SYR8: Andre Sider Af Sonic Youth By Sonic Youth

Released: July 28, 2008
Recorded: July 1, 2005
Label: SYR

Tracklisting:
1. Andre Sider Af Sonic Youth

Musicians:
Sonic Youth:
  - Kim Gordon – Bass, Vocals
  - Thurston Moore – Guitar
  - Lee Ranaldo – Guitar
  - Steve Shelley – Drums
  - Jim O’Rourke – Guitar
Mats Gustafsson – Saxophone
Masima Akita (AKA Merzbow) – Electronics

In My Own Opinion:

Andre Sider Af Sonic Youth is the latest release in the SYR series, which means something quite obvious. This isn’t any other normal Sonic Youth record. Not a new Daydream Nation or a new Evol. The SYR name brings the more experimental Sonic Youth to the table. In the SYR series they’ve earlier made a record of Avant-garde covers, covering the likes of John Cage, Christian Wolff, Steve Reich and Takehisa Kosugi (SYR4: Goodbye 20th Century). Another one in the series is made up of three long live jams, recorded at a showing of silent films by Stan Brakhage (SYR6: Koncertas Stan Brakhage Prisiminimui). This one keeps the experimental spirit of the SYR series alive. Recorded live at Denmarks Roskilde Festival 2005, the release consists of one track clocking just short of an hour. The setup of this gig was quite special, back when played. It started off by Kim Gordon and Steve Shelly going on. After that, every 5 minutes, a new member goes on stage. When all of Sonic Youth is on, then suddenly a swedish freejazz musician joins them, Mats Gustafsson. 5 more minutes go and the unmistakable sound of japanese noisemusicain Merzbow appears. The improvised song has, up to this point, been quite confusing and slightly boring, until Gustafsson and Merzbow took the stage. As they pitch in with their extreme experience in Free Jazz and Noise, the show really kicks off. The intensity of the show keeps on getting higher and higher, as does the volume. After all 7 people jam for a short time on stage, Sonic Youth start walking off, one by one. And just as earlier, in every 5 minutes. As much as I like Sonic Youth and so on, this record really just gets better every time a SY member gets off the stage. Everything gets louder and wilder, noisier and jazzier. This record should really be called SYR8: Merzbow and Gustafsson Backed By Sonic Youth. They completely steal the show as they try to break music down to a point where theory and ability is obsolete, making Sonic Youth sound like a boring pop/rock band in the process. 

As the records one track hits 45 minutes, and most of SY is gone, Merzbow and Gustafsson really takes over, 100%. Merzbow turns up his electronics to a deafening volume and Gustafsson blow in these few coloured lines of improv free jazz, all wrapped in noise. Before long, only Merzbow stands left. The thick wall of noise is surrounding the listener, until suddenly. Click. The crowd applauds, some of them may not even be knowing that they just experienced one hell of a great avant-noise-jazz concert. Now, that sound like quite some genre. Sounds a bit hard to get into, doesn’t it? Well, not really. As much this is noisy and jazzy, it’s still Sonic Youth and that tells. It is one of the most accessible noise recordings I’ve ever heard. If one is open and willing to get shaken in ones opinion of what music is, this is a quite good place to start. Play loud.   

The Hunt by Dexter Gordon & Wardell Gray

Released: 1977
Recorded: July, 1947 
Label: Savoy

Tracklisting:
1. Disorder At The Border
2. Cherokee
3. Byas-A-Drink
4. The Hunt (AKA Rocks’N'Shoals)

Musicians:
Dexter Gordon – Tenor Sax
Wardell Gray – Tenor Sax
Harry Babison – Bass
Red Callender – Bass
Connie Kay – Drums
Ken Kennedy – Drums
Barney Kessel – Guitar
Hampton Hawes – Piano
Sonny Criss – Alto Sax
Trummy Young – Trombone
Howard McGhee – Trumpet

In My Own Opinion:

This really should have been released when recorded! Wow! Several of the best musicians in the 40s is on this record, led by the two sax giants Dexter Gordon and Wardell Gray. On their own these two giant has made legendary records, such as Gordon’s Go!, Our Man In Paris and One Flight Up. Wardell Gray’s discography, though not very big, includes brilliant records The Chase And The Steeplechase, Memorial Vol. I and II. Well, fuck. You know what? I ain’t gonna write anymore than that. This is a fucking great record and all should try to get a hold of it. It’s quite rare but I don’t care if you have to download it or anything! It is life altering. 

