The Best Video and Best Live Act nom­i­nees choose their favourite al­bums.

IN­DIE ROCK QUAR­TET AND Q AWARDS DOU­BLE-NOM­I­NEES ON THE RECORDS THEY COULDN’T LIVE WITH­OUT.

Q (UK) - - Contents -

Yeah Yeah Yeahs Fever To Tell (I nTe rscope , 2003)

El­lie Rowsell (vo­cals, gui­tar): “Grow­ing up, this was one of my favourite al­bums. It was the first ‘cool’ record I liked. Be­fore this I’d been lis­ten­ing to chart mu­sic, so among my friends it felt like I’d dis­cov­ered this record. I was able to go to them, ‘Have you heard this?’ so it was special to me. Peo­ple have asked me, as ‘a woman in mu­sic’, if I lacked role mod­els while grow­ing up lis­ten­ing to rock mu­sic – but it’s not some­thing that ever re­ally oc­curred to me, be­cause I had Karen O.”

The vel­veT Un­der­groUnd The vel­veT Un­der­groUnd and nIco (ve rve , 1967)

Joff Od­die (gui­tar): “It’s prob­a­bly the best record ever. I stole it from a mate at 15. If you grew up in Corn­wall and were into in­die, when you found some­one with sim­i­lar tastes you swapped a lot. I don’t think any­one has brought to­gether the left-field and a pop side as well as The Vel­vet Un­der­ground. They use re­ally out-there things – like John Cale play­ing just one note – yet it works per­fectly. The Black An­gel’s Death Song? That can’t be a proper pop song… but it is!”

sex pIs­Tols never MInd The Bollocks, here’s The se x pIs­Tols (vI rgI n, 1977)

Theo El­lis (bass): “I could pick some­thing less ob­vi­ous, but hon­estly, you can’t go wrong with this. I heard it late; I was 18. I’d heard all the stuff about it first, but then I dis­cov­ered what a bril­liant record it is. It’s not just knock-youfor-six, do-a-load-of-speed punk; there’s a real sway to it. There’s this mis­con­cep­tion of it not being re­hearsed or tight, but they are clearly play­ers. And in terms of vo­cals, the en­ergy in these songs is pal­pa­ble. You be­lieve in it.”

The Beach BoYs sUrF’s Up (BroTh e r/ re prI se / eM I , 1971)

Joel Amey (drums): “I grew up on The Beach Boys – my mum played me their records all the time – and I al­ways had this image of them as being very colour­ful, but this record is grey, it’s al­most emo. It sounds like the time it was made: the ’ 60s are def­i­nitely over. A song called Don’t Go Near The Wa­ter from a band who’d spent the last eight years try­ing to get everyone to surf ? Some­thing’s ob­vi­ously gone wrong. They sound burnt out but that makes it a stun­ning record. It’s re­ally sad, but re­ally pretty.”

alex g dsU (orch I d Tape s/ lUckY nUM Be r , 2014)

El­lie Rowsell: “This is the kind of mu­sic I en­joy: bed­room grunge. It feels like the stuff I tried to do by my­self when I was younger. My early demos sound like shit ver­sions of this al­bum. I like his vibe; it’s soft but it’s not twee. My younger brother and his friends have just started to form bands and they’re all very much in­spired by Alex. Peo­ple who get his stuff re­ally get it. Has he in­spired me to go back to my own bed­room demos? Hmm… maybe.”

THE NO­TO­RI­OUS B.I.G. READY TO DIE (BAD BOY, 1994)

Theo El­lis: “Rap-wise, I’d only been lis­ten­ing to grime, be­cause it was a Lon­don thing and I grew up there – but I got into this through a friend at col­lege who knew ev­ery word. It re­ally opened up hip-hop for me. His flow is un­be­liev­able, it’s sto­ry­telling at its finest. He throws you into his world. I’m a vaguely mid­dle-class kid from Fins­bury Park lis­ten­ing to him talk­ing about sell­ing crack but it still seems real to me. And the beats are amazing, it’s su­per lush pro­duc­tion-wise. It’s a de­li­cious record.”

JOHN FAHEY THE TRANSFIGURATION OF BLIND JOE DEATH (RIVE RBOAT, 196 5)

Joff Od­die: “I’ve lis­tened to this ev­ery week since our tour man­ager rec­om­mended it to me four years ago. They’re gui­tar folk in­stru­men­tals that sound very sim­ple – Fahey’s called the master of the Amer­i­can prim­i­tive gui­tar – but once you lis­ten to it closely you start think­ing, ‘What the fuck is he do­ing?’ There’s this weird, dark un­der­tone to it. I’m a big folk gui­tar-player, I’ve tried learn­ing these tracks, and I still don’t un­der­stand what he’s do­ing.”

THE BRONX THE BRONX (FE RRET, 2003)

Joel Amey: “I’m from Sur­rey, so any­thing that was re­motely dan­ger­ous or LA was sick to me. When I saw The Bronx in Kerrang!, aged 13, I knew they were for me. This is a vis­ceral, an­gry record and I never tire of it. It doesn’t age be­cause they’re not a three-chord punk band. They’re very tech­ni­cal, but lots of fun too. I read that they do ev­ery­thing in three takes and if it’s no good af­ter three, tough shit, that’s it! Bril­liant! Do Wolf Alice do that? No, thank God! Mainly for my sake!”

The vinyl count­down: Wolf Alice (from left, Joel Amey, El­lie Rowsell, Theo El­lis, Joff Od­die), Old Street, Lon­don, Oc­to­ber 2016.

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