I know you want the DThe Avalanches - Since I Left You
If sampling isn't a legit form of making music, collages aren't a legit art form.
The King beneath the Mountain by Surface of Eceon. Kind of a space rock/ambient hybrid. Relaxing and helps one focus—perfect for doing physics!
3 microphones foreverBen Folds Five - The Life Of The Mind. I haven't heard a Ben Folds solo album since the first one (Rocking The Suburbs from 2001), but I have enough nostalgia for this band that I wanted to hear this. It's pretty good. I like that it sort of feels like a mixture of all their previous albums - there's a little bit of the scrappy power-pop-ishness of the self-titled album, the jazziness of Whatever And Ever Amen and the slicker production and more personal songwriting of Reinhold Messner.
Thunder, Perfect MindTrumans Water, Singles: 1992-1997 What can I say about this band that can accurately convey how I feel about them without making them sound... unpalatable? Really, I like Trumans Water quite a bit, but their music is extremely alienating in a very particular way. It's not exactly bizarre or off-putting in premise the way that Prurient or Merzbow is; this is definitely rock music, at least some of the time, and there are definitely hooks in there. But this band... Imagine an early, noisy math rock group like Polvo—especially Polvo—taking its aesthetic cues from groups like The Residents, Caroliner and the earliest incarnations of Boredoms. Trumans Water are like that: Spasmodic, histrionic, grungy, sloppy and incoherent, and yet also skilful, catchy, nuanced, clever, unified in vision and all-around fun. You might not be able to name each song on the first listen—the ludicrous song titles make it both easier and harder to say what's what—but you will remember those weird little melodies, those howling madcap vocals, those inexplicable stops and starts. The impression is hard to shake off. The latter half of the album is more difficult to sit through due to the lower percentage of proper songs, but it's never a boring journey, and there are some gems there—"Standing On My Back" is completely berserk, in a good way.
3 microphones foreverRocket From The Tombs - Rocket Redux. Rocket From The Tombs were a garage rock / proto-punk band who formed in 1974 and put out their first album in 2004. They're sort of best known for splitting off into Post Punk group Pere Ubu and punk rock group The Dead Boys. This album is actually 2004 re-recordings of their 70's material. It's sort of interesting how some of this now sounds like pretty conventional punk rock but some of it still manages to be a bit "out there". It's pretty weird hearing the quavery-voiced David Thomas and the hoarser, more conventionally punk-sounding Cheetah Chrome acting as something of a Vocal Tag Team, and possibly even weirder hearing Thomas sing future Dead Boys songs like "Sonic Reducer". Overall, it's a pretty cool album, and does really seem to capture what it might have been like if this band's initial lineup stayed together long enough to get a studio record out back in the 70's. sample track
edited 10th Oct '12 6:09:40 PM by MikeK
Murphy TimmunsThe Shins ~ Wincing the Night Away Tied with Chutes too Narrow as my favorite album from these guys (only 4 to choose from, but...), prepping to go see them on Sunday, and very excited. Just saw them. I can't really describe how cool it was.
edited 30th Sep '12 11:35:18 PM by Ryuhza
3 microphones foreverThe Walkmen - Everyone Who Pretended To Like Me Is Gone. I kinda like "We've Been Had" and "The Rat"*, but other than that I still don't get this band. They kind of seem more invested in creating a a hazy lo-fi mood than developing songs, and it's not even an interesting hazy lo-fi mood. XTC - Black Sea. This and Drums And Wires are probably my favorites of theirs, though there's still a bunch of albums I haven't heard yet. Mike Watt - Contemplating The Engine Room. This is going to take a few more listens to digest, but it's a pretty interesting album. Watt has a pretty weird, gruff singing voice, but I like it - he pretty much sings like he talks, and therefor sounds like this slightly eccentric, amiable working class guy you might meet in a bar - which especially fits with this album because it's supposed to be a Concept Album about working in a ship's engine room. Land Of Talk - Cloak And Cipher. Quite a nice, dreamy album. sample track
edited 10th Oct '12 6:08:10 PM by MikeK
Nintendo MasterAstral Rejection by I Set My Friends on Fire. Still silly but better than the first album.