Saxophone Colossus by Sonny Rollins

Released: 1957
Recorded: June 22nd, 1956
Label: Prestige

Tracklisting:
1. St. Thomas
2. You Don’t Know What Love Is
3. Strode Rode
4. Moritat
5. Blue Seven

Musicians:
Sonny Rollins - Tenor Sax
Tommy Flanagan – Piano
Doug Watkins – Bass
Max Roach – Drums

In My Own Opinion:

The most mainstream record as of yet, and that mainstream tag is very rightfully placed. There’s every reason for this record to be as well known as it is. It features loads of topclass jazz standarts, opening with the memorable calypso-influenced track St. Thomas, possibly his most known track. It starts out in the small with the drums pounding light, starting of the theme. The theme, one of the magic things in this record, is unbelievably catchy and stucks in your head for days, already after the first listen. St. Thomas is a great, upbeat, danceable bop song with intermission solos by sax, drums, bass, everything. Also, at 6.49 it has a great lenght. It isn’t so short that you just barely make it to the dancefloor before it’s over, though not long enough for one to get tired of the theme or the sound.

This is a factor throughout the whole of the album as all 5 cuts is strong on their own, though still has somewhat of a connection and suits each other well as a single suite.

The crew on this recording is worth a few words as they really make this material go over the top. Max Roach, one of the great jazzdrummers – a legend, plays beyond ability on St. Thomas, laying down a sparse calypsogroove until he explodes in his own brilliant solo. Doug Watkins keeps great grooves going through all the cuts and his soloing is exploring yet it never lets go of the groove. On the piano, Tommy Flanagan does what he always did. Sophisticated, bluesy soloes and harmonics, just as you know him. He would later do something similar on one of the other great work of late 50s early 60s jazz, Giant Steps by John Coltrane. As band leader on this brilliant record Sonny Rollins really shows why he’s to be considered one of the greatest jazzmusicians of all time. His consistency on this record is only matched by Max Roach behind the drums. Still that can’t really be compared as Rollins also leads the whole thing and soloes more often than not. And his solos is another key factor to this record as they are very much in the vain of the modal jazz. He plays notes rather than actual scales. He starts real mellow and sparse playing few notes, builds it up into some sort of jazzy crescendo ending out in a variation of the given theme. He’s playing is very fitting and lyrical on this record.

This one is up there. It is, without a doubt, as strong a record as, say Kind Of Blue, Giant Steps, Brilliant Corners, Somewhere Else, Moanin’ and so on. Catchy, deep yet easy to get into, virtuous and timeless. This is one of the most important testaments of jazzmusic, hell any kind of music. This is expertly recorded and expertly executed, that being both it’s greatest strenght and one weakness. This record will be in the absolute top of the bunch right behind the real masterpieces, those who revolutionized the jazz. Bitches Brew, The Black Saint And Sinner Lady, Interstellar Space, The Shape Of Jazz To Come, In A Silent Way, Coltrane Live At Birdland. Recommended.

5 by Supersilent
 

Released: 2001
Recorded: ?
Label: Rune Grammofon

Tracklisting:
1. 5.1
2. 5.2
3. 5.3
4. 5.4
5. 5.5

Musicians:
Arve Henriksen – Trumpet
Helge Sten – Electronics
Ståle Storløkken - Keyboards
Jarle Vespestad – Drums

In My Own Opinion:
This is a different one, not very well known. This norwegian bands roots lies deep in the free improv style of avantjazz, both pros and cons. The album contains 5 tracks, the shortest being 8.35 long, the rest is above 10 minutes. I don’t know wheter this is a pro or con, that depends on the listener, I consider it a pro though. Especially on this very record. When Supersilent released their debut recordings (A boxset named 1-3, three discs) they were very noisy, atonal, beatless and unmelodic in their improv, which naturally ment their boxset were those exact things. They were very big in their sound, also because of the fact that there were 190 minutes of improvised noise. This was 1998. This massive box didn’t make the biggest fuzz on the scene, though it were a great foundation for the Supersilent to come. Later the same year a new record came, only a single disc this time, called 4. On 4 they started to sound jazzier. The first release weren’t really that jazzinfluenced in it’s sound as it mainly were improvised noise. This jazzier sound came along with a slightly more controled sound, a bit more melodic and controlled in it’s experimentalism. It almost seemed ambient at times, much unlike the raw power of the first release. In 2001 5 were released. This was even jazzier, they were almost sounding like a avantjazz improv band on this release. 5 is made up of long, atmospheric, ambient improvised jazzpieces that, once in a while, shows the face of the earlier Supersilent by reaching a noisy crescendo worthy of the grandest symphonies and the loudest post-rockers. Very well, this is a record of 5 cuts but I consider that a formality as I believe this record is not just best as a whole body of work but also is essentialy more meaningfull this way. Even though this record is improvised there somehow seems to be a general feel throughout this whole album. A detail in this fact is though that the album is made from 30 hours of live material cooked down to 70 minuttes of avantjazz. 

