#148 – Mr Fogg Told Me To

Mr Fogg is good. Not only is his song ‘Stay Out Of The Sun’ superb, it’s got a great video (as seen above) and you can get it for free from his website. I asked him to choose a few songs that he likes to listen to and these are the ones he came up with. Listening to them gives you an insight into how Mr Fogg has come to sound the way he does. It’s enlightening and thoroughly enjoyable. So without further ado, here is Mr Fogg’s selection…
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Ben Frost & Daniel Bjarnarson – Solaris

This is a new soundtrack to Andrei Tarkovsky’s 1972 film of the same name by two composers based at Valgeir Sigurdsson’s Greenhouse Studios in Reykjavik where I recorded both of my albums.  I have to admit I haven’t seen the movie, but I was given a copy of the music towards the end of my last trip to Iceland and played it in my car while driving, lost down dirt tracks trying to find Pingvallatn without a map.  The amazing scenery, combined with the intense atmosphere of the music and the driving wind and rain made it feel like I was embarking on some kind of epic doomed adventure – rather than trying to find one of Iceland’s best-known tourist destinations.

Hook And The Twin – We’re So Light [Buy]

This band have had more names than possibly any other musical act in history. I often wonder whether I am the only person alive who has followed them all the way from their first incarnation. Under about their 3rd or 4th guise they used to hold mysterious sounding “woods nights” where you had to write to a secret email address for a map and directions.  I did this once and turned up at a large shed in the middle of nowhere to discover I was one of only 3 people who wasn’t a friend or family member of the band.


I found a box of old CDs I thought I had lost recently and one of them was Siamese Dream. I hadn’t listened to it for years and when this song came on I could hardly believe I ever used to listen to this kind of music. But it also struck me how far backwards mainstream rock music production has gone since this album came out. Dynamics like this would be outlawed on a big-budget record in 2012 because everything has to be as loud as possible.


When I was at school I read a preview of a upcoming gig in the local music magazine that declared that “Prolapse are indisputably the best live band in the world”. It’s hard to argue with an endorsement like that, so I dutifully went along to the show and was pretty much convinced of the accuracy of that statement for about 24 hours. Sadly, the sheer energy and madness of the live show – or at least my memory of it – could never be matched on record.

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