Category: Rewind Reviews

Rewind Review: Françoise Hardy – En Vogue Best of 1962 – 1967 (2025)

Françoise Hardy is one of the queens of yé-yé – the French pop music with slight psychedelic flair that charmed the world in the 1960s. En Vogue Best of 1962 – 1967 doesn’t encapsulate all of Hardy’s career, but it does collect twenty-four of her best tracks from a five-year period in which she was one of the voices of the generation who would protest the status quo.

“Tous Les Garçons et Les Filles” (“All the Boys and Girls”) has this haunting sound to it with Hardy’s voice echoing over simple beats and guitar and not-so simple bass grooves. “Le Temps de L’Armour” (“The Time of Love”) ups the fuzz a bit and could’ve been a Bond film theme in another life. “Le Premier Bonheur du Jour” (“The First Joy of the Day”) has a bit of a melancholy feel, leaving you wondering if Hardy is feeling joyful, or if she’s trying to convince herself that she is. “J’aurais Voulu” (“I Would’ve Liked To”) blends guitar and soft string instruments well.

“Pourtant Tu M’aimes” (“Yet You Love Me”) has a Phil Spector “wall of sound” vibe with the big instruments and backing vocalists behind Hardy’s breathy vocals. The deep piano and hand claps of “Et Même” (“And Even”) keep up this big, bold sound balance with Hardy’s soft voice. “Mon Amie la Rose” (“My Friend the Rose”) almost sounds like an Ennio Morricone song with its use of vocal sounds in the background, Spanish-tinged guitar, and Hardy’s voice drifting like dust across the land.

“Je N’attends Plus Personne” (“I’m Not Waiting for Anyone Anymore”) has Hardy a bit angry (as evidenced by the fuzzy guitar and frantic strings) and punching above her weight with her bold vocals. It’s a nice contrast with the next track, “Je Veux Qu’il Revienne” (“I Want Him to Come Back”), in which Hardy is tired of waiting for her lover to return. It’s a fast-paced rocker. “La Nuit Est Sur la Ville” (“The Night Is on the City”) is a tender ballad.

“DisLui Non” (“Tell Him No”) is funky and fabulous. “All Over the World” is the lone English track on the compilation (which is fine with me, give me all the French stuff!). “L’Amitié” (“Friendship”) is almost a lullaby. Hardy’s vocals on the chorus of “Le Temps des Souvenirs” (“A Time for Memories”) grab your attention and don’t let go.

Other standouts on the collection are “La Maison Où J’ai Grandi” (“The House Where I Grew Up”) with its peppy acoustic guitar chords, the soaring “Je Changerais d’Avis” (“I Would Change My Mind”), and the folksy “Au Fond du Rêve Doré” (“Deep in the Golden Dream”).

It’s a lovely collection from a lovely chanteuse and a great introduction to her work.

Gardez l’esprit ouvert.

[Veuillez vous abonner.]

Rewind Review: Black Moon Mother – Illusions Under the Sun (2020)

I found Black Moon Mother‘s 2020 album, Illusions Under the Sun, at a Chicago wrecka stow where it was described as a mix of doom metal and shoegaze (doomgaze). I listened to ten seconds of one track and was sold.

Beginning with “Lost in the Maze,” lead singer Brianne O’Neill‘s voice sounds like a ghost calling to you from the other side of a foggy lake while Mikey Owen and Corey Taylor‘s guitars seem to summon more ghosts from under the lake. “Around the Finger” feels like a song about loss and how it lingers with you (“Forever the weight. Inside, you know it stings.”). Jason Gilmore‘s bass riffs have an unexpected groove to them that inspired metal-loving head nods.

“High Winds” has appropriately soaring guitar work from Owen and Taylor while O’Neill’s voice drifts and glides over and through an ancient forest as she reminds us of the power of the world around us. “Slow Down” is a similar theme, with O’Neill encouraging us to touch grass (as the kids used to say) and remember our connection to everything around us.

The powerful “Radiant Sun” features not only Jeff Ehlinger‘s hardest drumming, but also O’Neill’s strongest warning about how apologies to Mother Earth will be too little, too late when she finally decides to set things right (“Creation is blood, soil is mud, we knew not of your worth.”).