Throughout this album a lot of quiet passages come along, these being very sparse and minimalistic, almost nonexistent at some points. Sometimes it almost sounds as if they are trying to play some sort of melody with as few notes as possible, only playing the absolute core of what is necessary. If one is interested in jazz and is slightly moving towards the more experimental and avant part of the scene, then this would be an alright place to start out as it is fairly accesible and also represents the free improv and ambient part of the scene very well too.

All in all, there is a lot to get out of this record. Silent mindwanderings or ambient dreamsurfing, this has a lot to offer. I could point out one of the cuts if necessary but this is a very album oriented sound and should be listened as a whole. In the dark. With closed eyes. In the very state between sleeping and being awake. It’ll take you to faraway places.  

With that said, I’m gonna start out easy anyway and with that in mind, I’ll start off with Eric Dolphys masterpiece Out To Lunch. 

Out To Lunch by Eric Dolphy

Released: 1964
Recorded: February 1962
Label: Blue Note Records

Musicians:
Eric Dolphy – Alto Sax, Bass Clarinet, Flute
Freddie Hubbard – Trumpet
Bobby Hutcherson – Vibraphone
Richard Davis – Double Bass
Tony Williams – Drums

In My Own Opinion:

Starting off with one of the great openers of 60s jazz, the Monk inspired Hat and Beard. Some call it experimental and some call it avant-garde, some even go as far as calling it free jazz. The last claim, I can’t relate to but the two first is both quite precise. In one way, it’s very experimental in the way it sounds, the way the texture of the music is different from general jazz music, mainly because of the vibraphone instead of piano but also because of the sound of Dolphys flute. On the other hand, it doesn’t really sound like they’re experimenting with anything. It sounds natural and calculated, therefore it could be classified as avant-garde jazz. In Something Sweet, Something Tender, a great duo takes place, featuring the bassist Richard Davis and the leader Eric Dolphy on bass clarinet. Though this is likely to be brought up as one of the key moments of this record, this track is generally considered to be slightly weaker than that of the others. Clocking at just 6 minutes, it is also the shortest of the compositions on Out To Lunch. 

Wrapping up the first side of the record, we find Gazzelloni, named after the flautist Severino Gazzelloni. This is also, by far, the most bopping of the albums compositions, some might call it the most conventional, especially taken Dolphys background in consideration, him having backed Mingus, Coltrane and Nelson. This isn’t a bad thing though. In Gazzelloni you find a brilliant bop track that ranks among the best, featuring a great improv by Dolphy on his flute. 

The second side of the record kicks off with the title track, clocking at 12 minutes, making it the longest composition on the record. The whole of the second side is, according to liner notes, supposed to “evoke a drunken stagger” (Thank you Wiki). Both the tracks on the second side are written for the alto where Dolphy once more shows why he should, and hopefully is, considered one of the best jazz musicians, excelling in the arts of clarinet, sax and flute, all of this on the same album. Through all the second side, a lot of improv hits the music, and that by all of the musicians, going through scales, variations of these scales and then back to a light theme of the song. This sounds quite conventional but the variations of the scales on this record is quite outstanding and alternative. That being said, it hardly fits into the Avant-garde jazz genre. If people has to fit it into a genre many would, most likely, place it in the avant-garde. I say, Out To Lunch bears many qualities, some of these, as a complete record is that it places itself in between the hard bop and the avant-garde. Out To Lunch is one of the most alternative and experimental of hard bop records but one could also consider it the soft and structured entrance to the world of avant-garde jazz. The force of this record, if listened to properly and often, is to be reckoned with and is truly one of the landmarks of 60s jazz, independent of genre. Recommended.    

