 

Part of that negative critical reception is probably what made The Hurting fall by the wayside after the release of their biggest and most pop-oriented record, Songs From The Big Chair (1985). With chart-smashing songs like "Everybody Wants to Rule the World", The Big Chair helped Tears For Fears break out into the mainstream. So in today's world, The Hurting has become much more of a "cult classic". But I'm here to tell you why it's even more special than their most famous record, and why you should know it. 

For some of you, "Mad World" may be the only track you recognize upon a first glance. Even for my generation, it's become very well-known, and a "meme" in some cases... At this point I'd like to mention my distain for the Gary Jules cover, from the Donnie Darko film, as I believe it completely takes away the irony that lies in the song's new wave, dancable, happy beat, paired with the existential, depressing lyrics. Anyways... For other long-time TFF fans like myself, I'm sure The Hurting is so much more than just "Mad World", and holds a very special place in our hearts. I hope after reading and listening, many of you will be inclined to feel similarly about the whole record. 

The lyrical themes of the record cover many dark, painful, or taboo subjects of the human experience that many are afraid or too traumatized by to talk about. There is the loss of a friend or romantic breakup in "Memories Fade", which I personally still can't listen to without getting chills or choked up, even after hearing it so many times. "No don't pretend you can justify the end, memories fade but the scars still linger", ending the song, and leaving us with that feeling anyone who's ever loved and lost can understand. Or there's the talk of childhood trauma, in a very personal way, in "Suffer the Children", where you can tell this definitely comes from a very real place for lyricist Roland Orzabal. This one is also quite hard to listen to for some, and goes well-beyond the usual feelings of an absent parent or parents, and goes so far as to question why he should have even been born, if no one was going to take care of him ("And it's so unfair... when you gave him his life"). 

A personal favorite, and perhaps my favorite TFF song period, is the third track, "Pale Shelter". It is another song partially dealing with parental issues and a lack of love and care as a child, but can also be thought of in a romantic, more grownup way. I'm more inclined to view it in the latter way, but fully respect Orzabal's original thought as it relates to his dark upbringing. It is everything an 80's new wave song should be, in that it has a catchy and fully dancable synth beat, but it has the introspective, thoughtful lyrics that fully fit the description of "sophisticated pop". The music video, with its unique use of paper airplanes, is a favorite of mine to see projected on the wall at my local new wave music video night at the club. Check out the song and video for yourself, below. 

Overall, The Hurting is an incredibly revealing album, that makes us face a lot of dark or unpleasant feelings from childhood to adulthood, that without an excellent synth-pop beat, we probably wouldn't be comfortable dealing with. Orzabal's ability to make listeners connect with him and fellow bandmate, Curt Smith, on experiences seemingly specific to them, lies in his amazingly poetic, emotional songwriting skills. It is a skill that pairs well specifically with this type of music (new wave, synth-pop, goth, darkwave), and is a large part of the reason we love it. While many will remember Tears For Fears for Songs From The Big Chair and their still artfully crafted pop-hits, it is The Hurting than remains many fans' favorite, especially those with a bleeding heart, and a melancholic disposition. 

Thank you all for reading, as always, and please do check out The Hurting, start to finish, in all its heart-wrenching glory. Have a thoughtful and emotionally enlightening weekend! 

Roland Orzabal (left) and Curt Smith (right), of Tears For Fears photographed in 1983.

Nostalgia Alternative's Definitive Halloween Playlist

 

It's that spooky, scary time of year again! And if you're like me, then you're probably tired of hearing the usual, standard Halloween tracks at your neighbor's Halloween party. If you're looking for something fresh and new, featuring some more "obscure" Halloween inspired music, look no further than Nostalgia Alternative's own Halloween Playlist! Carefully curated, and updated year after year, my Halloween playlist is one that I'm very proud of. It has some classics to keep your more casual-listener friends entertained (see: "Thriller", or "Ghostbusters"), but is 90% that post-punk, goth, metal, and overall "alternative" music that we love. There's such a variety though, that there should be something for every spooky music fan on here. With bands such as the Ramones or Talking Heads, to Slayer and to Lady Gaga (yes, you read that right)- you're bound to find at least one track to be a new Halloween favorite. Whether you're wanting to hear an entirely new playlist, or just find one or two new songs to add to your own playlist, I hope you enjoy my take on music that feels right for this classic holiday! 