The album ends with the instrumental, almost ambient “Afterglow.” It’s a neat way to wrap up a record of heavy riffs and ethereal vocals, showing that Black Moon Mother can create multiple soundscapes and moods. They’ve become one of my favorite discoveries this year.

Keep your mind open.

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Rewind Review: Frankie and The Witch Fingers – Data Doom (2023)

Shame on me for being late to Frankie and The Witch Fingers‘ excellent 2023 album, Data Doom. As you can guess from its title, the overall theme of the record is how technological creep into every facet of our lives and how it’s helped the rise of lethargy, rage, apathy, and fascism.

It’s another blast-your-face record from them that features a bunch of tracks that have become fan-favorites at their live shows. Starting with the low-end distortion of “Empire” that turns into a riff that feels like a lit match above a pool of gasoline, the album barely lets up for a moment. The outro alone might crush you and gets the whole crowd jumping.

“Burn Me Down” is about lead singer Dylan Sizemore wanting to be cremated after he’s dead. “Electricide” is a fast (check out those Nick Aguilar beats!) warning about letting technology overwhelm you (“Electric eye disrupts the way we know ourselves. So, go on, feed yourself electric pesticide and never question why we live the illusion.”).

“Syster System” is a satirical takedown / warning on the creeping influence of technology and how it disguises itself as a boon while often dehumanizing everything around it (“Syster System you’re the dream. All the planets and the beings. You’re the rhythm that we need for future machinery. Syster System is the code embedded in us to erode.”). The second half of it is a wild ride with Nikki “Pickle” Smith‘s bass leading the charge.

“Weird Dog” has funky, crunchy guitar work from Sizemore and Josh Menashe in a song about encroaching fascism (“Waking up the core, waking up the hive, waking up the Tao, waking may arise. Breaking up the war, breaking up the lies, breaking down your door just to watch you sleep.”).

“Doom Boom” is a slick one that centers the album with a call for an opening of our consciousness and a turn away from being “shackled to lies” (as well as hate, war, politicians, death, work, wait, and idealism). This could’ve been a Parliament track in another life. “Futurephobic” is an instant mosh-pit generator with its chant-ready chorus of “System has no way to connect!” chorus, but don’t miss Sizemore’s biting lyrics about how doom scrolling is creating brain rot and stealing your privacy and information (“Come ye witness the intended marketing, dopamine spiking, hooked up to the ever-changing chattering, listening, gathering.”). “Mild Davis” is another such warning (in 7/4, no less) with lyrics like “You there, ensnared by the god of wired screens, fuels the flicker of the infernal machine.”).

This warning (which also includes consumerism and capitalism) is delivered a final time on the last track, “Political Cannibalism,” with Sizemore’s bluntest lyrics on the whole album: “We consumers eat ourselves. Planet’s been disemboweled. Mass extraction bleeds us out, makes a terrible sound. Glutinous feeders at the helm. They’ve been grinding us down as we dine our own kind. They stack money and count.”

This is top-tier stuff. FATW have yet to miss.

Keep your mind open.

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Rewind Review: Ennio Morricone – Il Bandito Dagli Occhi Azzuri (The Blue-Eyed Bandit) (2021 reissue)

When you find a reissue of a rare Ennio Morricone film score on sale for ten bucks, you put down ten bucks.

In this case, it was the score for the 1980 crime thriller Il Bandito Dagli Occhi Azzurri (The Blue-Eyed Bandit). This is a rare Morricone score in that it’s mostly a jazz album he composed and conducted for the well-known Italian trio of Ricardo Del Fra (double bass), Robert Gatto (drums), and Enrico Pieranunzi (piano). There’s also a full horn section brought in by the Maestro on a few tracks.

Such as the opener, “Città Viva,” which sets up the action fight away with bold horns and Gatto’s snappy snare work. “Madre Assente” is a lovely track that has Dino Asciolla‘s viola joining Pieranunzi’s piano. “Campi Aperti e Spospesi” has a haunting sound that only Morricone can seem to create.

“Double Face” portrays the moment when we realize the main character isn’t all he seems to be, and Pieranunzi has fun with it. “Esecuzione Radifonica” has beats that hip hop DJs will want to snatch. The whole trio thumps and grooves on the first version of the song Morricone named for them – “Per Enrico, Riccardo e Roberto.”

