57. Mclusky – ‘Lightsabre Cocksucking Blues’
Cardiff’s OTT noise-rockers powered out a few albums of punchy punk before exploding apart in the mid-noughties. The trio’s performance, especially Andy Falkous’ vocals, is full of raw, entertaining power on what became their signature track.
58. Portishead – ‘Chase the Tear’
Hot on the heels of their comeback album Third, ‘Chase the Tear’ was a charity single, released for Amnesty. Taking cues from German electronica, it signified an exciting new direction for the Bristol sound they’d once helped to initiate.
59. Ólöf Arnalds – ‘Klara’
Arnalds is hugely popular in her native Iceland, but unknown further afield. ‘Klara’ is a simple folksong taken from her debut album, marrying Celtic harp with her whimsical, childlike voice.
60. Daedelus – ‘Fin de Siècle’
Formed out of cut up orchestral samples, the abstract closing track of the pioneering electronic artist’s recent EP has a similar hypnotic effect to Radiohead’s ‘Treefingers’.
61. Robert Wyatt – ‘Free Will and Testament’
The act of Wyatting – picking unusual and often inappropriate music on a public jukebox with the aim of alienating those present – was named after Robert Wyatt, who endorses but prefers not to practice it. ‘Free Will and Testament’, which showcases his typically unorthodox forms and inaccessible but characterful lyrics, shows off the origin of the slang.
62. The Beach Boys – ‘I Just Wasn’t Made For These Times’
One of the best songs on the Beach Boys’ seminal Pet Sounds, Brian Wilson’s lyrics allude to the anxiety that he was too far ahead of his time for his friends to understand his new album. Given its standing today as one of the most important albums of the 1960s, he can rest assured that it was worth the strain.
*tracks missing on we7.