Busy, I gotta take over the world and beat level 60 before supper!
3 microphones foreverRadiohead - Kid A. I think when this first came out it was sort of the last time I was massively excited for (and obsessed with listening to) a brand new album. I still look forward to new albums, but it's not quite the same. I think a major part of it is that it came out while I was at a college in the middle of nowhere - there were only three options for buying CDs (the campus book store, Walmart, and a small independent record store) and downloading wasn't an option as I had to rely on computer labs for internet access, so I guess I felt I had to savor whatever new music I did get my hands on. Anyway, this album always makes me think of a specific time and place because of that. Marion - This Mind and Body. No, not Marillon. They were a semi-forgotten 90's Brit-pop band who I first found out about from reading an article last year about them reforming. I enjoy this album, it's sort of like what Suede would have sounded like if they were way more enamored of The Smiths. sample track (I like the album version better, but it's not posted in good audio quality)
edited 10th Oct '12 6:05:03 PM by MikeK
hopelessly optimisticCoheed and Cambria - The Afterman: Ascension Arrived in the post today.
"Life is far too important a thing ever to talk seriously about."
3 microphones foreverDinosaur Jr - Beyond. I haven't heard their latest, I Bet On Sky, yet, but seeing people discuss reunion-era Dinosaur Jr in general made me want to revisit this one. The production is pretty murky (and somehow unlike their early albums, it doesn't feel like a deliberate vibe), and the solos are generally overlong and maybe a bit too J Mascis-y. But on the other hand, the melodies are pretty great all the way through, and the two Lou Barlow Step Up to the Microphone tracks make me appreciate how much tighter of a band Dinosaur Jr are than Sebadoh. Waltham - Waltham. Power Pop meets Arena Rock, basically - despite being formed in the 00's, they kind of strike me as the sort of band who would be a local opener for the likes of Cheap Trick or Night Ranger in the 80's (though thankfully the production is pretty modern-sounding). That's a compliment though - they were great with coming up with big anthemic hooks. If anything their weakness may have been being too consistent - there's not a lot of variety here, though the album is just short enough (42 minutes) to not grow stale because of this. sample track.
edited 10th Oct '12 6:03:46 PM by MikeK
3 microphones foreverThe God Bullies - Dog Show. This was a thrift store impulse buy for no other reason than that I remembered Mark Prindle liking them. As it turns out he only gave this particular album a 7, but it's sort of interesting - they basically alternate between sleazy hard-rock-influenced punk with very low, gothy vocals and early Butthole Surfers-style noise jams, with plenty of Spoken Word In Music thrown in. There's a little too much of the noise-jam stuff, which tends to be pretty annoying, but the actual songs can be catchy. Sample track *.
