screaming-towards-apotheosis asked: How'd you feel about doing an intro to goth? You do the best mixes <3
I’m sorry this has taken me so unconscionably long. The truth is, I don’t really know anything about goth, as a genre or a subculture or a classification of any sort, so I had to go away and learn some things and also consult with friends of mine who are involved in that scene. That said, I did compile a mixtape (and thank you so much! I’m glad you enjoy them!), but you are free to laugh me off as an amateur, because with regard to this I really am.
Here it is.
I ought to warn you that not everything on there is strictly gothic rock/punk/dark wave/what-have-you. There are a number of songs on there that are either “proto-goth,” post-punk or industrial or garage rock sounds like the first few tracks, or more contemporary songs that I’m told are modern goth club staples.
In any event, tracklist here, because the read-more cuts don’t appear to be working right now.
lndtbr asked: Hey Jey if it's not too much trouble could you make us a Welcome to Night Vale fanmix?
This is kind of cool, because I don’t get asked to do themed mixes like this very often. Thanks for the request!
If you don’t listen to Welcome to Night Vale, you might like to check it out – it’s a fortnightly podcast in the format of a community radio show and the juxtaposition of the creepy and the mundane is delicious.
Here's a mixtape. I hope you like it; it's a bit different from what I ordinarily do! Tracklist, as usual, under the cut.
Anonymous asked: Would you ever consider explaining Euskadi Ta Askatasuna in a little more detail? There's too much information out there to begin to make sense of.
I assume you’re asking because of this post, so I’ll tell you what I can, but please bear in mind that I’m no expert. I only know what I’ve pieced together from random reading.
Euskadi Ta Askatasuna, better known as ETA, started out as an organization for Basque nationalism and separatism. They were initially intended in support of traditional Basque language and culture, but have evolved into what is essentially (and officially, according to the European Union) a terrorist group. They’re the central organization of the Basque National Liberation Movement and the chief player in the bid for independence from Spain and France.
In theory, ETA are a group whose main goal is Basque independence; however, though there are numerous other organizations and political parties who support either independence or at least self-determination, ETA are the only group who engage in or even approve of violent or terrorist activities to achieve that goal.
Some history below the cut for you, if you’re interested.
Anonymous asked: What do you think a duo of Johnny Marr and Peter Hook would sound like?
Actually, that was once proposed – shortly after New Order went on hiatus in the nineties, Peter Hook actually asked Johnny Marr to join his new band. Unfortunately, Johnny had only just agreed to work on Electronic with Bernard Sumner, so it never happened.
I think it would be reasonably interesting musically, though. Hooky is so well-known for his unique style of bass playing (that high, melodic sound) and Johnny for his jangly, open, bright guitar (he’d tune a step up and work with particular variations of chords to get the sound he wanted). I think they’d gravitate toward more of a “pop punk” sound, because Johnny’s style lends itself to that and Hooky’s always wanted to play in a punk band. There would probably be fairly strong bass lines, a more equal division of labour between guitar and bass than in most bands, partly because Johnny learnt to play from a bass perspective while he was in The Smiths and partly because Hooky seems to rather like the spotlight. I’m also guessing that Johnny would do the lion’s share of the singing (chiefly because he’s the more melodic singer of the two), but Hooky would get the harder numbers (because he enjoys it). If they were a Strummer-and-Jones-type duo, Johnny would be the musical Mick Jones and Hooky would be the heart-and-soul Joe Strummer.
I may be talking complete rot here, and of course I’ve no idea how the two of them would play off one another, but that’s my wild guess. Either way, I think it would be pretty brilliant.
lndtbr asked: hey jey why didn't the clash wanna play on the top of the pops?
There’s a simple and a complicated answer to that question.
The simple answer is that they refused to mime*. The Clash, and Joe Strummer in particular, were very much into the authenticity of their performances – they always wrote for the everyman, played to the everyman, preferred smaller venues, crammed as many audience members as they could backstage after the shows, had as many people as they could in their dressing rooms, talked to everyone, helped people with guitar problems, had local artists open for them, and so on. To be on Top of the Pops, they would have had to mime their performance, and that went against everything they stood for.
The more complicated answer is also that there was (and still is) a sort of “in-crowd” to pop music, and if you aren’t a part of that, then you’re distinctly out of place. Despite their success, The Clash were decidedly outsiders in the pop scene, and part of that outsider status was their refusal to mime – something that most groups on the show did without question. The Clash knew they had different perspectives and different values to the pop crowd, and appearing on the show would have damaged their credibility in more ways than one. (You’ll notice that other “outsider” bands who’ve appeared on the show have flouted the unwritten rules in various ways; several 1970s proto-punk bands insisted on playing live, the Pogues performed with Shane MacGowan too drunk to mime properly, the Stone Roses played with Ian Brown messing about with his microphone instead of singing, and so on.) Further to that, none of the members of The Clash were great with authority, and the producers on Top of the Pops wielded far too much over the bands they invited into the studio.
In short, The Clash were a principled band who disagreed with the artifice of the status quo, and Top of the Pops was exactly the opposite of what they wanted to represent.
* Miming, in this case, refers to performing with a specially-recorded backing track. Band members didn’t actually play their instruments or sing, but the Top of the Pops policy at the time stated (possibly in an attempt at maintaining some last vestige of credibility) that everyone who played on the recorded track had to be present in the studio.
shittoavenge asked: Can you make me a mix tape? <3
Of course! I will always make a mixtape for anyone who asks.
I know you like Frank Turner and /Passenger, and you told me you also like Mumford & Sons, folk music, ’90s music (which I choose to interpret creatively), and drum-and-bass. Hopefully you’ll find something you like on this!
Tracklist is under the cut – and if you hear anything you enjoy, feel free to ask me for more! There are loads of songs that didn’t make the final, forty-track cut.