Theres something beautifully melancholic about the best British (Early) house music, and of course, theres nothing quite as melancholy as a Brass Band. I haven't heard the whole LP, but this track off teh 12 inch single brings a tear to my eye everytime I hear it.

Whoever it was that thought of doing this cover was a genius, I'm sure they thought it would be solid cheese, but instead its one of those moments of inspirational magic. I'd love to hear their version of "Strings of Life".

This unique song, unique to the whole body of work by the obscure Asylum Party, unique in every sense... If anybody ever wanted to create the sound of pure nostalgia in itself, this is the closest anyone ever got. I wonder what other people feel when listening to this song. I get utterly and hopelessly nostalgic, even though I don't know what for. It's not that I'm particularly old and know many times and eras, it's not that I have to dig particularly deep into my memory to get to that one dark part that's so irrevocably gone it makes one's heart ache and break. I don't know what it reminds me of, if of anything at all. It seems to be simply the soundtrack of some good times, times much better than the one you're stuck in right now, the soundtrack of reverie and the painful awareness that nothing will be the same again. I sometimes think it reminds me of beautiful summers I've known, the heat and sun that burnt my eyes, but then it seems just as fitting for a summer night at an open fire or an autumn window blurred with falling rain. The initial beats sound as if they could lead to anything, they even sound deceptively cheerful until the first melancholic screech of a guitar... "Feeling that hole that is just my soul..." Yeah, that must be it!

Acoustic gritty melancholic guitar, bossanova with electro Rap..haunting melodic chorus

deceptivly simple, eerie melancholic electronic piece from the soundtrack to the (frankly disappointing) soderbergh remake of "solaris".
half clinical, half emotional. pretty good stuff.
sounds a bit like something off radiohead's kid a, only more reflective and less pretentious.

Club 8, consisting of songwriter and multi-instrumentalist Johan Angergaard and vcalist Karolina Komstedt, started of in the mid 90s with a twee indie pop sound, with jangly guitars (Angergaard being a major Smiths fan) and simple instrumetation. With the release of their self- titled album in 2001 they added some electronica without losing the general tone of their music which is basically well crafted, melodic, gentle, airy, etheral, melancholic indie pop. Karolina Komstedt vocals are quite similar to early Nina Person of The Cardigans or Claudine Longet in their airy, angelic, dreamlike delivery. "The Next Step You'll Take" is a bossa nova influenced track, with gentle acoustic and electric guitars, some percussion and vibraphone. Nothing groundbreaking, but they combine well known elements in such a charming, delicate way i find them hard to resist.

Slow and intimate song, heavenly melodies and what I think is a perfect harmony. One of the songs on the "Weeps" album from the shamefully underrated band Daryll-Ann. Just about anything from this band is great stuff, obvious references to the Byrds and other sixties' jangle-pop, but strong enough to survive.

A rather beautiful, melancholic song. Very West Coast 1968 sound, at it's emotional, sensitive, melodic best.



This song and artist should be and should have been far more well known.

Relaxed and melancholic song... E's beautiful lyrics and the tasteful use of effects make this a song that stays with you the rest of the day.

The amount of 80s talent was really incredible on Electronic's debut single: Bernard Sumner (New Order) doing vocals and synths, Johnny Marr (Ex-The Smiths) on guitar (pulling off a wonderful solo in the middle of the song), Neil Tennant (Pet Shop Boys) providing background vocals and Anne Dudley (Art Of Noise, arranger on ABC's legendary "Lexicon Of Love") orchestrated a wonderfully lush string arrangement. The outcome is a fluffy, elegant, slightly melancholic and almost timeless piece of british pop music (except for that dated, rather bland sounding electric piano).

This bizarre Morricone pop tune sounds as if it came from a parallel universe. With an instrumental mix of guitar, harpsichord, bass and drums, it achieves the same kind of spooky, melancholic atmosphere as 'Deep Down', another Morricone film song from the same year. But in contrast to Christy's passionate vocal in 'Deep Down', Peter Bloom's delivery is light-hearted and much more low-key. Both tracks feature classic Morricone wordless vocal effects and some truly ridiculous lyrics. I haven't seen Partner, but I'd be interested to see how this song fits in to the story:

"I want to be your dazzling white knight
I'll splash you sizzling cool with bright light

I'll kiss your cleanliness
...Your soft, silkiness
Oh what happiness:
It's biological...

SPLASH
DASH
FLASH"

Ridiculous words, but the arrangement makes the track genuinely powerful. Shame Ennio didn't bring this one out for the crowd at the Royal Albert Hall last year.

One of the most melancholic songs in rock music. I can listen it over and over again.

