Why we love…Explosions in the Sky

For those of you who don’t know, Explosions in the Sky are one of the forefathers of Post-rock, a genre of rock that uses “guitars as facilitators of timbre and textures” and are really the first purely instrumental band I’ve really gotten into. For those who know me (so clearly everyone who reads this…) when it comes to my music I’m all about the content.

From his highly underrated song Youngstown, from his highly okay album The Ghost of Tom Joad

I appreciate and enjoy good music, but I can put a lot aside if I like the voice and lyrics; so your Bruce Springsteen’s, Bob Dylan’s, Gaslight Anthem’s, Tom Waits’, have always been a favorite; Explosions in the Sky has changed that.


I’ll really just be talking about the band as whole over a specific album, as like all great things, I didn’t get into them one by one but all at once and all together.

They have a pretty good oeuvre of album covers

I guess what sets them apart from other progressive bands, (Dream Theater and Transatlantic come to mind because of my shallow understanding of the genre), is one, length, with most songs only ten minutes or less and not up to twenty or more. And two, their pure use of progression, as they have a much deeper use of building melody, instead of just building rhythm like I’ve commonly heard in the genre. Melodies that actually build into a climax and end, not just peter out or climax and then have a warm down fuck.


Take the first song from their first album, A song for our Fathers, from How Strange, Innocents, or the first song from their fifth album, The Birth and Death of the Day, from All of a Sudden I Miss Everyone. Their songs never sound like they’re just showing off their technical skills like a lot of instrumental songs I’ve heard, and there’s still always this sense of structure and meaning behind the music.

Even if the words aren’t there you can still feel the meaning, the story, what’s going on behind the sound and why it was worth making at all. It’s music that can build from burying your head in the dirt, to screaming from a thousand different rooftops.

But what really helped get me into this band is how excellent it is to read and write to. As a semi-professional reader and writer I can say it’s impossible to do either with music that involve lyrics, as unsurprisingly having someone else’s words and voice in your head when you’re trying to think is pretty distracting.


But don’t get me wrong, I’m not saying Explosions in the Sky are good because they just make good background sound, they go beyond just filling in a sound gap, and actually help stimulate the mind. Helping you to focus and generate content (I’m listening to them as I write this) as their sweeping melodies soar and crash into distorted haze, and you write the best work you’ve ever put to paper, or read the best book you’ve ever held.

Explosions in the Sky are the soundtrack of the heart and soul. (And Saturday Night Lights)

Why We Love….London Calling

22nd December 2002 is possibly the most important day in my life from a music listening perspective. The day Joe Strummer died. Some of you may be aware that The Clash are one of my favourite bands, and I’m not alone in that respect, they were widely called The Only Band That Mattered and they’re good enough that that name doesn’t seem like hyperbole. Which makes me feel even more guilty about what I’m about to say, I didn’t know who The Clash were when Strummer died, in fact his death was what made me a fan of the band. Not in a hipster-ish “I only bands who were underground so I wait for members to die” kind of way, don’t worry. I was sitting at home one day flipping through the music channels when he died, I know this as London Calling played on Q (I think), and it was labeled “London Calling – The Clash. Joe Strummer R.I.P”. For some reason it was the first time I had paid much attention to that song, and something clicked in my head about how good it is. Then I went through to another channel and they played Should I Stay Or Should I Go? I was amazed. How can one band perform two songs that sounded so different? Then the triangle of triumph was complete when a channel played Rock The Casbah. It was at that point I knew I needed to find out more about this band, so, Boxing Day, 2002 I went to The Shop Formally Known As Sounds Perfect and brought what would turn out to be one of my favourite albums of all time: London Calling. To those of you who haven’t listened to this album: you’re less of a person and you should fix that immediately. Since then I’ve heard the other albums they’ve made, and whilst they’re all good, they’re no London Calling. I think part of that is because of the experimentation shown on this album. Very few albums have as many different genres on show here: almost every song sounds different from the next, with some punk, some ska, some lounge, some R&B, some reggae, some jazz etc. In terms of styles the album is just a hodgepodge of different styles and clashes that combine to form something truly wonderful, in much the same way as London (specifically, Camden). This album is, still today, the sound of London in much the same way that It Takes A Nation Of Millions To Hold Us Back is the sound of New York. It’s not just the music, it’s also the lyrics. The album is not just good (in my opinion, whilst Sum41 may have named their album as such, this album is the true All Killer, No Filler album), lyrically this album is a masterpiece, covering the issues that needed to be covered right now. From unemployment through to racial conflict, drug use and the responsibilities of adulthood. Guns Of Brixton (a.k.a: the song that launched a thousand basslines, seriously, this has to be the most punk song which you could use as the backdrop for a hip hop song) has one of the intense opening lines of a song:

When they kick at your front door
How you gonna come?
With your hands on your head
Or on the trigger of your gun

The fact that such brutal lyrics were laid against one of the best bass backdrops in music history opened the casual listeners minds up to the situation. The trouble with a lot of punk music is it’s preaching to the already converted. If the Sex Pistols were singing to people who were punks, it was The Clash that turned these people punk in the first place. The Clash are like Bob Dylan in that they have influenced outside of their genre. The best way to gauge a bands influence is via tribute albums. Yes, The Ramones tribute album does seem to have a wide variety of bands (Metallica, RHCP, Rob Zombie etc) the only true completely strange one to see is U2. The Clash, however, on Burning London have not only the expected ones (No Doubt, Rancid, Mighty Mighty Bosstones) they also have some you’d never have expected (Ice Cube, Moby). If a band can lay claim to have influenced bands as diverse as that, they must truly be something special.

Now onto my favourite part of this album, how it was released. Now, the band had had trouble with their record label prior to this. CBS had refused to release the bands debut album in the US, released singles the band didn’t want, and asked them to clean up their sound. The issues for this album came from the band wanting to release a double album, the record label refused because they were assholes. They did, however, allow them to release a free single with the album. So the band put a free single with the album, it was just a single that contained a lot of B-sides, in fact, almost an entire albums worth of B-sides. Since the deal was that the single would be free with the album, this meant that the (now) double album would be released at the same price as a normal album. The band won as they got to release the album as it was intended, the fans won as they didn’t have to pay more, and the record company lost, which is exactly how it should be.

So yeah, that’s why I love this band, and why this album is one of the most important pieces of music I’ve ever heard. And why it makes me feel even worse that it took the death of the singer to realise how amazingly talented this band is. People can keep their 1959 plane crash, for me, 22nd December 2002 is the real day the music died, and the day it was reborn, out of the fire like a phoenix, into my head, and into my heart.

Like if you enjoy

  • Rancid
  • Green Day
  • Arctic Monkeys
  • Rage Against The Machine

After this, check out

  • Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International. A 4 disc tribute album to Bob Dylan, only one song is featured more than once, and every song was recorded specifically for the album. Dylan is one of the select few artists you could do this with, especially with the amount of talent on show: This is the only album where MCR, The Gaslight Anthem, Rise Against and Bad Religion sit alongside Mick Hucknall, Miley Cyrus, Bryan Ferry, Natasha Bedingfield, Sting and Adele.
  • Heartattack. I knew I had to put a modern punk compilation on here. Was going to put one of the Punk-O-Rama albums on here but then realised I listen to the songs from here a lot more. Featuring a bonus disc of new songs to celebrate Burning Heart records, this album features some truly fantastic songs.