Well, a few things have changed. Lie. Everything have changed, some of these things are not to be revealed here though. I have posted many thoughts of music on this blog and, well, it might be time to start that up again. The last couple of months, one genre has been dominating everything. The jazz. It’s everything in music. It’s calm if your mood is for it, it’s wild, adventurous, complex or simple, upbeat or downbeat. It covers the whole spectrum, and I’m really diggin’ it. A bit further down in this very post I will be namedropping a few of the things i like in jazz, or jazz related business. If anybody really seems to like the same stuff, please give me a comment or so, I need people of the jazz to exchange thoughts with. 

That being said, I’m really looking forward to Jakob coming home, I’m really looking forward to Svend Emil coming home and I’m really not looking forward to Sune leaving. I am kindda hoping that Me, Jakob, Martin, Svend Emil, Sune and a few more people could go watch the, in my opinion – awful, Pink Floyd Project in Kildeparken, this tuesday. Hopefully everybody will be home for such. That would be awesome.

Now to the jazz! Yes!

The last months I’ve mainly been listening to (In Random Order):

Charlie “Bird” Parker

Dizzy Gillespie

Thelonious Monk

Sonny Rollins

Art Blakey & His Jazzmessengers

Bill Evans

Cannonball Adderley

Charles Mingus

Dexter Gordon 

Wardell Gray

Krzysztof Komeda

Oliver Nelson

Wes Montgomery

Ornette Coleman

If anyone can relate to finding this amazing, please do post a comment. This will be all for now but at this very moment, I’m considering the possibility of starting a series of posts on different favorite records, every other day. 

Godspeed.
/Pete

But now, a revival might be coming? Hmm.

Above, I mentioned two very important figures in the Bristol Sounds but one very important band was missing. And after 11 years, they’re back with a new studio record. Is the Bristol Sound returning? God, no. With the genre defining Dummy from 1994, Portishead put themselves on the map. Their brooding downtempo samples, twanged quasi-ambient guitarlines and the haunting voice of Beth Gibbons, they created what many consider the most important record of the Trip-Hop wave. In ’97 they released their selftitled album, changing everything and nothing. All was different but still the same. In ’98 they released a live album from NYC. All of the three were key releases in the wave. Now, 11 years later, they’re back. Luckily, they haven’t tried to keep the old sound alive. Once more they changed completely without changing a bit.

This time around, on their third album – called Third, obviously, Portishead has moved a thousand-something kilometres to the southeast. To Germany. Their new album features lot’s of tendencies from the brilliant playbooks of Can, Faust and Neu!. The beats plays faster, the synths are more insisting, the guitar more noisy. The psychedelic, repetative Kraut mix of this record makes this very far from the earlier Portishead. That said, you never once doubt the fact that this is Portishead. Why not? Gibbons, Utley and Barrow. They’re as ever present as always. The voice of Gibbons is the obvious, instant similarity and trademark sound, but also Utleys guitar playing and Barrows beats feels just like the old days. The sound is new but without a doubt still the same source. The claustrophobic, repetativeness of this record brings the best out of both Barrow and Utley. One of the most obvious proofs of their old influences is the fact that, even though the beats are faster, more repetative, they still manage to keep this record so damn introvertous. Even though everything goes perfectly together, they still manage to sound so unbelievably lonely. Trademark Portishead. They’ve done it once more.

I won’t start to dig deeper into this record here, as this record needs to be experienced. So are we talking about a revival? Yes. A revival of one of the best and most defining bands within their own genres, and their spreading. The other giant from the old Trip-Hop wave, Massive Attack, is to release a record within this year too, with the working title Weather Underground. Let’s hope they can pull off what Portishead has done. Third is indeed a box of glory. Bliss.

/Peter

10. The Basement Tapes (1975)
The name really says a lot. This is quite sloppy and clearly made as the title says. And these basement tapes really has a lot of great tracks. These tracks is made even better by the group of accomplished musicians, Dylan’s old friends in The Band. The drumming though isn’t very good. The sound on this album is, as mentioned, very sloppy and though it is a quite charming sound, this would have been a masterpiece if properly recorded.

9. Time Out Of Mind (1997)
This marks the return of Dylan. After years of musically striding about, this is the return to the Bob we knew and loved. The brilliant combination of blues, rock and country fits Dylans songwriting and his vocalwork is some of his best. The musicians on this album has to be mentioned, especially Jim Dickinson, who plays keys on this record, is phenomenal.