Danish pop anyone ? Not that i am an expert in the genre but danish group Gangway made some fine records in the eighties in the aztec camera, prefab sprout vein. Especially this fine track with acoustic guitars that attack you like swarming bees and just the right amount of romantic longing that is the trademark of the genre.

i'm too tone deaf to fully describe why this song is so good. it's melodic and melancholic without being too depressing. vocals and production are outstanding.

I grew up listening to Joe Jackson and i still find his venturing into all sorts of musical styles and the eclecticism surrounding his musical work very interesting. Starting as a post-punk, new wave singer/songwriter he released three great albums from 79-81 with his "Joe Jackson Band" before going solo with a string of fine albums in the 80s (musically ranging from jazz, R&B, rock to latin-tinged sophisticated pop) and later writing and arranging soundtracks and even doing classical music. He recently regrouped with his band, produced another album and toured with the original line-up consisting of Gary Sanford, Graham Maby and Dave Houghton and surprisingly it worked as good as in the beginning of his career. "Steppin' Out" was released on probably his best solo offering "Night & Day" in 1982, a highly evocative, melancholic, catchy pop song skillfully mixing a synth sequencer beat and keyboards with piano jazz harmonies and xylophones.

The soundtrack to november. This or any other year. Brazilian Jose Mauro only made one album before the brazilian military or drugs (info anyone ?)pulled him in but me oh my how beautful that record is.
If there could be such a thing as bossanova-blues than Jose Mauros "obnoxius" is the blueprint. Joses songs which comes along like a blend of early milton nascimento with doses of Marcos Valle and Edu Lobo. The album was arranged by gaya and is filled with wonderful string arrangements. One modern reference would be another Jose,namely,the swedish indietroubadour Jose Gonzales. The highlight of the album comes at the end, Excaltacao e lamento..,which sends shivers down my spine everytime i hear it.

It's from their last album, Closer. It's very dark and moody. It sounds like Ian (singer) is singing from his grave (It was released post-humuosly)

cute little song about a girl stalking someone she's fallen in love with, listening to the "clip clops" of his shoes. the melody in the song is very similar to "cosmonaute" by stereo total, only more upbeat (it was written by brezel g�ring from stereo t., so i guess that's excusable). kahimi's ultra-bright voice fits this song perfectly.

(there's WAY too few sweet and uplifting songs about stalking, by the way.)

Weird song, with weird lyrics. Calm and melancholic.

This sounds very different from most of what I've recommended. In fact, there are days when I wouldn't want to listen to this song at all. It is pretty incredible, however. I like it both for its remarkable mood and instrumentation (this is a Phil Spector production), and for its lyrical content (a melancholic but resigned tale, remembering a love affair). Leonard sings 'A heavy burden lifted from my soul/I learned that love was out of my control', with a reverb effect on his voice, accompanied by a sweet string arrangement and a faint, echoey backing choir. His delivery is casual, yet committed - a style that definitely influenced Nick Cave.

This entire album is beautiful and fascinating. I seem to be a sucker for rather melancholic, afflicted, and intoxicating sounds, so here I go again. The first half of this song is slow and haunting, I don't understand Portuguese, but the tone sounds like a filmic remembrance of tragically lost love, with yearning lyrics paired to beautiful piano-led orchestration . In the middle of the song there is a break of dark, doomy strings, followed by the second half, which is a quicker tempoed revisit of the first half, taking the form of a psychic climax.

This is a very beautiful track.

Very 'West Coast' late-60's sound. Quite reminiscent of Jefferson Airplane.

Very sweet, very melodic/melancholic.

Strings. Strong female lead vocal.

I originally heard it many years ago on a vinyl album by a group called 'Mojo' which is what The Mojo Men were apparently calling themselves in 1969.

I searched for the song for years, confused by the change of name & eventually found it on their CD compilation.

It's another one of those songs that should have been very succesful, but was just stuck in the middle of a flop album

I was immediately captivated by the tropical beat that begins this 6 minute tune. The track simultaneously induces a melancholic yet inspired feeling. Kevin Wright's delicate voice, like many fine things in life, is an aquired taste. His mournful voice tells of ethereal objects"the moon..the stars..the milky way.."and his longing to be with the one he "holds dear."

This song is an IDM - slash - trip-hop, ethereal vocals, nice melody, but very melancholic.

This magical track is from a 1965 single produced by Rolling Stones impresario Andrew Loog Oldham. It's a folky pop song with a manically strummed acoustic guitar and constant beat. There's some more full orchestration (brass and strings), but it's slightly hidden in the mix. The charm of this song for me lies in both Nico's bittersweet delivery ("I'm not saying that I love you/I'm not saying that I care/If you love me..I'm not saying that I care/I'm not saying I'll be there when you want me") and the catchy chord sequence in the verse. Some of the bridge sections are slightly corny and obvious musically, but Nico's majestic vocal lifts the song and makes me want to hear it again.

