Listen to your library, show off your backlog, babble about new music, tell us what you've been listening to today and what you will listen to in the following month, do tourneys (unless if you're Jangle, in which case they will crash and burn), post memes, talk about music, argue about opinions, fight with other generals, just let the good times flow.
>The Gang Hates Themselves Edition i would have also accepted "The Gang Regrets Every Decision They've Ever Made" Edition
Xavier Anderson
I know some of you guys know your shit about him and the genre, and I have gotten nothing from the chart threads. Where do I go for John Fahey now? I have been loving Transfiguration Of Blind Joe Death, America, and Fare Forward Voyagers. What else is worth listening from him? Also been enjoying the other folky style albums in a similar realm on this chart of mine, too though no other albums from those guys. Anything else worth checking out in a similar vein?
Jaxson Mitchell
the yellow princess is the best one also it has the best cover
Carson Phillips
>Morly - Something More Holy Here's a nice little EP that shows some promise
Lincoln Walker
misha is a fag kys
Matthew Thomas
spamming my long-ass Queen is Dead review just one sec...
Oops I forgotted sry xP
tru
Lots of great stuff in here! Very excited for Minor Threat + Blind Willie Johnson in particular.
Oliver Thompson
thanks for the sade rec
Julian Davis
>The Queen Is Dead
I know few-post-long reviews are a bit of a tired concept to post here, but I’m really tired, plus I’m feeling emotional, sentimental, and a bit depressed, so what a better time than now to post a Smiths review? Will probably end up rough and unedited but here goes…
Depending on who you are, this album could be the face of a side of music you adore, with Morrissey as your lord and savior, or this album represents a side of music you despise, with Morrissey being an insufferable, pretentious, insufferable prick. In a way, both are true for me. At one point it was certainly the former, but I wouldn’t quite say I’ve “outgrown” the Smiths in the same way that I have seized enjoying certain artists. Growing up I have just found different ways to enjoy this band’s material and view it in a different light. This band gets major points from me for their post-punk influence, pop sensibilities, and general songwriting quirks, but certain elements that are typically at play in their music always keep me from being absolutely in love with it. I used to listen to this band on the daily, but today the only albums that have stuck with me are this one and Hatful of Hollow. Those are special to me in particular for having more than one or two single tracks I enjoy. The rest of their discography is pretty disposable, honestly. I’m not sure how many listens I’ve clocked into to The Queen is Dead, but if it were in the triple digits, it wouldn’t surprise me. I think the best way to get into this is track by track.
>The Queen is Dead The self-titled track off this album kicks off with an iconic roll from Mike Joyce, who I think is one of the members in this band who more than anyone never really gets his due. For the amount of emotion and velocity he adds to this music, he rarely ever gets a chance to shine. His drums are typically mixed quitter, but stick out a lot due to the massive amounts of reverb on the snare (as is typical of 80s production-style).
John Jackson
This track really has a lot of power and momentum behind it, but it never really goes anywhere with this momentum. This is my biggest problem with many of the Smith’s songs. Johnny Marr builds these great arrangements, but then what? They never seem to go anywhere interesting beyond an intense jam with Morrissey singing gaudily over everyone. Occasionally the planets will align perfectly, but so often these elements and egos are working so strongly against each other than everything ends up messy and underwhelming. So often listening to the Smiths feels like a rivalry or friendly competition between four people than listening to a band. A studio Smiths experience could be compared to a “The Who” live show, where every member, though talented, often tries to out-do each other in some element of the song, making the overall experience less satisfying than possible.
>Frankly, Mr. Shankly One of the most underrated tracks on this album by far. Not only is the melody and progression one of the most interesting on here, but it’s one of the few where Morrissey and Marr’s styles blend perfectly. The build-up to the intense guitar moment in the middle and ending lyrical quips make this song nearly perfect. So many of these songs could’ve benefitted from this shorter style of song, as this is one of the shortest Smiths tracks ever, but I feel as if Morrissey would constantly make Marr extend a melody for another verse, or so he could just repeat himself constantly (see: I Know it’s Over) which is probably the least satisfying element of their music: Unsatisfying repetition. This song has little if any of that, which is fantastic.
And for anyone thinking it’s unfair for me to assume that Marr was behind everything while Morrissey just sang over his music and controlled most everything else, the liner notes for this album literally state >Lyrics - Morrissey >Music – Johnny Marr
Jayden Lee
>Where do I go for John Fahey now? oh boy!
if you want some more of those tasty, kinda simple blues licks, check out the first three volumes (Blind Joe Death, Death Chants, and Dance of Death).
if you want more wacked out experimental stuff and tape fuckery, check out Vol. 4, Requia, The Voice of the Turtle, and pretty much his entire '90s output.
if you want more long, classical-influenced pieces a la America and FFV, check out Vol. 6, the Leo Kottke / Peter Lang / John Fahey split, and The Great Santa Barbara Oil Slick live album.