I'll leave the link to my Halloween Playlist up here, and you can also listen to it via the Spotify player in the sidebar, if you're viewing this from your desktop. But! Before you get too into it, this is a blog afterall, so I want to talk about my choices in songs for a bit first, and then I invite you to check out the entire thing to your heart's content. 

With the large amount of different genres I feature on this playlist, it may seem a little all over the place at a first glance, but you have to remember the unifying theme is not genre- but Halloween. These are all songs that give off scary, eerie, or unsettling vibes that feel just like Halloween should, and at the same time, most of them are great to play at a party! 

Funny enough, I feature four different songs on this playlist that are titled simply "Halloween". There's one from the Misfits, Sonic Youth, Siouxsie and the Banshees, and Helloween. And yes- all of them are necessary, and very different from one another. The Misfits "Halloween" is fast, brash, punk and clocks in at just under 2 minutes long. It serves as a great intro. track that sets the mood in a simple way to tell you just what this playlist is about ("I remember Halloween!"). Sonic Youth's is a much slower, creepy, actually genuinely scary if you're out alone at night, take on the word. It tells a cryptic, unnerving story that is left purposely open-ended, and to me, feels perfectly like that specific paranoia fear you get just before something terrifying is going to happen ("There's something shifting in the distance, don't know what it is..."). 

Then as for the Banshees, their "Halloween"  is rumored to be about something even scarier than slashers and ghosts- the loss of innocence that happens as we get older. It is like a short story on how much we get excited for things like Halloween when we're younger, versus how those things can become boring or a hassle when we're adults (unless you're a goth, of course). And there seems to be a sinister, darker meaning to loss of innocence- like someone or something scary or traumatic stopped your young love for Halloween. A very realistic type of fear is hidden in this song, underneath a thick layer of fun, spooky, and with a catchy chorus ("'Trick or treat', the bitter and the sweet"). Finally, Helloween's "Halloween" is an over 13 minute novel of a song, bridging the gap between the supernatural fear you feel on Halloween, and the fun, excitement that it also brings ("Magic in the air on Halloween, Black is the night full of fright..."). It might be one your party guests will want to skip, if they're not big metal fans especially, but if you still want to hear it on your own time, it's worth the length. With a Charlie Brown reference, and the talk of good, evil, and heaven and hell, it's like all the different things you were told about Halloween growing up, wound into one epic, power metal saga.

Normally I'd link one or more of these songs below, but I'll leave it for the whole playlist. Next up what I'd like to mention is one of the standout, oddballs on this mix (or at least maybe odd to you). While the uninitiated might find it strange, I happen to enjoy a fair amount of Lady Gaga's music- Particularly her Born This Way album, where she went for a deliberately eclectic, 70's & 80's pop-rock sound and aesthetic (and she nailed it). There's a song on there you might remember if you enjoyed pop music in the early 2010's, called "Judas". It's a heavily Madonna inspired track, but with a darker twist than she might have dared to do in her heyday. On the album it's a dancey, fun track about being "in love with Judas", despite wanting to be true to Jesus (pop-flavored blasphemy at its finest). But, the version I feature here on this playlist is not much like the original at all. It's the Goldfrapp remix of the track... which turns it borderline demonic. Gaga's voice is distorted, and deepened, making her sound possessed by evil, rather than just happily singing about it. It's as if "Judas" and the essence of betrayal has consumed her, taking her over. It honestly sounds truly terrifying, in an Exorcist sort of way, and genuinely scared me the first time I heard it. But! The thumping electronic beat, combined with this scary, demonic reimagining, make it a perfect Halloween party track. I'll let you hear it for yourself, if you're still skeptical over the name "Gaga". Trust me, it's anything but "pop". 

Finally, I'd like to mention one more intriguing highlight of this playlist for me, before I send you on your way to go listen to all of it. I feature 3 songs on here from goth favorites, The Cure. This of course includes the obvious yet timeless, "Lullaby", as well as their original song for spooky film classic, The Crow, "Burn". There's one more Cure song I find to be perfectly fitting of Halloween, and that's their slow, groovy-goth cover of Jimi Hendrix classic, "Purple Haze".  Their version takes it from a fast and furious rocker, to a spooky, mystical gothic perspective. I never would have thought of the original as a Halloween song at all, because it doesn't scare me or make me want to be scared at all. But the minute I heard the Cure's cover, it just felt right. For me, it's the slowed down beat, combined with Robert Smith's signature "spooky" voice, that makes this a modern Halloween classic. Give it a listen for yourself, below, and hopefully you'll feel it too. 

