Peers and close friends of Stereolab, Birmingham's Broadcast are one of the most interesting alternative pop acts in the world. This song is an example of their extraordinary skills in crafting a haunting, beautiful melody to go with a sound that's like a son of the band The United States Of America and Ennio Morricone. These folks took four years building their own studio. Can't blame them a bit as the results are simply stunning.

Instrumental song, that wakes you up and takes you for a fantastic trip, surrounded by glorious sounds of slow and genuine timing.
Excellent for listening as hi as you can, or after a good old fashion session of Tantric sex.
Its by far the most comforting song I have ever heard.

I won't pretend to know anything about this, i just found it while searching the web for more cambodian rocks-esque music. Old cambodian folk-pop piece with a comforting beat.
It sounds very familiar somehow, so it might be a cover of a well known song i can't dig up from my subconsience right now. listen and tell me if something pops into your mind.

i've always had a weakness for clarinets. especcialy in jazzy hip hop-influenced chillout music. love the lady-sample.fits comfortably next to the following track, "love scene", too.
a nice bit of incidental music for your life.

Off the brillaint soundtrack for 'Timecode' by Mike Figgis and Anthony Marinelli, not sure who actually wrote this song but the whole album is really good. The film's pretty good as well. Skin has a great voice and this is a really moody, atmospheric song that makes me feel both warm and lonely at the same time. The Main Title track is great as well.

The most beautiful, sensual song I have ever heard in my life. It feels like a warm, tucked-in, comfortable sigh from a lover nestling in on your shoulder, holding you ever tighter while whispering words of love in your ear. Try to top that.

The Divine One pours herself into this number completely. Her serene confidence breathes a kind of hyper-life into the lyrics. But the way she caresses the melody and strokes it so adeptly with her brilliant vocals sends me right over the top every time.

If I ever fall in love again, the woman of my affections will, in my wildest, most fantastic dreams, melt with me on this.

Please excuse the sap...

Ridiculously happy-sounding re-working of Bach's Air on a G string. The girl has a rather pleasant recorded voice, particularly while repeatedly assuring us that she'll be there when we wake up (comforting, isn't it?).

This release earned extra points for openness and honesty by including a credit to JS Bach, something that Procol Harum and a quite a few others have failed to do over the years.

personally, i enjoy this song in a large part because of the story it tells. i would really like for this to happen to me... it's just a very poignant thing. as to the mechanics of the song, however, some gentle strumming and a bit of classical guitar-style picking lends to the mellow and comforting quality of this song (and the whole album).

absolutely stunning. this shanty-esque version of "innocent when you dream" is meant to sound like an old 78 record, complete with vinyl crackle and boxy sound.
the street organ(?) is what really makes the song for me, it gives it sort of a "pre-war coney island-style carnival documentary footage"-vibe, if you`re able to make any sense out of that. it really is an absolutely stunning track to close an album with.

"running through the graveyard
we laughed my friends and i/
we swore we`d be together
until the day we died/
until the day we died"

(often i`m a bit uncomfortable when it comes to posting lyric exerpts, in my opinion whether or not a lyric is great is too often dependent on the delivery of the lines and the feel of the music. to me, seperating the lyrics from the song can often lessen their emotional impact. does anyone else feel that way?)

I adore Francoise Hardy. Her music may be a bit too sweet for some, but this song is a favourite of mine. It's nostalgic and melancholy, and strangely comforting. My French isn't perfect, but I believe the song is about the loss of innocence and youth.

Holly's always been prolific, but never more so than in the mid nineties when this fantastic tune was released. There were usually a couple of her own albums out every year, plus releases with her girl group Thee Headcoatees, and the quality never dropped.

This is a typically brilliant slice of Holly's sound - pop blues riffing with her who-cares vocals. It fixes me within such a groove whenever I hear it.