If you’re thinking “Sotto I Ponti Dell Città” sounds like Dave Brubeck‘s “Take Five,” that’s because it does. Many of the tracks are in 5/4, and Morricone wanted a similar sound to Brubeck’s classic track for many of the moments in the film. It’s a delightful piece. “Per Dalila” is almost soft-rock and perfect for romance. “Stranamente Di Notte” ratchets up the tension with Pieranunzi’s piano coming straight out of a giallo film and Del Fra’s bass creeping up on you out of the dark.

The big brass of “Cinque Quarti” is sharp and deserves to be its own theme song for a TV action show. What follows are variations on previous tracks for the rest of the score. “Per Dalila #2” is especially nice.

It’s yet another fine score from the Maestro, and a fun one with all of its jazz elements.

Keep your mind open.

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Rewind Review: Jean-Claude Vannier – Electro-Rapide (2011)

Jean-Claude Vannier is considered one of the greatest French pop and orchestral composers ever, having created a mountain of music in his time – much of it “library” music used as incidental music in film. He also released two albums with fellow legend Serge Gainsbourg (Histoire De Melody Nelson and L’Enfant Assassin Des Mouches).

Electro-Rapide is full of short, weird, funky tracks, many of which were never released until this 2011 compilation album from Finders Keepers Records saw the light of day. “Bombarde Lamentation” is such a track to open the album, immediately making this collection a treat for Vannier’s fans.

“L’Ours Paresseux” is a showcase for Vannier’s rhythm section (Pierre Alain Dahan on drums and Bernard Lubat on percussion). “La Girafe Au Ballon” was originally recorded for children’s TV shows but has a bass groove from Tony Rubio that you could drop into any sexy spy movie from the late 1960s. “Claquez Klaxons” is another previously unreleased track original made for death penalty protests in France.

Believe it or not, “Saturnin et Le Vaca Vaca” is a theme song to a children’s show about a real-life baby duck. The short and sweet “L’Automne À Barbès Rochechouart” is Vannier’s tribute to a Metro station in an African community in Paris. “Qu’est-ce Qui Fait Courir Les Crocodiles?” is Vannier’s attempt to write a theme for a comedic film. It works, and I’m surprised it hasn’t been reused as a sitcom theme by now.

“La Douleur De L’Orchestre” is another previously unreleased track. It’s a weird, somewhat melancholy tune using a full orchestra he kept around after recording other tracks. “Thème 504” was released as TV and film library music in 1968, but not used for such a thing until 1989’s Comédie d’été. “Le Ballet Des Accoucheuses” is a vocal track using a choir of pregnant women to snap, tap, chant, and breathe beats throughout it.

“Road to Cuba” was written, according to the album’s liner notes, “…in the taxy that drove me to the studio. I’ve never been to Cuba.” Indeed, there isn’t a hint of Cuban, Caribbean, or Latin music in it, but it’s still fun. “Je M’appele Géraldine” was another TV theme Vannier wrote that was later re-recorded multiple times, including one version with lyrics.

“L’Éléphant Équilibriste” is another children’s TV show theme that playfully lumbers around your speakers. The album ends with a reprise of “Bombarde Lamentation” recorded in 1973 and not released until 2011.

This is a fun collection and a neat addition to your library music archive if you’re into that sort of thing. If you’re not, this might spark your interest in that vast, still mostly unknown genre.

Keep your mind open.

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Rewind Review: Various Artists – Life Is Dance! compilation (2011)

Bollywood music gets a lot of attention, but do you know about Lollywood (Lahore + Hollywood) music? Life Is Dance!, another excellent collection of obscure music from outside the U.S. by Finders Keepers Records, seeks to expand your knowledge of music from Pakistani films in the 1970s.

Most of the songs on this collection are by Altaf Hassain Tafo (leader of a group of family musicians), Nazir Ali, Kamal Ahmed, and M. Ashraf, and nearly all the tracks feature the stunning and prolific Nahid Akhtar on lead vocals. Life Is Dance! practically is an Akhtar album.

Her voice (along with vocals by Mehdi Hassan and A. Nayyar and weird male backup vocalist chants and shouts) get in your brain and under your skin on the crazy “Zambo Zambo” (from the bizarre spy movie Jasoos from 1977). The song combines electronic percussion and hand percussion from Tafo and psychedelic bits that might freak you out. The compilation’s title track (from the 1976 film Society Girl) is next with Ali mixing happy accordion with sci-fi synths, bold horns, and trippy guitar as Akhtar and guest vocalist Mehnaz sing / purr / roar throughout it.

