I’m not entirely sure why I love it. Yes, it is a relic of post war Europe
sensibilities. Yes, it is often a tacky
exhibition of truly horrid music to which I wouldn’t ordinarily listen. Yes, many of the lyrical concepts are truly
hysterical. Yes, the voting process is a
shambles dominated by regional favouritism.
Perhaps it’s a combination of these and many other factors. Who knows?
Ultimately all I can say is that I find it funny, fascinating and hugely
entertaining.
I can take this attitude for a simple reason. Europe has produced more than its share of
great artists who have contributed greatly to the development of the music I
love. So far this year, I’ve already
played a sampling of these acts including Neu! And other 70s German
experimental bands, Serge Gainsbourg, Slovenia’s Lailbach, the Irish U2, Sigur
Ros from Iceland, Soulwax from Belgium and Norwegian lunatics Turbonegro. As such
I know that Eurovision is not a showcase for the kind of acts I’d be interested
in hearing.
It’s a knowledge that has developed slowly over the years
going all the way back to the start of the Special Broadcasting Service (SBS),
fittingly the network that has always shown the contest. 30 years ago, they put to air a regular music
program called Rock Around The World which almost exclusively showcased the
best rock from around the continent and, I think, Japan. Whilst I cannot claim to have become a fan of
any particular act because of the program, it did make me realise that great
music is to be found anywhere and not just in the UK, USA and home. It was as great a personal realisation as the
discovery that Top 40 radio did not necessarily play the “best” music
available. From that point onwards I never judged an act based on their country of origin.
And so for the next few days I’ll be playing a range of
albums by acts from various European countries, starting with:
(# 360) dEUS – Worst Case
Scenario (1994)
Belgium is home to a number of eclectic bands including
Soulwax/2ManyDjs, Dead Man Ray and The
Evil Superstars. But ultimately all roads
seem to lead back to dEUS, probably the first Belgian act to make an impact outside
its borders. This was their debut album
and the opening track Suds & Soda the perfect introduction with its
combination of great playing, violins and feedback. The remainder of the album is a superbly judged
collection of fractured songs with vocals and music that recall Tom Waits (on
Great American Nude and Divebomb Djingle), Pavement (Jigsaw You) and Camper Van
Beethoven (Secret Hell).
(#361) Cato Salso
Experience – A Good Tip For A Good Time (2002)
Garage rockers from Norway, the opening track to this album,
Listen To Me Daddy O, is a killer note perfect approximation of the Jon Spencer
Blues Explosion complete with dirty bass and theremin. Incredibly this is topped by the very next
track, the flat out rocker So The Circus Is Back In Town. Time To Freak Out is aptly named and Move On
proved that the opening track was no fluke. A bonus track on my copy of the
city, Got Soul If You Want It, is an infectious tune that sounds like an organ
based version of The Beatles Day Tripper.
(#362) The
Raveonettes – Chain Gang Of Love (2003)
A male/female duo from Denmark, this was their debut album
(a mini album preceded it) with each track recorded in the key of B flat
minor. The net effect is an enjoyable
set of concise songs that don’t sound all that dissimilar to The Jesus And Mary
Chain albeit, for the most part, without the fuzzed up guitars. Let’s Rave On and The Truth About Johnny epitomise this approach and on The Love
Gang they leave the fuzz in to great effect.
(#363) The Hives –
Barely Legal (1997)
This was the debut album for these great Swedish rockers,
one of the most dependable live acts going round. It’s short (only 27 minutes long) but full of
exciting short, sharp shocks to the system.
In an album without let up, a.k.a. I-D-I-O-T and, especially, Here We Go
Again stand out and Automatic Schmuck
and Closed For The Season are not that far behind.
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