So that's all I'll say about my Halloween Alternative mix for now. I think hopefully it should speak for itself, and you'll understand a majority of the song choices without my explanation. But, if you are curious about any, feel free to reach out to me, and I'll give you as shallow or deep of an answer as you like. Also, this is a Spotify playlist, as that is my main method of streaming music, but if I know you in "real life", you can feel free to reach out and ask for a physical copy on CD, as that is a lost art / favorite hobby of mine (or I can create a YouTube playlist version, if anyone asks for it!). 

Halloween is creeping up around the corner... or if you're a goth, it's all year 'round! So whether you've got a party planned or just want something to enjoy with a glass of cider by yourself, I hope Nostalgia Alternative's Halloween Mix is what you've been looking for! Thanks for reading this brief overview of it (very brief, as the playlist is nearly 4 and a half hours in length!), and I hope you'll enjoy what you hear! Happy Halloween, Blessed Samhain, and happy spooky season to you all! 

"Boo Wave", goth & new wave artist Halloween art, by Matthew Lineham.

U2's "The Unforgettable Fire" - Their Most Ambitious & Artistic Work

 

When my family and I travelled to Ireland for our summer vacation in 2016, I knew the most important place we needed to visit was the castle U2 used for the cover of their album, The Unforgettable Fire, in 1984. Released on October 1st, 1984, the Unforgettable Fire is one of U2's strangest, most artistic albums- and it is also my favorite. It marked a change in sound from their earlier works, and the decision was completely deliberate by the band, along with ambient music legend, and the album's producer, Brian Eno. At the time, the band was worried about being pigeonholed as a "stadium rock" or more basic, mainstream rock band, as they were starting to establish a name for themselves after releasing War one year prior. The sound on the Unforgettable Fire is the most atmospheric and ambient of anything they've released to date, and the lyrics are the most obscure and poetic... you can probably start to understand why it's my favorite already, but let's take a closer look at the history and significance of the record, to give you the full story.

Moydrum Castle in Ireland, photographed by Alex Byrne, 2016.

The castle the band photographed to use for the cover of the Unforgettable Fire, was Moydrum Castle, which has been in a state of ruin, since it was set afire by the Irish Republican Army in 1921, during the Irish War of Independence. This was U2's first time working with photographer Anton Corbijn, who photographed the castle and placed a sepia tone over it, and later imposed the image of the band members. The photo was actually an exact copy of an already existing image (minus the added filter and band members), so the band had to pay an unknown sum for the rights to use it. 

I didn't know any of this when I begged my parents to drive us around Ireland in our rental car, until we could find this ruined castle, in the middle of nowhere. But they didn't mind so much- they have both been huge U2 fans since the early 80's. In fact, I wore my mom's original Unforgettable Fire tour shirt she got after seeing them play the Aragon Ballroom in '84, that day we went to find the castle. To add yet another level of nerdiness to it all, we were playing the album through the car speakers as we took our own pictures of the castle, one of mine you can see pictured above. It was a borderline spiritual experience, and definitely the highlight of the trip for me.

U2, photographed by Anton Corbijn in 1984, for the Unforgettable Fire album.

There is so much rich history and references enveloping the Unforgettable Fire album, that it would be impossible for me to talk about the record without mentioning it. But for now, let's talk about the music. The album itself is almost a concept album, in that it seems to follow a sort of story, and have an entirely cohesive sound and theme. "A Sort of Homecoming", as its opener, puts this story idea into place, as the song is partially a reference to the band changing, and reflects singer and lyricist, Bono's now more serious approach to songwriting. Followed by the song that became the most popular off the album, "Pride (In the Name of Love)", which is Bono's anthemic ode to Martin Luther King Jr., who would be referenced and memorialized on later tracks of the album as well. "Pride" is probably the most straightforward "rock" song on the album, and has fairly simplistic lyrics, but it still fits the mood of the record. It is more the powerful way in which Bono sings the lyrics that gives them meaning. That, combined with the Edge's iconic, standout guitar-playing, makes the song sound as strong as it does. Listen to its power for yourself, below.

