I have become somewhat addicted in recent weeks to Widowspeak’s new album, ‘Plum’. The gateway drug was the Brooklyn duo’s dreamy, hypnotic cover of Dire Straits’ ‘Romeo and Juliet’ from a recent EP, ‘Honeychurch’. But now I am hooked on their own compositions, particularly the album’s title track.
Emily Barkers’ mesmerising ‘A Dark Murmuration of Words’ has been the soundtrack to my 2021 lockdown mornings. There’s both beauty and sadness in these songs that describe the natural world and what humanity has done to it, while bridging from nature to mull over human emotions.
December is here, which means it is time for the annual markontour Festive Fifteen. As usual, there’s nothing to do with Xmas in this compilation, just my favourite songs released in this very strange year and put together in homage to the much missed John Peel and his alternative Festive Fifty. The full playlist is available on my YouTube and Spotify channels.
Lockdown has proved just as busy as pre-COVID times, just with opportunities for discovering new music shifting from seeing live bands to listening to the radio. Favourites on the markontour playlist of late have included:
As we enter a third week of lock-down in Britain, markontour’s isolation playlist is growing nicely, now topped up by some wonderful on-line live sessions, Jarvis dj-ing from his living room, and the daily pleasure of Chris Packham and Megan McCubbin’s ‘Nature Livestreams’. The whole playlist is available here.
One of the upsides of Coronavirus home isolation is an increased chance to listen to music. In more normal times, I mostly discover new bands from chance attendance at concerts, and hear new tunes in record shops. In what might become a temporary/regular markontour feature, I offer up for collective enjoyment the bands and songs I have instead been introduced to in the last week via radio (mostly BBC Radio 6 Music and KEXP), Spotify and YouTube:
It’s been a markontour rule to always make an effort to see the support act, ever since I ill-advisedly bought tickets to see Simply Red (it was about 1988) but was rewarded by being introduced to The La’s. It is an approach to gig-going that reaped rewards again on Friday night, when Sierra Ferrell stole the show at the Teragram Ballroom, Los Angeles.
It has always been a markontour rule that while it is clearly wrong to assess a person by their looks, and generally an error to judge a book by its cover, it is completely acceptable to buy music on the basis of the album artwork alone. It is an approach that has stood me in good stead from London Calling to the Stone Roses, and is thoroughly vindicated in the case of the Black Pumas.
December is here, which means it is time for the annual markontour Festive Fifteen. As usual, there’s nothing to do with Xmas here, and there has been so much great music this year that I have yet again failed to whittle my list down to fifteen tracks. But, caveats aside, herewith The Festive Fifteen of 2019..
In a vital and captivating free new exhibition the Museum of London is celebrating forty-years since the release of London Calling by The Clash. It’s an album that is both precisely of its time and yet timeless, a spirit that the curators (working with the surviving members of the band) have managed to capture perfectly. Markontour has visited twice already in its first week and I’m sure I will be back a few more times before it closes in April.