With lightly strummed acoustic guitar, vaguely castanetish rhythm and Yvonne Cornelius filtered and far away singing, this wistful and melancholic song transcends the experimentation of the other songs on the album Voodooluba, with its straightforwardness while still keeping the air of mystery present in the other tracks.

Nouvelle Vague is the project of Marc Collin and Olivier Libaux, who basically took classic late 70s/early 80s new wave songs and transformed them into light, easy going, predominantly bossa tinged tracks, including heavily accented, whispery Longet-esque vocals. They claim these young vocalists never even heard the original songs. It works brilliantly for sure on "Love will tear us apart" where they manage to interpret the song as a melancholic, chilled stroll down a beach with sparse percussion, acoustic bass and guitar, vibraphone and some samples of waves rushing on the seaside. I'd like to think even Ian Curtis might smile down on this cover version...

Listening again to a compilation I made almost four years ago, I heard this magical track, which really had a big effect on me. It's probably not for everyone. Meandering and rather wistful, it's not at all funky like some of their later work, but I find it utterly compelling.

As you might have heard, Novi Singers were an incredibly talented quartet of vocal singers recording in Poland in the late 60s and 70s. They did several amazing records. This is taken from what I think was their first, Bossa Nova. But rather than renderings of songs like 'One note samba' and 'Desafinado', the album consists of a delightful and varied collection of originals in a related mood. The result is like bossa nova from a parallel, slightly more melancholic universe.

The accompaniment is a slow, gentle bossa played by a small jazz group, with some rich strings dropping in and out, and the vocals (all wordless/scat) take centre stage. The chord sequence is staggeringly beautiful, and at times the vocalists take slightly extravagant scat solos.

It sounds strange to say it, but this is really one of those tracks that seems to tell an enormous, emotional story, in spite of the fact that it doesn't contain one word! It would make a fantastic soundtrack to a silent movie.

Beautiful Ballad. The combination of Noel and Liam's voices is amazing. By the way, this songs has truly great lyrics (as usual in Oasis' songs anyway).

A really lovely version of this song, which was more famously recorded by The Left Banke. The introduction nicely recalls the melody of The Association's 'Never my love'.

The instrumentation has a folk flavour, with a nice strummed acoustic guitar. The production is superb, with great, slightly distant sounding vocal harmonies and occasional sparkly percussion sounds. Overall, it's a sound not millions of miles away from groups like Spanky and Our Gang, but it has a melancholic edge to it that makes it more listenable to my ears. Something has happened to me over the last couple of years, and some of the more lightheartedly happy music I used to like appeals to me much less.

Singer\songwriter Paul Brady deals with Folk music . This song is in my opinion up to the level of Bob Dylan \Neil Young . Its melancholic but still up-beat .I like the lyrics a lot : " Tonight were gonna paint this town, were gonna drink champagne till we both fall down ,we'll find some other crazy dream -tomorrow" . Its hard to explain ,but the song moves me very much, the song is pretentious in some ways , but Bradys simple(but not dull) singing makes it not sum up as such.

Has a mellow sound, involves mellotron, piano. I like it because of its dreamy mood and the lyrics.

The opening track on the 1972 album 'Quarteto em Cy,' this is an interpretation of a Chico Buarque song, written for the film of the same name by Cac� Diegues. I find this recording very affecting. It helps that the spectrum of sound is that kind of superb blend of strings, piano, bossa nova guitars, and female vocals that I find so perfect. But I think it's also just the fragile, melancholic atmosphere of the song that gets me. After the introduction, featuring a flowing string arrangement that reminds me of the work Claus Ogerman did with Jobim, the song gets going, and the mood becomes a little lighter. This album has just been reissued on CD in Brazil, and is highly recommended.

The song has a soft piano/banjo/orchestra backround. The music flows through the heart with a soft melancholic note. Her voice reminds me of a sad cashier and a movie star combined. She isn't like any other singer i've ever heard. The lyrics related to me extremely well and made me truly smile. It truly is a beautiful song

A quintessential Scott track, recorded when he was at peak of his abilities. There doesn't seem to be much middle ground over Scott Walker - people seem to either love him or hate him. I don't really understand how anyone could not be charmed by Scott - sure, he's a crooner and the music backing him is often lush and is rarely 'hip'. But the voice! The words! I've never been really big on either vocalists or lyrics, but these really, really get to me. Angelica's verse is dark and melancholic, and the words speak of regret over a neglected lover. The chorus explodes with emotion, and at this point you should be able to figure out one way or the other whether you love Scott or not. n.b. I always thought this song was composed by Scott, but I was mistaken. As well as being a great songwriter, he had superb taste in other material.

great version of the classic gainsbourg song. this is one of the bonus tracks on the rerelease of "oh ah", and it features some absolutely fantastic backing guitars courtesy of alex chilton. a pretty lo fi recording, but the feel on this is quite a few notches up from the album version. it basicly gives me the chills and stops me from doing anything productive each time i hear it. probably the most played track in my itunes folders right now.