Ashraf’s first track on the album is “Dear I Love You” from the 1975 film Zanjeer. It’s a groovy one with accordion somehow blending with (at the time) state-of-the-art synthesizers and slick bass lines. Ahmed finally goes the party (with Mehnaz on lead vocals this time) with 1976’s “Aage Bhi” (from the film Blackmail). It’s one of the grandest songs on the record with big horn arrangements and thrilling hand percussion.

Tafo and Akhtar return for “Shalo Sa Bharka,” another track from Jasoos. It feels darker and grittier than the first, which is not a put-down by any means. Then, the duo flip you on your head with 1979’s “Naughty Boy” (from the film Adawat), in which Akhtar scolds a lover for having naughty thoughts…which might be the same ones she’s having. Sohali Rana‘s lone contribution to the album is the instrumental oddity “Cobra Sway” from the 1970 film Khyber Mail.

Ashraf and Akhtar return for “Sheeshy Ki Botal” (from 1975’s Surat Aur Seerat), which features a nifty saxophone mixed with guitars that sound like they were plugged in after being buried in an ash pit for about three weeks. Abdul Hameed steps in for one track with Akhtar, the sexy and fun “Catch Me If You Can,” one of a few in which Akhtar throws in English verses and phrases now and then to grab your attention. The horn section on it is a lot of fun, and I’m surprised it hasn’t been resurrected into a modern film soundtrack instead of just languishing on the 1978 soundtrack to Dil Ke Daag. Akhtar’s playful vocals on “Too Ne Pyar Se Dekha” (from 1976’s Shabana) are delightful, as is Ashraf’s blend of classical instruments and hand percussion. It makes you want to dance around the room.

Another track from the two of them follows, “O My Love,” from 1977’s Shama-E-Mohabbat. It’s a grand, lush tune with some of Akhtar’s loveliest vocals on the compilation. She teams back up with Tafo on “Wey Titly Non Par” (from 1978’s Cheeta Chalbaz). Tafo hands the mic to Jehan and Cheeku on 1975’s “Dil Be-Qara Mangda Ae Pyar” (from Nawab Zada). The mix of tinny guitar, rapid tabla beats, and jaunty accordion is bizarre and fun.

Ahmed comes back for two more songs, the first being “Don’t Drink” (another from Blackmail) with Akhtar opening the song with her breathy request of “Oh…Don’t be silly.” You’re under her spell right away. The second is “Jawani Meri Bijli” (from 1976’s Warrant) with Jehan belting out powerful vocals over sizzling hand percussion beats and groovy synth bass.

Finally, from 1976’s Society Girl, we have Ali teaming up with Akhtar and Mehnaz for a song that you’ll put on your holiday playlists from now on – “Happy Chrismis.” You have to hear it to believe it. You’ll love it.

You’ll love this whole thing, really. It’s full of gems.

Keep your mind open.

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Rewind Review: Viagra Boys – Viagr Aboys (Japanese deluxe edition) (2025)

Sebastian Murphy, lead singer and songwriter for Swedish post-punk giants Viagra Boys, said their latest album, Viagr Aboys, was an exploration of real life meeting high art and that the album is admittedly “a bit simple and stupid,” because he and his bandmates were exhausted by world politics and wanted to create something fun. Even the album art is goofy, as Murphy wanted the band’s name to be symmetrical on the cover and it ended up split in half.

Is life art or is art life? That’s the overall theme of the album. “Man Made of Meat” gets the album off to a fun start with call-and-response vocals about Internet culture and how it turns people into constant consumers and promoters (“I hope they see me in the drive-thru lane!” / “I don’t want to pay for anything. Clothes and food and drugs for free. If it was 1970, I’d have a job in a factory.” / “I’ve subscribed to your mom’s Only Fans.”). “The Bog Body” is based on a real museum exhibit of exhumed, preservered bodies found in bogs that Murphy’s girlfriend became somewhat obsessed with, which Murphy found fascinating. Again, life is art, and the reactions to it, often pompous ones, can be humorous (“Do you even know the difference between a swamp and an ancient bog?”).

