Miranda’s Tragic St Valentine’s Day Playlist

By on 14 February 2014

Ah, Valentine’s Day. That dreaded day that makes otherwise happy couples worry themselves sick over the amount of tawdry, sentimental tat they feel obliged to buy for each other, and reduces all but the most confident of singles to blubbering, forlorn wrecks, doomed to spend the day ruminating on their lost loves and weeping into the nearest pillow. Just as well then, that Terrorizer’s Miranda Yardley has compiled this tragic Valentine’s Day playlist to help all you cope with the pain of being so utterly alone…

Black_Sabbath_-_Master_of_Reality

Black Sabbath – ‘Solitude’ from ‘Master of Reality’ (1971)

Just to set the scene, this is the quintessential heartbreak song for every serious riff-hound.

 

 

 

 

 

thecureThe Cure – ‘M’ from ‘Seventeen Seconds’ (1980)

A band who made a name for themselves defining for many what would become known as ‘goth’, there was always much more to The Cure than this. Robert Smith is an intricate, emotionally powerful composer and lyricist (“Hello image/Sing me a line from your favourite song/Twist and turn/But you’re trapped in the light/All the directions were wrong/You’ll fall in love with somebody else/Tonight”). ‘Seventeen Seconds’, the band’s second album, is a bleak sonic landscape with many enigmatic and ambiguous twists, and a great way to start an evening alone with a bottle of wine.


Unknown_Pleasures_Joy_Division_LP_sleeve

Joy Division – ‘New Dawn Fades’ from ‘Unknown Pleasures’ (1979)

Always enigmatic, Joy Division’s ‘Unknown Pleasures’ stands as one of the standout albums of the post-punk explosion of the ‘70s. ‘New Dawn Fades’ is an unrelentingly grim, overcast and doomy piece of music for those moments when all hope is lost.

 

 

Smiths_-_Strangeways_here_we_come

The Smiths – ‘Last Night I Dreamt The Somebody Loved Me’ from ‘Strangeways Here We Come’ (1987)

No Valentine’s Day mope is complete without either a Smiths or Morrissey track. Starting with a hesitant piano played over crowd recordings of the 84-85 miner’s strike, this song absolutely rips your soul out. Morrissey and Marr had an astoundingly productive songwriting partnership, there are so many of their songs I could have included here (‘I Know it’s Over’ from The Queen is Dead is another crushing ballad).

 

nickdrakeNick Drake – ‘Day is Done’ from ‘Five Leaves Left’ (1969)

If you don’t yet know of Nick Drake, you’re really missing out on something. This was his first album, produced by Joe Boyd Drake recorded with members of Pentangle and Fairport Convention. This song features Drake on acoustic guitar accompanied by strings, he was a very accomplished folk guitarist (most of his last album ‘Pink Moon’ is him with just a guitar). Just five years after this album’s release, Drake was dead at 26. A sad and tragic loss.

 

 

HindsightAnathema – ‘Fragile Dreams’ from ‘Hindsight’ (2008)

This is a slowed down, mellowed and cello-ed out reworking of the opening rocker from Alternative IV, Anathema’s transition album. As a band, Anathema have always produced beautiful, gut-wrenching music and this version’s plaintive beauty showcases the band’s talent. When the howling guitar kicks in, the effect is almost like the sun coming out. Gorgeous.

 

 

kateKate Bush – ‘All the Love’ from ‘The Dreaming’ (1982)

The opening line ‘The first time I died/was in the arms of good friends of mine/they kiss me with the tears/they hadn’t been near me for years’ sets the tone for a beautiful song about the loss of love (‘I didn’t want to let them see me weep, I didn’t want to let them see me weak’). ‘The Dreaming’ is probably my favourite Kate Bush album (it has an incredible list of collaborators too), on release it pretty much sunk without a trace and was overshadowed by the astounding success of her follow-up ‘The Hounds of Love’.

 

headgirlHeadgirl (Motorhead/Girlschool) – ‘Please Don’t Touch’ from the ‘St Valentine’s Day Massacre’ EP (1981)

Those were the days, a couple of proper metal bands on Top of the Pops. Back then, the terrible libel of ‘female-fronted metal’ didn’t exist and in spite of the institutionalised cultural perceptions of the time, Girlschool were known first and foremost as a kick-ass metal band. The teaming up with Motorhead for this EP (which I still have on the original 10” vinyl) was inspired, great cover shoot with Motorhead dressed as prohibition-era gangsters and their Girlschool molls on the front and on the rear showing the aforementioned molls proving the female is more deadly than the male. The vinyl was worth it alone for the covers of ‘Bomber’ (Girlschool) and ‘999 Emergency’ (Motorhead) on the flip side.

And on that note, it’s time to neck the last of the wine and venture to the real world..

WORDS: Miranda Yardley

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