15 ALBUMS THAT MEANT SOMETHING TO ME #2: THE FUTUREHEADS, BY THE FUTUREHEADS

The first time I heard this album was in the Fopp on Rose Street in Edinburgh, August 2004. You remember back in the day, when most people didn't have the internet or iPods or anything and if they wanted to buy an album they hung around in record shops and waited for the grumpy dude behind the counter to put the record they were interested in on those little banks of headphones where you could stand and look really cool and hope all the boys noticed? Well, yeah, I was doing that, and to be honest I just stuck the Futureheads on because the other records available were Gang of Four's Entertainment!, which I mistrusted as too highbrow, and some irrevelevant shitey jazz that you're not legally eligible to listen to if you're female or less than 47 years old. Anyway, that probably holds the record for my 'best-single-music-related-decision-originally-taken-to-impress-boys'; it certainly outweighed spending 25 quid on Dylan tickets because I had a crush on some knobhead who thought he was the best musician that ever lived (spoiler: HE'S NOT). Anyway, I liked them immediately: the way that occasionally happens when you meet a friend of a friend in a bar and know by the end of the evening that you're going to spend a bit too much of the next decade making fart jokes on their Facebook wall. All of this was great, for two reasons. Reason 1 was that it meant that I knew of the Futureheads before they became famous for being That Band What Did A Cover of 'Hounds Of Love' Which Is Possibly More Eccentric Than The Original. I don't usually have the energy to know about good bands Before They Get Famous, so this was a rare treat. The second reason was that the second week I was in Edinburgh, I lost the CD carrier I had brought with me (yeah, 'CD carrier' muthafucka. Remember them? No, of course you don't, because you're on the internet and therefore 10) so the only music I had for the six weeks I spent there was the CD I had playing in my Discman at the time - this one. This is probably the one album associated with a specific time and place more strongly than any other piece of music I've ever listened to, ever. It's weird, because the album sounds definitively modern: those precise guitars and sweet-voiced, I-don't-give-a-fuck-about-gender-paradigms harmonies never fail to recall for me bruised, brooding, historical, masculine Edinburgh, but there you go. Memories that involve music are always like that: endlessly contradictory, endlessly compelling. And also, this album is so good. Just so fucken GOOD, man. I'm re-listening to it now, and I still can't fault it. Do you remember those chocolatey pretzel crisp things that you used to be able to buy around 1998/9? The ones that worked because they were all crisp astringent interior and then melty sweet chocolate on the outside, and then part of the pleasure of them came from just how unexpected they are? This album is like those guys: there's the crisp, brittle precision of Dave Hyde's drums, then the sugariness of the famous acappela backing vocals, and THEN ON TOP OF THAT THEY TALK ABOUT MURDER AND PEADOPHILIA AND SHITTY LOW PAID TEMP JOBS AND THEN THEY WHIP OUT THE KATE BUSH COVER AND START CHATTING ABOUT MAN RAY. Seriously, re-listening to this album now: these dudes are so under-rated. Everyone liked them, but no one seemed to think they were that interesting. And damn it, they are! They're clever and funny and interesting and actually, I'd really like to be friends with them. Even if in 2004, all I cared about was that they wrote kick ass music for indie kids to dance to and I thought that if I listened to them enough I would magically be transformed into the kind of girl that boys who look good in tight trousers wanted to kiss.

This was meant to be a facebook post, but then I got qualmist about how maybe it was a little bit too personal for friends only,and decided instead to post it to EVERYBODY ON THE ENTIRE INTERNET. HURRAH. Ok, here it is. It's about music, predictably: 15 ALBUMS: [The rules: Don't take too long to think about it. Fifteen albums you've heard that will always stick with you. List the first fifteen you can recall in no more than fifteen minutes. Tag fifteen friends, including me, because I'm interested in seeing what albums my friends choose.] DISCLAIMER: These are not the 15 albums that I love the most, or the ones that I think are best, whichever criteria it might be that you're using to define 'best' at any given moment. They're the ones around which memories have crystalised and hardened to such an extent that I fully expect to be hanging on to them long after I've started mistaking my children for my siblings and have been packed off to the nursing home/labourcamp/privatised incinerator for the elderly and infirm which will no doubt be the only option for impecunious OAPs once this government is through with our health service. ANYWAY THAT IS NOT THE POINT I AM NOW TALKING ABOUT MUSIC THAT I LOVE AND CARE ABOUT: 1 - The Mountain Goats - Tallahassee I first came across the Mountain Goats through the good offices of a close friend who was going through a horrendously painful break-up and, as a result, linked me to possibly the most acrid divorce ballad ever written, 'No Children'. Although I thought it was great, I was a callow 23 year old at the time, and was more interested in taking ecstasy and listening to Dodgy's 'Staying Out for The Summer' and Das Racist's 'Pizzahut/Tacobell' remixes to pay much more attention. When I finally got round to following up the tip, I bought the only MG album in the shop, the excellent but slightly less mindblowingly, accost-you-in-a-dark-alleyway-and-hold-a-knife-to-your-throat-while-divesting-you-of-small-change-family-keepsakes-and-probably-underwear arresting 'We Shall All Be Healed'. So I forgot about them for a while, and listened to some more Dodgy. Hey, I thought. Mountain Goats. They're on the longlist. I'll get round to it one day. It didn't matter that my friend was practically howling at me to buy Tallahassee. What the fuck, I thought. He howled at me to buy St Vincent, too, and he was definitively wrong about that. More Dodgy. When I finally did get round to buying it, it sat virtually unlistened on my iPod for a few months. And then it was November, and it was a pisswet day, and I was hungover as hell and I had the glaze in my eyes from too much shagging and I also had the sinking feeling in my stomach that, at the age of 24, I was learning to recognise as an early sign that I was falling in love (again) with the wrong person (again) and suddenly 'Staying Out For The Summer' didn't seem quite the thing. I was walking down Crookes Valley Road in Sheffield and put Tallahassee on - maybe because I wanted something to match the bile and dread of 'No Children', maybe because I was going to work and I knew that if I listened to it, I'd have something to talk to my friend about which wasn't this new and painful dread in the stomach. And then I heard: 'I handed you a drink of the lovely little thing On which our survival depends People say friends don't destroy one another What do they know about friends.' Bizarrely, that love-affair - despite possibly the most acrid beginnings in the history of relationships that John Darnielle might plausibly write a concept about - worked out pretty well. In fact, if anything, it's the only time I have ever fell completely, besottedly, and embarrassingly in love with two people at the same time. One of them, predictably, was John Darnielle.