“Uno II” is a goofy tale about Murphy’s dog and the constant veterinarian bills she produces. Elias Jungqvist’s synthesizers and Oskar Carls’ flute turn the story into a somewhat dreamy tune. “Pyramid of Health” has Murphy facing how his partying life is affecting his body and all the weird advice he’s received to fix it. “Dirty Boyz” is another witty takedown of bro-culture with killer beats from Tor Sjödén.

“Medicine for Horses” could be about ketamine, but it’s really about wanting to do something significant before one’s death and being remembered afterwards. Carls’ saxophone is as lonely as Murphy’s voice. “Waterboy” references dancing, singing raisins and aimlessly wandering through life without purpose (“Livin’ like this, you won’t live long.”). “Store Policy” is so angry and rough that it’s probably based on a true story that happened to Murphy. Henrik Höckert’s bass is, as always, thick and crushing. The grooves he creates are often jaw-dropping. The whole band hits hard on it. Carls’ flute notes stab at you, Linus Hillborg’s guitar sounds like a bandsaw breaking down, Jungqvist’s synths throb like Bruce Banner turning into the Hulk, Sjödén’s beats go full-cyborg, and Murphy snarls and growls the whole time.

“You N33d Me” gets you dancing (again, that bass by Höckert!) and is another spin on how many people have gleefully allowed their lives to become art / products to be consumed by others. “Best in Show Pt. IV” (another one about life being displayed as an exhibition) is the longest track on the album as Murphy seems to be speaking stream-of-consciousness lyrics about weird trips and how he’s losing his mind (“I need access to heaven, or ain’t none of this is gonna work out.”). “River King” is just Murphy’s voice, Jungqvist’s piano, and Carls’ saxophone spinning a tale of Murphy’s desire for a lost relationship.

You get four extra tracks if you pick up the Japanese deluxe edition of Viagr Aboys: “Therapy II” (a bit of a riff “The Bog Body” grooves with a definite Devo influence), “Middleage(d) Humanoid” (with Höckert’s bass as heavy as Thor’s hammer), “Watching You” (a cool showcase of Jungqvist’s skills and Sjödén’s programmed beats), and “Cumboy” (in which Hillborg demonstrates that he can play shoegaze anytime he wants).

Yes, art is life and life is art. There’s more to it than politics, Internet clicks, maxing, and fleeting fame. Viagra Boys have been reminding us about this (and warning us of the embrace of toxicity) for years, and Viagr Aboys is another important message from them.

And it’s silly, which is much needed in today’s world.

Keep your mind open.

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Rewind Review: Pale Blue Eyes – This House (2023)

The cover of Pale Blue Eyes‘ This House features a photo of the house and parents of lead singer / guitarist Matt Board. Everything in that photo is gone now. Well, the house might still be there, and Board’s memories of it are still intact, but it has new inhabitants now. The lawn is probably different. The decorations in it are different, and the people now living in it are building their own lives while Board, after losing both his parents within five years of each other, is still building his. The album is about loss, but also embracing the change that comes with loss.

The album begins with “More” (as in there is more after loss, if you allow it) as Lucy Board‘s synths and programmed beats immediately bring light and hope, and Aubrey Simpson‘s bass groove gets your feet tapping. As if that wasn’t catchy enough, “Simmering” is even peppier and encourages us to examine the “before and after” when you’re faced with a life-changing event.

After all, there’s “no turning back” after such a thing. You just want to “Hang Out” and let it drift by you “because I don’t want to talk about it anymore.” Sometimes you have to be still…although this track is tailor-made to get you to dance. Put it on at the party you throw to alleviate your sadness. It’s perfect. Mrs. Board’s synths and programming on “Spaces” sounds like transmissions from outer space.

Simpson’s bass on “Heating’s On” sounds like something from a lost Go-Gos track. Mr. Board’s guitar goes all shoegaze on “Our History,” and it’s a gorgeous wash of sound crashing over you. “Million Times Over” slows things down just a bit, but the dance beats (and spooky synths) return with “Illuminated.” “Sister” is another shimmering shoegaze stunner. Looking for motorik? Don’t worry. Pale Blue Eyes have you covered with the snappy “Takes Me Over.”