and for the stuff in a similar vein to the other folky music there: Dock Boggs - Country Blues R.L. Burnside - First Recordings John Hartford - Aereo-Plain Son House - Father of Folk Blues Mississippi John Hurt - Avalon Blues: The Complete 1928 OKeh Recordings Abner Jay - True Story of Abner Jay Lonnie Johnson - Steppin' on the Blues Cast King - Saw Mill Man Blind Willie McTell - Blind Willie McTell 1927-1933 The Early Years Odetta - Odetta Sings Ballads and Blues Washington Phillips - The Key to the Kingdom Bukka White - The Complete Bukka White Hank Williams - 40 Greatest Hits among many others that i've neglected to listen to
Parker Phillips
np, let me know what you think
Jeremiah Phillips
Plus Morrissey was known to be much more controlling in the studio/production process, so it’s easy to see how I came to this conclusion knowing that.
>I Know It’s Over One track where Morrissey really shines, and practically every time I hear discussion about this album, typically it contains something about the lyrics in this song. This is most likely because people on Sup Forums consider the “If you’re so funny, then why are you on your own tonight?” lyric so “feels-y”, but I think that element of this song is what works against it the most. Morrissey’s rhymes feel more like more condensed poetry than anything here especially, but near the last half of the song he does nothing but repeat himself constantly, as if saying the exact thing over and over again will actually make the words hold more weight or bring more sense to the song. Marr builds a beautiful crescendo in this track, but the ending brings out one of the biggest flaws in his songwriting: He can build amazing “jam-like” power hits, but he can’t end a track for the life of him. Too often songs in the Smiths’ discography just fade out at the end slowly at nearly the best part of the track. This too is very common beyond this band, but I find this so foolish whenever it’s incorporated into songwriting. And here I find it the worst offense, because Morrissey continues to wail and sing while the track fades out but get quieter and quieter. Why would you end a track at the part where it becomes the most impactful? Did you want us to just forget about everything you did to get there? End your song properly dammit! Imagine if a band tried to do this live? You would probably laugh your ass off.
>Never Had No One Ever I rarely consider tracks on this album to be entirely worthless and skippable, but this one is just barely redeemable. The last half of the song is much more entertaining, with the somewhat unorthodox pop guitar tones and distortion, but the rest is just uninteresting drivel.
Connor Parker
A bit more detailed that most Smiths’ tracks, but again, it ends with the classic Marr-ism fade-out when the song just starts to feel like it’s going anywhere at all.
>Cemetery Gates Another example of why I really look up to Marr. He can make a rhythm so catchy and loveable that he can make you entirely forget the pretentious fuckshit Morrissey is spewing on top of his delightful track. It’s all tonge-in-cheek or ironic I’m sure to the people that can’t get over this dude, but no doubt Morrissey’s lyrics contain a lot of sarcasm and interesting quips. And while I claim to hate a lot of what the dude does, I’m certainly not a hater, as his wordplay is interesting here as ever: “While Wilde is on mine” “We Gravely read the stones” “With a big nose, who knows”. I don’t think Morrissey understands that his emotions and quips are far more interesting than whatever else he feels the need to spew. Listening to this song now, it makes you wonder how many kids have actually gone to a cemetery to talk about social issues they read in a clickbait article, smoke heaters, and in general act very high-and-mighty all as inspiration from this track. Some hate the dude because of his tangible pretention, and others love him because of his palpable talent and lyrical business. As long as Smiths songs like this exist, both will have a reason to be right.
>Bigmouth Strikes Again Like the rest,except probably one of the most enjoyable tracks here. Morrissey’s attitude and intensity and the punkyness given forth by Marr are very infectious, especially with the Modest Mouse-eque guitar chops/bends. Morrissey presents some vocals that are very hard to resist singing along with, while the backing vocals are nasally and just weird enough to have this pass in pop, but also be extremely interesting. This track could easily pass for some type of surf-punk track, and if it weren’t for the lazy “ending” fade-out, this would probably be one of the most enjoyable tracks here by far.
Gavin Thompson
>The Boy With the Thorn in His Side One of the few songs where Morrissey’s by themselves lyrics truly make me feel. A lot. And it’s a damn good thing they do to, because everything else about this song is so uninspired and gross that the meer sight of it gives me a form of musical-PTSD and triggers a reaction making me hit an imaginary “skip” button in my mind. His singing style is just as infectious here as ever, but where the fuck did Marr find this melody? The toilet store????? That’s obviously NOT the place for good music, honestly.