8. John Wesley Harding (1967)
The return to acoustic for Dylan. After three records of electric music he returned to his roots and almost with the succes of the early/mid-sixties records. 18 months had gone by since Blonde On Blonde and he had crashed on his motorcycle. After recovering from the worst of his injuries, he recorded this in Nashville with the help of just very few musicians. This makes it a very sparse sounding album and with songs like “All Along The Watchtower”, this turned out to be another fantastic record.

7 . The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert At Philharmonic Hall (2004)
One of the concertreleases where Dylan is mostly acoustic. This is recorded just before his groundbreaking record, Bringing It All Back Home where he pursues a different direction. Portrayed as a protest singer and civil-rights symbol, this concert is largely dominated by his protest songs (The Times Are A-Changin’, A Hard Rain Is A-Gonna Fall) though he does play some early versions of the soon-to-be-recorded songs from Bringing It All Back Home. Dylan is furthermore assisted by Joan Baez on a few songs.

6. The Freewhilin’ Bob Dylan (1963)
The second and breakthrough album of Bob Dylan. After the release of his debut, with moderate succes – estimated sales were right about 5.000 copies, this was released to great succes. Songs like “A Hard Rain Is A-Gonna Fall” and “Blowin’ In The Wind” made Dylan a household name, especially in the rising counterculture and he would soon be seen as a protest singer of great importance.

5. Blood On The Tracks (1975)
The breakup album of Dylans. Made right before the divorce of Bob and Sara Dylan, during their separation. After having struggled, musically since the release of Nashville Skyline in 1969, this was the first comeback of Dylans (the second being Time Out Of Mind at 9th.) and it resulted in one of the most heartbreaking records of all time.

4. Blonde On Blonde (1966)
The epic double album , hell, maybe even the first real double album in rock history, though that’s not whatit should be remembered for. It should and will be remembered for it’s bluesy folk sound, the surreal lyrics and the theory of it being written about Dylans love to not just his wife but also a Warhol model and fellow folk and protest singer Joan Baez.

3. Highway 61 Revisited (1965)
The legendary record featuring the single “Like A Rolling Stone”. This is a true tour de force in bluesy folk rock music. This records takes the electric sound a step further from Bringing It All Back Home, this time recording with a full electric band featuring greats like Mike Bloomfield on guitar and Harvey Goldstein on bass. It doesn’t make it worse that songs like “Desolation Row” and “Ballad Of A Thin Man” was penned for this album which just makes this so unbelievably great. This should be found in every house.

2. The Bootleg Series Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert
This 2-disc recording from May 1966 lasts more than 1½ hour and even though some might think of it as a long time, this record just blows by. There’s so much great music on these two discs, you won’t even believe it. The record is made from bootleg recordings from the concert at Manchesters Free Trade Hall on May 17, 1966 – not, as the title says, at the Royal Albert Hall. The first disc features Dylans acoustic set featuring songs like “Visions Of Joanna”, “Desolation Row” and “Mr. Tambourine Man”. This disc completely amazes me. This man is alone on the scene with his guitar, harp and his vocal doing long and passionate versions of some of his best songs. The second disc is quite different yet still just as good, if not better. This one is with a full, electric band. And what a band. Dylan is joined by The Hawks (Later to be The Band) on stage and they play like they would never get a chance to play again. The best part of this record is the way it ends. After playing a wonderfull version of “Ballad Of A Thin Man” some guy, considering Dylan a sell-out, shouts: ” I will never listen to you again.” This results in Dylan telling his band to play “Like A Rolling Stone” and “Play it fucking loud”. This might very well be the best live record, ever.

1. Bringing It All Back Home (1965)
The fifth album and my personal favourite. I consider this the most groundbreaking record in Dylans career. Side 1 features a complete electric band playing “Subterranean Homesick Blues”, “Outlaw Blues” and “Bob Dylan’s 115th Dream” all of which features some of the most poetic and deep lyrics in the history of music. The bands is tight as hell and Bob plays the best he’s learned. The second side of this record, the acoustic one, contains songs such as the legendary “Mr. Tambourine Man” which was later made even more famous by The Byrds. This records is also Dylans personal vendetta towards his image as a protest singer. This is, without a single doubt in my mind, one of the best albums, hell recordings of all time. It is “insert a personally invented word that multiplies godlike with a thousand”.

As some sort of ode to this canadian movement I hereby present: My Personal, and completely original, Top 10 list in canadian records in the last 15 years.

