5 Songs for Fans of Broadchurch (Susumu Yokota, Richard Hawley, John Murphy) | Audio. Visual.

In the Resident Sound series Audio. Visual., join Lubert Das as they attempt to become a music sommelier of sorts; serving cross-medium recommendations and top-choice pairings of music and other cultural works. Will Lubert serve you up a new favorite song? Something to flesh out your viewing-party playlist? Or the worst trash you’ve ever heard?! These are, simply put, 5 songs you might enjoy if you enjoyed the TV-show Broadchurch.

Part police procedural, part grief-laden small town drama, Broadchurch was a moody British crime show which starred David Tennant, Olivia Colman, and Jodie Whittaker to name a few. Whether it was the desolate downtown strip or struggling hillside church, the fictional town of Broadchurch often acted as the most important character throughout the entire series.

Like many of the show’s characters, you too may feel stuck in the vortex that is Broadchurch. The series’ third and finale installment may have ended in 2017, but there’s no need to fear! To hold you over just a little bit longer, here’s 5 songs you might like if you love Broadchurch.

Richard Hawley – The Ocean

What is there to say about grief? A lot, probably. But sometimes it’s just better to let it wash over you. If you find yourself getting drawn into the emotional swells of this fictional sea-side town, perhaps consider checking out Richard Hawley’s song The Ocean from his 2005 album Cole’s Corner.

John Murphy – In A House – In A Heartbeat

Me? I don’t need to explain anything! It’s YOU that needs to watch the opening of the series premiere of Broadchurch, then you’ll understand!

…Okay, maybe I need to explain that Broadchurch isn’t a zombie film, as In A House – In A Heartbeat is perhaps most recognizable as part of composer John Murphy’s score to 28 Days Later, and later used in 28 Weeks Later and plethora of other outlets. It’s a great song, and whether you’re currently watching or looking back fondly, you might enjoy this classic Post-Rock track.

Susumu Yokota – Long Long Silk Bridge

Arguably most in line with the original score for Broadchurch, multiple tracks from Japanese Electronic composer Susumu Yokota’s 2005 Ambient masterpiece Symbol could easily be substituted in for the show’s original score. Maybe now is a good time to admit I didn’t care too much for composer Ólafur Arnalds’s score for Broadchurch. It came across a bit hammy, a bit expected for a European murder mystery series.

Even with the use of somewhat ‘obvious’ orchestral samples- a jab I’ve seen lobbed at Yokota and plenty of other artists, and one that I take issue with- Yokota’s work feels more emotionally dense, more emotionally nuanced. Its lush beauty and slightly off-kilter delivery feels like birds of a feather with Broadchurch’s scene-establishing shots of a gloomy, sometimes desolate seaside town.

Add it to the shortlist, folks. I also recommend another track from this album: The Plateau Which The Zephyr Of Flora Occupies.

Starflyer 59 – She Only Knows

Seemingly the exception to Christian Rock, Starflyer 59’s Shoegaze era is full of songs to set adrift to. It’s got the dense waves of guitar you’d expect from Shoegaze and an abstracted sense of forlorn longing that matches right up with the atmosphere of Broadchurch.

Red Lorry Yellow Lorry – Strange Dream

This might be a strange addition to this list but if I wanna do this right I’m going to need to make some bold choices. For the more restless Broadchurch fans, I wanna recommend the song Strange Dream from Red Lorry Yellow Lorry’s first full length record Talk About The Weather (1985). The first minute and fifteen seconds of Strange Dream sounds like something out of some darkened Euro thriller/crime show, so what more could you want?

Under pummeling drum machine rhythms, the song’s “alone he ran” mantra and its hazy layers of guitar fit Broadchurch‘s lead detective Alex Hardy (David Tennant) and the case that still haunts him (season 2, baby!).

REVIEW: Unseeing – Funeral for A Friend (2021)

Funeral for A Friend is the 2021 EP release by Belarusian Dark Ambient and Doom Jazz project Unseeing. Funeral for A Friend is an incredibly dreary and visceral album, “[a] story to tell in the dark” as described on the album’s Bandcamp page.

Not for the squeamish, Funeral for A Friend’s opening track My Suicide is an incredibly gory audio play of final moments and self-inflicted death by knife. Accompanied by light and clean Post-Rock guitars, My Suicide is foley straight out of a horror film. The track’s minor dialogue may push My Suicide’s imagery a step too close to cheesy, but ultimately remains the visceral opener this album needs.

The band’s use of sound design is reminiscent of Krypto Grotesk’s Post Urban Exotica, exploring the man-made’s relationship to the human. A notable example is third track Death Coming, which incorporates distant sirens (an ominous warning peaking our biological nature) and hospital monitoring sounds as transitioning fills in the track.

Enacting a Post-Rock approach to Doom Jazz’s solemn sound, Unseeing substitutes Doom Jazz’s more sleazy qualities for pure romantic-nihilism. The jazz aesthetics integral to Doom Jazz are subdued. Lightly brushed drums and MIDI ‘standup’ bass are only a light skeletal structure which Unseeing builds off of with lush synth strings and Post-Rock guitar tones. It’s a sonic distinction from the Doom Jazz milieu which sets the band apart and allows Unseeing to achieve their compositions’ greatest potential on the album.

For fans of: Godspeed You! Black Emperor, Mount Kilimanjaro Darkjazz Ensemble, Nortt

Like Unseeing? Give these a listen: Krypto Grotesk, Slow Blink, Mogwai

REVIEW: Smoke – Smoke EP (2018)

Smoke is a doom jazz duo hailing from Toulouse, France. Their self-titled EP was released on November 19th, 2018 and as of now remains their only public release.

While the trappings of doom jazz are certainly there, the duo approach the emotional and cinematic palette of doom jazz from a very different angle. There is an almost industrial feel to Smoke’s use of synthesizers. Stripped of the doom metal elements of doom jazz, its mid-tempo swagger is fairly fast for the genre. Layers of droning organ and harmonica crawl out from under each other, gliding along side shuffling drums and musique concrète texture samplings.

At times, the album comes across as more triphop or post-rock. Cinematic mystique is achieved first and foremost with textural sampling; trickling rain, distant trains, and the creaking and squeaking of traffic all play parts as important as the meandering Moog synthesizers and haunting saxophones snippets.

While it might not be the crème de la crème of the doom jazz genre, I don’t believe it is trying to be. Smoke is a creature of its own nature, and in doing so they help expand the boundaries of the small circle we call doom jazz.

For fans of: Dale Cooper Quartet, Mogwai, Bohren & der Club of Gore

Enjoy Smoke? Give these a listen: Luna Honey, Lower Level Bureau, Côte Déserte

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