edited 10th Oct '12 6:10:30 PM by MikeK
Thunder, Perfect MindBügsküll, Distracted Snowflake Volume One (Pop Secret/Darla Records, 1997) and Distracted Snowflake Volume Two (Scratch Records, 1999) I'm considering these two records as a package, both because I listened to them in a row and because they do seem to have been conceived as companion pieces. Both do share a very particular, peculiar sound of which only Bügsküll can really be said to be the practitioners—Excepter come close, but are far more aggressive and less prone to acoustic pastoralism—and moreover a very particular subset of that sound: Weird, sub-hip-hop soundscape pieces, assembled from electric bass, acoustic guitars, sci-fi synthesisers and strangely melodic (rather than rhythmic) drum machine programming, interspersed with curious found sounds and understated, sometimes-folky vocals by main man Sean Byrne. I would call it post-rock, but despite the occasional motoric vamp and NEU!-like electric lead, there really was no trace of "rock" left in Bügsküll's sound by this point in their career and certainly no resemblance to, say, GY!BE or late-era Talk Talk. (Early Jackie-O Motherfucker are alike in that respect. They're both from Portland. It figures.) What I'm saying is that this is pretty much sui generis You can talk about what it sounds like, but you can't really compare it to anything else. The first release is certainly the stronger of the two, with no real dud tracks and plenty of wonderful songs (the eerily gorgeous introverted pseudo-pop of "Flowers Smile" and "Goodbye" are particularly fetching), although the opener and last two tracks of the second volume ("Charmed Life", "West Coastin'", "Distracted Snowflake") are all prime Bügsküll weirdness, particularly the lattermost with its delightfully monstrous synth introduction. The only real problems come with the mid-point of the latter LP: "Broke Like A Ghost (Ice Age Blues)" overlays a semi-cliché indie-folk song over a seething wall of ugly lectronics and bizarre samples, which is incredibly disconcerting and a bit difficult to parse on the first listen; meanwhile, the track that follows it, "The Ballad of the Glad Mosquito", practically collapses into Shaggs territory in its second half. Of course, considering Byrne's odd sense of humour, these were almost certainly intentional musical decisions. But that doesn't make those two any easier going.note Bügsküll aren't particularly well-represented on YouTube given their obscurity, but luckily enough, someone uploaded one of their only promo videos, a lovely little piece of abstract animation for the song "Goodbye":
3 microphones foreverSupernova - Ages 3 And Up. If you know of this band at all, it's most likely for that Chewbacca song from Clerks, or possibly for being the reason Tommy Lee, Gilby Clarke and Jason Newstead had to call their supergroup Rockstar Supernova. "Chewbacca" is sort of indicative of this band's sense of humor, but not their musical style - that song is sort of a metal pastiche (enough so that it's been misattributed to Tenacious D), while the rest of their stuff is super quirky pop-punk. To me they're sort of part Buzzcocks, part Ramones, part Devo (and I'm mainly thinking of the really poppy stuff Devo's done). As an example of their odd sense of humor, "Daredevil" is about the band trying to call upon superheroes to save them from drowning in a swimming pool ("Calling all daredevils from this world / Supernova is stuck in a pool!"). This album is a lot of fun, though I can see it grating on someone with a low tolerance for happy pop-punk melodies and adenoidal vocals.
edited 28th Oct '12 8:36:58 PM by MikeK
Your friendly neighborhood CartoonistSgt. Pepper's Lonely Hearts Club Band by The Beatles and Inner Speaker by Tame Impala
edited 28th Oct '12 7:52:46 AM by DingoWalley
3 microphones foreverPink Floyd - A Momentary Lapse Of Reason. This has made me conclude that Gilmour-led Pink Floyd probably isn't for me. Too... well, I guess the non-adjective I'm looking for is "dentist-office-ish". "One Slip" and "Learning To Fly" are fairly catchy pieces of stadium rock though, so those are the two tracks I'm keeping on the hard drive. Rush - Exit... Stage Left. I don't love Rush, but I liked this - the songs I already know don't sound much different from the studio versions, but it's well-recorded and performed, and there's a good balance between hits and album tracks.
Thunder, Perfect MindThe Cure, Pornography—Listening to the loder mix of this album, I can recognise why people accused it of being "muddy-sounding, " but it's sort of appropriate here: The tone of the music and content is almost oppressive at times; "A Strange Day" is the most open-sounding of the tracks, and even then, the lyrics... the closest thing that I could equate them to, emotionally, is this one section of the opening of Paranoia Agent, wherein Detective Ikari stands atop a radio tower, arms outstretched and laughing, while a nuclear weapon annihilates the city. Uh... yeah. Funnily enough, one of the most unsettling songs has the least going on in it. "Siamese Twins" is, quite simply, about sex. That's really all you need to know.
