Band: Seatbelts
Album: Cowboy Bebop
The seminal 1998 anime classic, Cowboy Bebop, was defined by its unparalleled writing, fascinating characters, stunning visual work, and—perhaps most importantly—its remarkable soundtrack. Seatbelts, led by composer and instrumentalist Yoko Kanno, composed all of the show’s music, and the essence of Cowboy Bebop is captured in its eponymous first soundtrack. Released on May 21, 1998, Cowboy Bebop features the TV series’ most famous track, “Tank!” in all of its jazzy, bebop, trumpet-heavy form. Much of the album reflects Seatbelt’s upbeat, brass-heavy style, with tracks like “Bad Dog No Biscuits” and “Rush” pushing the listener into an esoteric state of feeling like they’re constantly on the run.When Cowboy Bebop does slow down, it’s for brief moments of respite, like on “Spokey Dokey,” a harmonica-led track that ambles and meanders along the way. When the album chooses to mellow out and indulge in some more profound sensibilities, it’s for tracks like “Waltz for Zizi.” When the album wants to go weird, it brings in tracks like “Space Lion”—a strange amalgamation of slow jazz, eclectic drums, and harmonized chanting. Suffice it to say, the Cowboy Bebop TV series was a genre-changing moment for Japanese—and American—animation. The show’s first studio album captures everything great about the series and brings listeners into the Bebop’s strange world.
Band: Stereophonics
Album: Graffiti on the Train
Stereophonics have never really received much critical recognition outside their core fan base in the U.K. Most of us may only know a handful of songs thanks to their placement in films such as Wicker Park, Crash, Dawn of the Dead, and several TV shows from the early 2000s. Formed in Wales in 1992, the garage rock band went on to release eight full-length studio albums, with a ninth anticipated for later this year. Their most recent release from 2013, Graffiti on the Train, is perhaps the most cinematic yet. If there’s one thing Stereophonics can do well, it is storytelling. The band’s intelligent lyrics, combined with orchestral strings and wailing guitars create a certain raw emotion that places the listener right into the narrative. Frontman Kelly Jones’ signature unpolished vocals are remarkably haunting on this album, particularly on the title track. Overall, Graffiti on the Train exhibits a wide range of genres, from progressive industrial to vintage blues, and is a good starting point for anyone who has never heard Stereophonics in their element.