The record ends with the lush “Underwater,” as if you plunged into a backyard pool at the end of a long day or late at night when the party is winding down and it’s just you and a couple close friends. You know things will be okay. You can embrace the shock, the cold, and you can embrace the support and the warmth. It’s all okay.

Keep your mind open.

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Rewind Review: The Limiñanas / Laurent Garnier – De Pelicula (2021)

Take psych-rock / ye-ye giants The Limiñanas and combine them with DJ / producer Laurent Garnier and what do you get? De Pelicula – a super-groovy, super-trippy album that tells the tale of two lovers in a film soundtrack format. The album’s title even means something akin to “like something out of a film.”

“Saul” is a mysterious track about a man who loves film and music but isn’t happy with life until he meets a young woman and decides to leave everything behind to follow her. Saul (“A small town guy.”) and this woman, Juliette (A “beautiful and gentle” prostitute), are prominent figures throughout the record. “Je rentrais par le bois…BB” (“I was returning / coming home through the woods…BB”) is a slightly frightening psych-drone track with Garnier’s synths creating a weird landscape and Marie Limiñana‘s beats creating a slightly paranoid sense.

“Juliette dans la caravanne” (“Juliette in the trailer.”) has Saul meeting Juliette in her 1960s trailer for a rendez-vous that changes his world and unsettles him. “Que calor” brings in Spanish lyrics instead of the French you’ve heard so far. Lionel Limiñana uses a mellotron and organ to neat effect here and the entrance of his fuzzy guitar turns your head into a strong wind.

“Promenade oblique” is another solid instrumental track with a groovy bass line from Lionel. “Te tournes en boucle” (“You’re turning / going in circles.”) is a twisting, looping track that details Saul feeling lost until Juliette shows up to pull him back into a clearer headspace. “Steeplechase” races along with some of Marie’s snappiest drumming and Garnier’s spy movie car chase scene-like synth pulses.

“Juliette” is the tragic backstory of the female half of our lovers in this tale, told through haunting synths and raging guitar. Juliette, born to a single drug-addicted mother, drifts into drugs and eventually kills a pastor who takes advantage of her…only for her to end up a party girl on drugs and having sex for money. “Ne gâche pas l’aventure humaine” (“Don’t spoil / waste the human adventure.) repeats the lyric of “Je t’aime.” (“I love you.”) again and again as siren-like synths give us a warning of what’s ahead for our star-crossed lovers.

“Au début, c’était le début” (“At first, it was the beginning.”) has Garnier taking lead vocals that sound like he’s mourning for lost times, reflecting Saul’s wish for something better for he and Juliette. He doesn’t get those better times, however, because at the end of the album, on “Saul s’est fait planter,” (“Sault got stood up.”), Juliette leaves him. She gets on a train and never returns. That’s French cinema for you.

It’s a cool record telling a cool story with cool grooves. You won’t regret taking this trip.

Keep your mind open.

[N’oubliez pas de vous abonner!]

Rewind Review: St. Germain – Boulevard (1995)

Widely regarded as one of the breakthrough albums of French house music, let alone one of the classic 1990s house music albums, St. Germain (AKA Ludovic Navarre) premiered on the scene with Boulevard and stunned everybody.

The opening track, “Deep in It,” clocks in over seven minutes and drops killer vibraphone beats from Miguel “Punta” Rios on top of snappy electro-beats to get you deep into the sexy Parisian nightclub at 2am. That track is practically a warmup for “Thank U Mum (4 Everything You Did),” which is over twelve minutes of sizzling percussion and smoky bass and sounds like it samples Lightnin’ Hopkins vocals to make the track even groovier.

“Street Scene (4 Shazz)” has great flute work from Malik throughout it that elevates the 15-plus minutes into a great jam. “Easy to Remember” has a great trumpet line throughout it from Pascal Ohsé. Édouard Labor‘s saxophone takes the lead on “Sentimental Mood” and pairs with Alexandre Destrez‘s poppy piano quite well.

“This is what we call easy listening, underground house music,” someone says on “What’s New?” before the floor-filling dance beat drops. “Dub Experience” is a laid back change of pace from the house beats that have propelled the album through the first six tracks, and the closer, “Forget It” is something you’ll remember thanks to its wicked beats and sensuous grooves.

It’s a classic album that still sounds like it could’ve been released yesterday and set the time for Tourist, which is one of the greatest make-out albums of all time.

Keep your mind open.

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