Random reminicense: One of the best live performances I have seen was Thee Headcoats and Thee Headcoatees on stage in North London at Hallowe'en, treating the crowd to the BEST EVER version of Monster Mash. At that gig I saw Holly milling around the crowd before Thee Headcoatees took to the stage and was struck by her luminescent beauty and remarkable poise. Truly she has everything. She's worthy of heroine status.

After her brief burst of mainstream recognition guesting with the White Stripes, Holly's back in the comfortable indie heartland these days. I really can't think of enough nice things to say about her.

The DIY ethos of punk served to liberate performers from the obligation to have a great deal of technical ability. The unfortunate corollary was that any display of already-acquired virtuousity instantly marked one as part of the Uncool Wankerage, forcing nascent guitar gods like Andy Summers to play as though suddenly arthritic. Possibly the first artist to successfully bridge Old World training and New World raucousness was Nina Hagen. "New York New York" is the East German-trained singer's signature tune. Over a clipped, dry Morodor techno-dystopia background, the verses present Hagen recounting her then-current regimen of glamourous excess in a harsh, metallic raven's shriek. Then, as though descending from the heavens at the end of a Wagnerian opera, comes the chorus -- a meltingly warm (yet uncomfortable) wave of minor chords, then a soaring, yearning, superbly modulated mezzo-soprano...which, after a jolt of realization, is understood to also belong to Nina Hagen. And so on.

This song is really beautiful. It's eight-odd minutes long, but it doesn't really feel like that. It's full of longing and it just makes you want to reach out for something, but you don't know what...

lyric sample: "thunderous sparks from the dark of the stadium, the music and medicine you needed for comforting. so make all your fat fleshy fingers to moving and pluck all your silly strings, bend all your notes for me..."

pared-down gritty rock'n'roll, this song hammers away from start to finish in classic mot�rhead style. the lyrics are what really distinguish this track for me, however... lemmy rasps "i've got rock'n'roll / to save me from the cold / and if that's all there is / it ain't so bad", making this song a paean to his love of rock and roll above all else. no woman, no bed will tie him down... only rock'n'roll will comfort him in his old age. and at 58, he's still rockin' hard. even though he's a dirty old man and i'm slightly afraid of him... well, it still fills me with hope.

So surprised that the composer, Mr. Bruce Blackman wrote a comment on Mrs. Bluebird's recommendation of this site! And this song "Rumor" ,their first single, was also written by him and Keith Olsen. Beautifully pop melody, intertwined harmony and good sense of guitar arrangement...It's like a comfortable summer breeze. Though I do love "The Other Side of Me", "I Wanna Be With You" and "Mrs. Bluebird" as well, this is the best track in me.

One of a handful of Quebec artist Michel Pagliaro's (unsuccessful) stabs at the American charts, "Some Sing, Some Dance" is a breezy, acoustic-led pop trifle, lighter than air, with rudimentary lyrics apparently provided by William Finkelberg. A sample:

Ooh you
How would I know just to hold you
How could I show that I want to
'Cause I do wanna hold you
Yes I do

And the following verses expand ever so slightly on that very simplistic base, except by the 3rd terse verse, Michel has sped along from desiring the girl to doubting she could be true, to realizing she, in fact, WAS untrue. Nothing profound here lyrically (and one wonders how comfortable Pagliaro was in 1971 with the English language to keep things this simple), but no matter: The whole package is wrapped in an upbeat, spare but energetic arrangement featuring Pagliaro's acoustic guitar chording, and nice little touches sprinkled throughout, like castanets, shaken tambourine, echoey hand claps, an elegant string arrangement (by Ben McPeak)providing a wonderful counterpoint, and a flamenco-like guitar figure finishing out the brief chorus:

Some sing, some dance
Some like-a romance
I love lovin'

So, even though Michel's been chastened by his lover, he's still coming back for more and longing to still hold this woman...and he loves lovin'...obviously, the magic's in the music here, instead of the lyrics, and it's a little gem of a song. Listen and see if you aren't charmed as well.