(original recording by serge gainsbourg. think there�s an english language version by mick harvey.)

Not to be confused with that Ugly Kid Joe kindergarten rock song.

No, this is a rock/blues song, almost a ballad, with pretty good lyrics and a fabulous melancholic feel. It's catchy, and yet original in it's melody.

Steve Lukather (Toto, numerous sessions) is considered to be one of the best guitar players - ever, actually. This song, however, isn't just a display of guitar virtuosity (although that one solo in the middle of the song does give me shivers each time and again) - it's a display of how perfect and beautiful a simple song can be, and how it sounds if it's sung and played by someone breathing and living music.

Their latest offering "Where Our Love Grows" seems like a brighter, lighter twin of the beautiful 2001 release "Somewhere Deep In The Night", trading in sparkling stars with sunny seashores. "When The Laughter Is Over" conjures up a late 60s melancholic "lost summer" kind of mood. That's obvious since they delicately build the song around a sample taken from Roger Nichols & The Small Circle of Friends' marvelous "I Can See Only You" from 1968.

paper cup is about sinking to the lowest rung of society, having been abandoned by a faithless woman. you know when depressed people sometimes have a flash of an idea that they desperately believe will give them a reason to exist? paper cup's like that - the narrator won't have to worry about the things you need for a normal life "cos i don't really want 'em anymore". combine this notion with the 5th dimensions' upbeat, beautiful harmonies and you have a masterwork of melancholic tension.

The Blue Nile must be one of the most enigmatic and fascinating bands of all time. Formed in Glasgow in 1981 they released just 4 albums in 23 years with 6 years between the debut "A Walk Across The Rooftops" (1983) and their sophomore effort "Hats" (1989), 7 years between this and their third album "Peace At Last" (1996) and an 8 year break until their latest record "High" was released in 2004. That sums up to a mere 33 album tracks in almost a quarter of a decade, but what they lack in quantity they make up in quality. While "Hats" is undoubtedly their masterpiece, "Tinseltown In The Rain" may be their strongest single track. Backed by a strong, funky bassline combined with jazz-like piano chords and incredibly lush strings the track shines with a wonderfully clear, sophisticated arrangement and production. Paul Buchanan delivers wonderfully emotional, heartfelt vocals to it that tinges the song in a melancholic and uplifting mood at the same time.

Like most of the bruces' work, this song is melancholic but dreamy. It's an acoustic piece, with a fast pace and at least two or three less minutes than most bruces songs, which at times have reached 14min.
Great lyrics. Conor Oberst, from Bright Eyes and Desaparecidos, has taken much inspiration from this band.
Very good for melancholic nights where you don't plan on killing yourself. :o)

beautiful
-yes-
beautiful acoustic cover of the campy iron maiden song. nice driving beat. great melancholy vibe going on, it manages to give the �berstupid lyrics some sense of metaphorical meaning.. I first heard it on the soundtrack to the film "spun" by jonas �kerlund, where it plays during the opening credits. however, i don't think there's an official soundtrack out there, but it's pretty easy to find on various file-sharing networks.

this is excellent. i've never been a fan of purely instrumental tracks, but this is just too perfect. sets a great mood. almost makes you feel as if you were alone on the beach at night. melancholic, sad, almost cold. the music has a brittle, yet lingering quality which is hard to achieve and yet it is here. so, so good.

A melancholic, baroque pop song.
It's an hand-made jewel, with this piano scale doubled by the voice, and those gently waves made by the string arrangements.
Your time *perdu*.

A melancholic slice of tranquility,little in the way of instrumentation save for an accordion,and some percussion and acoustic guitar,so sad and lonely it makes you feel better about yourself and the drone like melody will stay in your head long after your gone .

vocals this high should annoying, but they work for this song. i love the intro, and the lyrics are quite nice...in that yearning, melancholic way--actually, the guitar playing and the way lyrics are sung fit this mood quite well.

this band only made two records, this one from the 80s and a more recent one which i have not heard.

Witty, melancholic, catchy, beautiful... you won't find many bands as good as this.

simple, short but beautiful song. features (in true waits fashion) some absolutely gorgeous melancholic lyrics, not to mention the superb arrangement. I can�t believe how many people there are out there who doesn's see what a fantastic album Alice is. easily one of my favourite tom waits records, along with rain dogs.

not really much into indie music, but this song struck a chord with me. comes across as a sort of retro-but-not-really-retro california rainy day sunflower melancholy lo-fi pop version of broadcast, if you can make any sense out of that.
short and sweet at 1:44.