It feels incredible to be writing here again. For those who don’t know, or didn’t notice, our domain went offline for almost an entire week. This, obviously, left Benjamin and I distraught and distressed for the down-time’s duration. It effected every area of our output, with it even coming close to causing a permanent cessation. Despite such devastating circumstances, we’ve been able to move past it confidently in readiness for our next phase. As a result of the issues with the domain, a backlog of tasks requiring completion has built up. An Office Chart is well overdue, though I did state in the previous one that it might be the last.… [continue reading]
I’m not sure how it ended up this way, but this month’s is the most disparate offering I’ve curated yet. Still, there’s only one point in it that I think is uncomfortable and jarring. Be aware of the transition between Boards of Canada‘s Satellite Anthem Icarus and Modest Mouse‘s Ocean Breathes Salty; it’s a particularly nasty one. Unfortunately, it was a bit too late to do anything about and Ocean Breathes Salty is good enough to get past it. Beyond that, this month’s playlist skips from genre to genre without a moment’s rest. On the whole, it works quite well with a playful verve.… [continue reading]
I challenge anybody on this planet to try to outdo my Radiohead fandom. Presently, it’s a task that would be posing to just about anyone. Even Thom Yorke likely knows less about his own band than I do. I’ve obsessed over unreleased and rare material for the majority of my life, down to the shortest snippets of half-baked soundcheck jams. Therefore, I have some extra insight into what to expect from OKNOTOK, Radiohead’s reissue of their legendary record, OK Computer.
Yep, I’ll admit with my hands in the air that this is hardly an original idea. Radiohead have been doing office charts for years, and I can only assume that thousands of hip blogs and magazines have adopted it. Of course, it doesn’t really matter. I just thought it would be a fun monthly thing to do. Besides, I’ve got a High Fidelity-esque predilection for making playlists anyway. Neither of the Bens have anything to do with this, in case they get ashamed by the choices. This is just my own personal “writing an article for Secret Cave” playlist. … [continue reading]
It’s all kicking off in the fifth episode of the Secret Cave podcast. Lee and I have arguments about turn-based combat, the best Radiohead album, Final Fantasy’s finest era, and Rasta samples in the Predator movies.
…But for now, listen to this week’s episode:
📻 in this episode, we discuss:
- Thoughts on Radiohead’s A Moon Shaped Pool
- How your listening environment affects music
- On True Love Waits
- Does a high production value affect emotional reaction?
Hear the writers discuss this subject on the Secret Cave Podcast!
Choking down a shit cigarette, mostly paper, the streets are lamplit at 7:30am at the bus station in an underpopulated Latvian dock town.
Sat down amongst old men in flatcaps who instantly fall asleep when the bus shakes over the bridge. I’m listening to A Moon Shaped Pool for the first time, looking over the river and into the sprawling post-Soviet landscape of warehouses, tower blocks, rusty cranes.
Burn the Witch says panic attack and I think I’m probably having one. Familiar tongue numbing fear of motion, scared dog arched up in the corner, stare at the back of the seat.… [continue reading]
My love for Radiohead is something I can trace back to the age of six. Anyone who knows me well enough is aware that I answered my humble Beano filofax’s query of “Favourite Band?” with “Radiohead”, and my allegiance to them has only grown stronger since. That’s a background I feel I have to give before spotlighting Thom Yorke’s debut solo effort – something that wasn’t released until deep into Radiohead’s career. Even I went into The Eraser with more trepidation than excitement, far more worried about its implications for my favourite band and what it meant for their future.
Despite the fact that my very first pirated version of it had the first two seconds of every track cut off, it only took one listen for me to know the release was more than solid. … [continue reading]