Can-I-Bus"Depart From Me" by Cage: The self proclaimed "Illest for letter word in the world"'s venture into rap-rock proved very good in places, but felt to experimental for it's own good in others. I would recommend it towards fans of experimental hip-hop or indie rock, but those with a low tolerance for Genre Busting and/or avant-garde should steer well clear.
edited 10th Nov '12 6:24:23 AM by KingNerd
The smartest idiot you will ever meet.
3 microphones foreverVarious Artists - Big Game Hunter. A friend of mine shared this - all I know about it is that it's a long-out-of-print early 90's techno compilation with a lineup of complete unknowns. The highlight for me is probably "The New #2" by Dada Legion, which is sort of a Stupid Statement Dance Mix of the opening to The Prisoner. A lot of the rest is kinda generic, but it's listenable and generally does it's job of making me feel like I'm a hacker in a bad 90's action movie when I'm really just playing Words With Friends.
edited 12th Nov '12 7:54:28 PM by MikeK
The Movie Explorer: discovering oddities from the cinematic jungle.
Captain FierceHoney Claws - Honey Claws Great album. I discovered them through an episode of Breaking Bad that featured a song of theirs. It was a great album - solid electropop and hip-hop throughout. 9/10
edited 13th Nov '12 12:28:56 AM by Completion
3 microphones foreverIt's been raining out all day, so I've been listening to some of my "rainy day" albums: Björk - Homogenic
Kaki King - Legs To Make Us Longer
PJ Harvey - Is This Desire?
Roxy Music - Avalon
R.E.M. - Automatic For The People
Bruce Springsteen - Nebraska
Modest Mouse - The Moon And Anarctica
edited 13th Nov '12 4:52:03 PM by MikeK
Well, I'll be...Dust An Elysian Tail soundtrack.
What kind of a post is this??!~!!
Group Sounds by Rocket From The Crypt The Electric Age by Overkill Supershitty To The Max! by The Hellacopters Boingo Alive by Oingo Boingo Left Hand Path by Entombed
edited 16th Nov '12 8:12:43 PM by TheShadowKnows
3 microphones foreverThe Cure - Wish. This is not really one of their better-reviewed albums, but I kinda like it - there are a couple tracks I'd call missteps ("Wendy Time" and "Cut"), but otherwise it's decent-to-good with a handful of memorable pop tunes ("Friday I"m In Love" is on here of course, but songs like "High" and "A Letter To Elise" should have been bigger hits too). Ride - Going Blank Again. Pretty different from Nowhere, the only other album I've heard: The Shoegazing vibe isn't entirely gone, but they're emphasizing poppy melodies over pure atmosphere. Their article here says the album is sort of "proto-Britpop" and I can see that comparison. Both of these albums came out in 1992 and were from the same thrift store, and because I think about stuff like this, I wonder if they originally came out of the same person's CD collection. So, I had the idea to "play catch up" on 2012 musics before the end of the year - I'll be listening to both things I was interested in and never got to and random stuff I know nothing about but trusted facebook friends thought I would like. Just warning you because I may well monopolize the thread with this stuff for a bit: Melvins Lite - Freak Puke. Melvins were one of the earliest grunge bands, and were also influential on doom metal and post-metal bands and the like. Their trademark sound involves slow, sludgy riffs and barked vocals, but they routinely have songs or albums that attempt Something Completely Different, and this is sort of one of those. The slightly different band name is because this is a different lineup than usual - there's one drummer instead of two, Dale Crover is exclusively playing his drums with brushes, and Trevor Dunn (Mr. Bungle, Fantômas) is sitting in on stand-up bass. There are some interesting ideas here and a fun, unlikely Wings Cover Song *, but I think The Bootlicker kinda did a better job of exploring their jazzier, more psychedelic side thirteen years earlier. Deftones - Koi No Yokan. Kind of a similar vibe to Diamond Eyes, which is not a bad thing at all - at first listen the only immediate differences are there's a few more heavy tracks and "Entombed" reminds me a good deal of †††.
edited 22nd Nov '12 10:45:55 PM by MikeK
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