Are you one of those nutjobs who rewinds snippets of songs over and over again so you can listen to one bar, lyric or key change repeatedly? Perhaps there are certain songs you put on just to hear one note or a break. Occasionally you can’t help but do the rewind in public, despite winding up significant others.
Years ago, I broke a prized hip-hop compilation tape rewinding a particular lyric from the Ugly Duckling song ‘Einstein’s Taking Off’ multiple times. It sounds completely innocuous out of context – the lyrics are “slash, super record digger, slash, drum major slash, producer, slash” but, on tape, the off-beat emphases are completely addictive. The walkman died soon after. As well as breaking technology, the other side-effects of being a ‘rewinder’ can be a slight madness, headache, sometimes nausea. After listening to one bar from the David Byrne & St Vincent album ‘Love This Giant’ thirty times on a bus the other day, I felt physically shakey and a bit tense. (Are you a rewinder? Get in touch in the comments below. We’re here for you).
I want to hear your favourite moments of the year. They can be a lyric, vocal note, key change, break, bleep, bloop, guitar solo. Anything really. Here are a few from NME staff to get you started.
Note: to make things easier for you, the YouTube clips kick in at the exact perfect moment
“The greatest riff of the decade so far,” says Matt Wilkinson about the moment 24 seconds in on ‘Xanman’ by Pond. “It’s almost bettered at 5:40 when frontman Nick Allbrook screams like a girl,” he adds.
Wilko’s second pick is the 5:06 mark of ‘Become What You Are’ by Merchandise, where Carson Cox singes “I’m a mother’s son, I’m a rolling stone”.
Kevin EG Perry has chosen the moment when “the melody finally cuts through the feedback about a minute and a half into Dan Deacon’s ‘Guilford Avenue Bridge'”.
The way Chan Marshall says the word ‘bitchin” in ‘Ruin’ from her new album is Tom Howard’s top moment.
Eve Barlow picks the build-up at the end of Usher’s Climax. “You could describe it as, uh, the climax,” she says. She also picks the handclaps at 1.20 of Jai Paul’s ‘Jasmine’, the rap on Hot Chip’s ‘Night And Day’ that goes “I don’t like ABBA, I like Zappa, might go to Ayia Napa” and the chorus on TEED’s ‘Tapes & Money’.
My favourite moment is the arpeggiated guitar at 1.50 of ‘Lazurus’. It appears out of the blue after a passage of Byrne’s Beavis & Butthead sniggers and bobs on a righteous drum beat.
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