Trumpet, strings & a subtle jangly sound begin this song in a way that suggests a tale of heartbreak, as Burt Bacharach can do it. Then piano and wordless female vocals join, in a chorus that seems to say love or redemption is going to come. And this is done in a Todd Rundgren way, as on his Something/Anything album. Then it repeats, and you're redeemed again. Two winsome influences are combined in this sound library recording for a real slice of heaven.

Following shortly on the heels of Of Skins and Heart, "Tear It All Away" still was the picture of a developing band, but one already more comfortable with the studio, able to use subtlety and quiet drama to inform its cool, soothing yet tense take on post-punk filtered through psychedelic touches. The familiar Byrds-derived guitar and Bowie-tinged lyrical regret and sighing crop up as they so often would in the earliest days, but there's a clean, blue tinge to the whole performance, something that feels inexpressively like an eighties recording rather than a sixties throwback. Call it the space in the mix, the gentle keyboards here and there, or the substituting of folk and country roots for something more urban and faster-paced. The lovely mid-song solos show the Marty Willson-Piper/ Peter Koppes team still well within its element, and the whole composition has a rich, lush feeling to it that's most attractive.
(AMG)

The real beginning of Scott Walkers heavyweight reputation as avant garde miserabalist,droning synths fall apart at the explosive chorus and then drone again before dignified strings take you to another place before once again you come back to a fading drone ,exhausting ,exhilarating and uncomfortable but a genuine new musical territory at the time ,its influence can be heard on Bowie,s "Cat People",Japans "Ghosts" and even "In The Air Tonight" by Phil Collins ,(that tense guarded intro morphing into something more open and glorious through various layers ).
Buried at the end of an ill advised Walker Brothers album Nite Flights this is essential.

if you haven't heard this song yet, i highly recommend waiting until you are wearing shoes that are comfortable enough for you to uncontrollably break out into dance!

When you´ve overdosed on soft pop and brazilian reissues of the sixties, well, you need something else. So, how about an alt-country concept record, sort of, on child abuse ? Now, don´t runaway because Mountain Goats singer/songwriter John Darnielle is in my opionon the antidote of all the other, look at me how authentic i am singer/songwriters, that have seem to have regular subscriptions in mojos review department. There is a sense of urgency in darnielles songs that he writes songs because he has to. Taken from a fine album overall,The sunset tree, "This year" is the stand out track with a chorus to seek comfort from in the darkest of times; "i am gonna make it through this year if it kills me".

When mentioning Swing Out Sister casual listeners often dismiss them as forgettable, mere 80s martini pop kitsch. Or worse, one hit wonders due to the fact that their 1987 offering Breakout is still, by far, their biggest single hit. But this is completely wrong. In fact, they're enjoying an ongoing career for almost 20 years, recording 8 studio albums. Nowadays they�re fitting a niche no other group fits in so comfortably: escapist, late 60s oriented sophisticated glamorous easy listening pop music with all the right influences that spring to mind of that era: Burt Bacharach, Jimmy Webb, John Barry, late 60s european soundtracks in general, Ennio Morricone specifically and sunshine pop. Since these guys aren't necessarily household names in mainstream pop culture today, Swing Out Sister were practically invisible from the mid 90s on in Europe and the USA, releasing their records primarily in Japan, where easy listening music still gets the biggest exposure. The Sisters� 2001 album �Somewhere deep in the night� is their most cinematic, most elegant and visually evocative album to date, where the Bacharach/Barry/Morricone spirit is prevailing the most: 60s arrangements with Bacharach-oriented songwriting, Barry-esque lush strings, Morricone-style harpsicord, saxophone, harps, jazzy guitars, muted trumpets, fluegelhorn, wordless vocals, blending vocal songs with atmospheric instrumentals, creating an imaginary soundtrack. The whole album is a truly underrated gem.

this rendition of the foo's hit single surpasses the original version in every way. while the radio release generates power and energy while conjuring up a sense of nostalgia that accompany the song's lyrics, the acoustic version allows dave grohl's voice to, in a sense, speak to the listener comfortingly. the lyrics inspire all who listen to look around and seize the day, and to do this by cherish the relationships in one's life.