Moving forward a bit, to get to the song I'm most excited to talk about- the title track. Here is what I deem the best thing to have come out of the U2 / Brain Eno collaboration. It is the most mysterious, atmospheric song, with the most poetic, fragmented lyrics. The title and lyrics are said to have been inspired by the band's viewing of an art exhibition by the victims of the atomic bombings of Hiroshima and Nagasaki. With this in mind, one could start to make sense of the lyrics, but there is still something left purposely obscure, which I think is just part of its charm. It doesn't sound like any other U2 song out there, before or after it. It sounds just as magical and mysterious as that ruined castle on the cover. Hear it for yourself, below.

Something that makes U2 fans past and present disenchanted with the Unforgettable Fire, is the amount of "filler" or short, interlude-like tracks on the album. But, for that reason it did exactly what the band wanted it to do. It weeded out those "fake fans" who couldn't handle the band stepping outside their simplistic rock format, and letting their creative spirits fly. I for one do not find those shorter, instrumental or limited-lyrics tracks to be "filler", but that in fact they add something to the album, that would make it feel less powerful, were they not there. 

For example, between the title track, and the next song I want to talk about, "Bad", there are two short, nearly instrumental, or fully instrumental tracks- "Promenade" and "4th of July". Both of those tracks bridge the gap between my two favorite songs on the album, and set such a dramatic, yet meditative mood, before the anthemic, "clench your fist and cry" (as I like to call it) energy of "Bad" comes rolling in. One should enter that meditative state before "Bad" comes on, or they may not be ready for it. A powerful, emotional song that is loosely based on heroin addiction, but has become so much more as it has aged. Bono has stated that the song never got finished, and that its lyrics are "fragments"- again, leaving that air of obscurity and mystery, that allows us to put our own experiences and meaning into the words. As someone who has never had an experience with the drug it's supposed to be about, I relate to it in my own, different way, but one that is still deeply spiritual. It feels to me like the washing away of this great sin, or guilt, or sadness. It feels like emerging from this cave and seeing the light, and realizing that it feels good to be alive again, even though you may still feel pain. I know it's not just me who feels so strongly about it, as it has been a crowd favorite at their concerts since the album's release all those years ago. Maybe it doesn't make as many tears flow as one of their later songs like "With or Without You", but it's probably a close second. Hear its power, and get goosebumps for yourself, by listening below. 

I'd like to end by talking about the final song on the record, "MLK". It is like the follow-up to "Pride (In the Name of Love)", in that it revisits Bono's reverence for Martin Luther King Jr., with a more straightforward elegy, rather than a harder rock song. It has simple, but thoughtful lyrics, that are so emotional, it is a shame they couldn't have been read at MLK's actual funeral. But it was still greatly appreciated by King's wife's organization, the King Center, where Bono received the highest honor for writing it, as well as "Pride". Even on their more ambient, atmospheric album, U2 still managed to bring forth the social and political commentary that makes them stand out amongst other popular rock bands (to some people's delight, and to other's annoyance). I think it was done in a way that complements the rest of the album, and isn't overbearing. 

The Unforgettable Fire is an enigma of an album. It was U2 purposefully wanting to be different, and seen more as creative artists, and less as rock hit-makers. And it worked! The previous fans that liked it stuck around for more, and those that didn't, saw themselves out. For me, it is my favorite U2 album, and even their "magnum opus", the Joshua Tree, doesn't hold a candle to the lyrical and musical power it has. Seeing that castle in person, with the Unforgettable Fire playing in the background, was an experience I'm sure not many others have been able to have, and one I cherish. To me, it was like a monument to their work, and a physical embodiment of the magic the album possesses. If you appreciate the album as much as I do, I hope you get to make the same pilgrimage to Ireland to see it, that I did one day. And if this is your first time hearing about it, or listening to it, I hope you liked what you heard / read! Thank you as always for reading, and I hope I'll find you on the next post! 

The Unforgettable Fire tour shirt my mom got while seeing them live in Chicago, in 1984.