10. He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms… – A Silver Mount Zion (2000)
A very powerful debuteffort of this post-rock GY!BE offspring. The vinyl edition has a great deal of influence from classical music, as it is split up in two movements, both of which is very musically impressive.

9. Broken Social Scene – Broken Social Scene (2005)
The latest album by the supergroup collective as a group and possibly one of the best alternative indierock efforts of the past few years. The sound of all canadian indiemusic blended into one brilliant record.

8. Yanqui U.X.O – Godspeed You! Black Emperor (2002)
To this day, the latest album effort by these post-rock emperors and by far their most secure. Nothing new to find here, just a plain good post-rock record from GY!BE, but that’s quite something anyway.

7. The Reminder – Feist (2007)
An unbelievably charming effort by this canadian singer/songwriter. The perfect mix of plain indierock and downbeat ballads. Further more songs like that of 1234 and My Moon, My Man also shows great singlehit potential.

6. Goodbye Enemy Airship The Landlord Is Dead – Do Make Say Think (2000)
A bit more jazzy than most of these Constellation releases but still one of the most harmonic and beautiful post-rock records of the genre.

5. Lift Your Skinny Fists Like Antennas To Heaven – Godspeed You! Black Emperor (2000)
One of the most epic albums of all time. On this GY!BE really shows why they were the emperors of post-rock as they evolved their sound from the debut even further, this time making it a bit more heavy and orchestral. In fact, this album in particular is very similar to a symphony as the four tracks is built up like movement instead of conventional rock music. And with a closing track as great as Antennas To Heaven, it can’t be nothing short of brilliant.

4. Apologies To The Queen Mary – Wolf Parade (2005)
There’s not much to say about this record. The songwriting is completely amazing and it certainly shows great promise. The band is releasing their follow-up sometime this year and let’s see if they have any chance of reaching the same artistic level.

3. You Forgot It In People – Broken Social Scene (2002)
This might very well be the perfect mix between post-rock and indierock.  It has so many ambient sounds and still it shows a fantastic understanding of both genres mixing them into some alternative mini-movements. This should be owned by everyone.

2. F#A#∞ – Godspeed You! Black Emperor (1997)
Possibly the best post-rock album ever made. The unbelievable crescendos, explosions and progressions. This is not just music, this is true art. True art in its purest form. Beautiful.

1. Funeral – Arcade Fire (2004)
Well I guess it isn’t much of a surprise that this is on top, but this is genius. I know it has been praised a lot in the past year but it really is rightfully deserved. This is such a packed record. Filled with emotion, depression and the music fits all of this so well. This has to be experienced. This is not just on the top of my personal canadian list but also in the very top of my personal all-time list.

Let’s hope Canada will be releasing lot’s of great records in the future, in fact I’ve tracked down a few that will be released in 2008 that might very well be among the best yet:

Broken Social Scene Presents: Brendan Canning – Untitled
Wolf Parade – Pardon My Blues
A Silver Mount Zion – 13 Blues For Thirteen Moons

As Oscar Wilde once said: “It’ll Be Nice When It’s Done”

5. Sigur Rós – Svefn-G-Englar
These Icelandic lads really understands how to make etheral and atmospheric sounds. This would be the song played if a player should be injured for good in tonights game. The news would then make a short clip of some of his good plays and this would be the background music.

4. Mogwai – Mogwai Fears Satan
This will be played when NE Patriots runs Giants down in the first half and drives it nice and steady home in the second half. One big cresendo around 7 minutes.

3. Godspeed You! Black Emperor – Moya
When Patriots kills every single soul believing  that Giants has a shot, this will be played. That is, when you see it from a Giant’s eyes. The sad, doubtful guy who just lost Super Bowl by 40 points.

2. Lis Er Stille – Styrke
This will be played when Giants win by fighting their ass of and at the end breaks down crying after winning the biggest sportsevent and then against the most perfect team ever in the history of american football.

1. Yndi Halda – We Flood Empty Lakes
When NY Giants is standing at their own 1-yard line in the last seconds of the second overtime this will be played. Patriots throws and Giants intercepts and runs it all the way to a touchdown after fighting their way back in the fourth quater, this will be played. When everything seems to be over for the Giants and the rise from their ashes, this is it. The cresendo at the end of this song is possibly the best in the history of modern music. This is the sound of winning against all odds, in the last of seconds at the biggest game of them all.