This reminds me of The Velvet Underground. Not musically in the slightest but just on one point - while absolutely great, paved the way for some awful copycats.

This is ultra-soft funk, luxuriating in comfort like the fluffy fur Striplin is wearing on the sleeve. Absolutely adorable, and so finely nuanced that it never cloys and just improves with repeated listening. It's hard to pick one song from this LP not just because they're all so damn brilliant but because each and every one of the songs sounds better nestled between their bedfellows.

Unfortunately this kind of style was robbed of all its subtlety and beauty in the 80's leading to the formula of soulless soul that began to proliferate. Enjoy this album for what it is; a creative apex between the decades.

If you are looking for an epic, detailed, scriptured text, infused with the basal roots of death metal, this song is it. Standing at a whopping 11:43 (minutes and seconds), this is one of the longest songs I've ever heard, apart from Dream Theater. Listen to the lyrics here, we don't have a bunch of nihilistic meatheads preaching about death and lost love, it rather contains text from the Pyramid of Unas (known as the Pyramid Texts). These texts are dated in Unas's reign, who was the last ruler of the 5th dynasty- most agree he was alive from 2375 to 2345 B.C., but as is seen on elyrics.net, some date him back to 5330 B.C. This date, combined with it's deific juggernaut of sound (perpetrated in the beginning with an echoed 'vena' intro compimented by an all mighty gong, and again in the bridge which sounds like the intro to the Dark Army from LOTR: Return of the King, with it's French horns and marcato kettle drum foundation), make for a truly musical masterpiece. This is the first death metal band I encountered whose lyrics had real meaning, origin, and context (much like DJ Cheb i Sabah's portrayal of texts from the Upanishads and the Bhagavad Gita). Listen to this the whole way through, the instrumentation is incredible, with a massive orchestrated sound about as subtle as a tidal wave. The bass drums constantly set up the rhythm for the entire work (hold the beginning, and about 8:20 through, as well as the conclusion), and the instinctive deep-throat, albeit gut lyrics add for the dark yet impressive overtone of this piece. I believe I can hear sitar, vena, and even 12-string guitar in this piece. Also, it is critical to acknowledge the chorus in the background- this really highlights the sovereign, godly quality of the song's tone. The arrangement is tight, constantly in rhythm, never behind, and well meshed together, indicating well thought-out composing. Great to listen to before a game of hockey, going to the gym, or if you are feeling weak and helpless- this piece will give you power. Enjoy it for what it is- a new, comforting taste in death metal. Listen to this piece, buy the album, and do research on Unas himself- you'll find a quite interesting history behind this ancient Egyptian ruler, which is the embodiment of Nile- their obsession with the ancient kingdom. 5 out of 5 starts for its genre.

Probably the slowest music I have I guess, from an album called The Blue Moods of Spain . Its dream-pop for evenings full of hope, or comforting music for days when all falls apart.The vocalist is not the worlds best , but because hes so natural it just adds to the mood I find. Its hard to pinpoint exactly what I like the most about it ,its just one of those songs u fall in love with and never grow away from.

One of my favourite tracks off Coldplay's second LP, this song is definitely not "Clocks", but that's a good thing. This is a slow track, one that's good for listening to on a rainy afternoon when you're feeling lethargic, or in the dark when you're feeling pensive. The guitars and percussion on this one are plaintive and comforting at the same time; the lyrics are plain and simple, yet full of meaning; and anyone who has heard Chris Martin sing and has run out and bought a Coldplay album won't be turning this track off.

Proved to be the most relaxing song ever. Its beautiful and the beat is slightly slower than a resting heartbeat.