Some vintage Australian 90s alternative music shitposting (found in a forum dedicated to that epoch):

Currently listening to the PC Music compilations that have just been released on Bandcamp. It’s a lushly euphoric, mephedrone-soaked neon candy-hued club-pop, a sort of Shibuya-kei of the Rich Kids Of Instagram-era London. What cool teens from Notting Hill were dancing to at Hackney warehouse parties while I was going to psych-rock gigs at the Shacklewell.

pcmusic.bandcamp.com/album/pc-

A genealogy of Nancy Sinatra and Lee Hazelwood’s "Some Velvet Morning", and its curious afterlife:

believermag.com/logger/some-ve

Getting a bit of a Hummingbirds vibe from the debut single from Fortitude Valley, a new UK band headed by Laura K from Tigercats:

shop.fikarecordings.com/album/

Excited to see that Newcastle-upon-Tyne krautrocky electropop combo Warm Digits have a new album coming out in a couple of months:

warmdigits.bandcamp.com/album/

A short history of the punk rock scene in Wuhan, the capital of Chinese punk:

sixthtone.com/news/1703/wuhan-

Listening to a Japanese shoegaze/dreampop band named Plant Cell; rather nice:

plantcelljapan.bandcamp.com/al

Krautrock still has a place in the heart of Södermalm, it seems

Saw a rather good Swedish krautrock/psych band named Kungens Män tonight. They’re apparently in the tradition of Swedish progg/psych bands like Träd, Gras Och Stenar, only with kraut/post-rock/free-jazz influences.

kungensman.bandcamp.com/

An Interview with Angelo Badalamenti, in Believer; in which it emerges that his work with Julee Cruise originated from David Lynch not having had the budget to license a Cocteau Twins song for Blue Velvet:

believermag.com/an-interview-w

Still, “900 Hours” is a sublime synthpop song, almost in the same class as Bizarre Love Triangle. I’m sure there was once a whole suite of remixes (and think I once heard one in a mix Tom Ellard played).

Boxcar were to Technique-era New Order what The Wake were to Movement/Power, Corruption and Lies-era New Order.

Listening to Boxcar — Vertigo. A 1990 album by an Australian synthpop group who were signed to Canadian label Volition (also home to Severed Heads). Pretty good, with the proviso that these guys obviously wanted to be late-80s New Order really badly.

Neneh Cherry talks about rap and its formative influence on her:

theguardian.com/music/2020/jan

I’m now wondering whether the DJ whom she was mimicking in the “wha’ is he like??” interlude on Buffalo Stance was also the inspiration for Lenny Henry’s Delbert Wilkins character

I just realised that I have been thinking of Decoder Ring and Single Gun Theory interchangeably. It’s only sorting through my music collection that made me realise that they’re two separate bands.

I found 4 Bonjour’s Parties’ “Pigments Drift Down To The Brook” at PolyEster on a recent visit to Melbourne. Listening to it now; it really is a lovely album, halfway between 60s baroque pop and múm/Amiina/Clue To Kalo-style indietronica.

Oh, and looks like it’s on Bandcamp too:
4bon.bandcamp.com/album/pigmen

(4 Bonjour’s Parties’ Ayumu Haitani also worked with Melbourne bedroom indiepop project The Motifs during the 00s. He now runs a café in Tokyo, I think.)

Things I hadn’t realised until today: early-00s proto-haunto electronica project King Of Woolworths was Jon Brooks; presumably the Advisory Circle/Café Kaput one. Which, when you think about it, makes sense.

A song you hear played by DJs in Melbourne but not (much) in London: Plastic Bertrand, “Ça Plane Pour Moi”

As 2019 draws to a close, here is my customary list of Records Of The Year:

dev.null.org/blog/archive/2019

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