>Vicar in a Tutu “Hey Johnny?” “Yeah Moz?” “You know how that last track was awful?” “Yeah, I didn’t even try lmao” “Well, I think you missed the point of making a bad song” “What’s that?” “Yeah, instead, of not trying to make a good song, how about for the next track you try your best to make a terrible song?” “What do you mean, Moz?” “Easy! Instead of something jangly and satisfying, why don’t you try glorified cowpunk this time? On top of that, I’ll just say literally whatever. Kids that live in their parents’ basement and talk about how much they hate them will LOVE it!” “Fantastic idea again Moz! You wanna fuck each other up the butt real quick?” “Definitely”
>There Is a Light That Never Goes Out As if in retaliation two the last two ungodly abominations, Morrissey and Marr work extremely hard together in a fashion that pays off gloriously. This song is near perfection, honestly. My two and only two complaints are the violins, which for how much they’re used and mixed into the song, feel a bit sluggish and pop-orchestral for their own good, and the other is obviously the ending, which feels less offensive than the other times, since Morrissey at least fucks off before the song ends so it doesn’t feel like I just felt like turning down my speakers in the middle of a track.
Landon Campbell
Everything else is great, the bass, (which although I have barely spoke of, is a very satisfying element of this album for how highly it’s mixed) the fantastic flute sound that drops in and out of the chorus. Even Morrissey repeating the Line “There is a Light and it Never Goes Out” feels more sincere and beautiful than other times he feels like repeating himself. This is an excessively good track and keeps me coming back to a band I’m starting to dislike more and more by the day.
>Some Girls Are Bigger Than Others Following up a track that would’ve made the perfect closer is hard, but this track is very successful and infectious despite being trailed by a titan of a song. As if a big middle finger to me for hating this element of their music, this song starts off with a quick fade-in-and-out, which is by far the most interesting use of this element in their music. The ending is a taste of madness. After Morrissey stops singing, all of the members it seems are competing for each other’s throats. The bass is turned up, followed by the drums kicking in with little intent to stop, followed by a very light guitar lick, almost a soft “anti-solo” of sorts that is satisfying and badass, but not show-off-y or brash. Very nice. Oh yeah, it just fades out again too. Cool. I wouldn’t mind this so much if the song was allowed to progress to the satisfying part before fucking off. Feels like musical blue balls, honestly.
In summation, this is a great pop record with a bunch of fantastic elements all working against each other. Moz and Marr’s egos clashing, Morrissey stretching songs twice as long as they should ever be, Marr’s inability to end a fucking track, and many of the 80s production quirks, which while working much better here than in most albums of its kind, feel tacky and unwelcome here. The fantastic moments and progressions will always keep me coming back, but every other element will keep me from loving it.
6
Cameron Edwards
wew oh boy
I may do more intense reviews later, but I doubt they'll be as long, in-depth, or be in the track-by-track format. I've just heard this a hundred times so doing it this way was easy. Thanks to Herb Lad for inspiring me to do this and thanks to you for reading (if you did, that is. If you skipped it that's perfectly reasonable).
Oliver Myers
will do! I have 2 records to go on my current chart, then I start this one!
Carter Foster
>All that work for a 6
wew boy
I'd like to hear you long-review 98.12.28
Matthew Myers
>Cannibal Corpse >Anaal Nathrakh >Suffocation >Abominable Putridity Some great Death Metal
Adrian Thompson
I mean I don't have to love or hate something to feel strongly about it. I feel strongly that it was good but far from amazing.
Hey just letting you know I enjoy some stuff on that chart and if you don't enjoy it like I do my insecurity will kick in and I'll post about how mad it makes me. Thanks!
William Stewart
Days Have Gone By and Dance of Death are essentials you should hear
Christopher Campbell
i'm really hyped for this one, on both sides
>Hey just letting you know I enjoy some stuff on that chart and if you don't enjoy it like I do my insecurity will kick in and I'll post about how mad it makes me. Thanks! I simply can't wait
Andrew Hernandez
The Terminals - Touch (1992) >psychedelic rock, noise rock, post-punk
There's a very distinct and interesting divide in the songwriting of this album and the general sound of this album. The sound is very much in the vein of other noisy shoegaze acts of it's time: whirling, droney guitars; drowned-out vocals; neat effects, everything here is completely in place for a Starflyer 59 or a Band of Susans record. Yet the songwriting here is very much rooted in classic rock tradition, more Byrds or Who than My Bloody Valentine. And these two facets clash awfully. No matter how awesome and pounding the noisy guitars and the passionate (and /fantastic/) vocals may be, the songs that boast these assets are just passable at best and downright lazy at worst. I still would say I enjoy the album as a whole, but I'd really like to see the basic sound of this album applied to a songwriting style that suits it /much/ better.
2.5-
oh god thank you vigar in a tutu is /sooooo/ goddamn bad
i should write more reviews like these
Jaxson Scott
>This exchange
>Moz likes to eat McDonalds
Fuck you I'm laughing
Liam Price
I'm listening to pic related. I am in love Do it Fish. I really want to read your review on your all time favorite. As a matter of fact, i think we it would be a nice idea if We all did. I want to see why everyone finds they find so good about their favorite album
James Cooper
xP
Although a track-by-track would probably get old after a while, I would love to hear about some of your favorites!
Aiden Morgan
>Although a track-by-track would probably get old after a while, I would love to hear about some of your favorites! i think i might do one about the mollusk soon, and it might actually be quite a bit critical because the humor of it is starting to grate on me.
Caleb Fisher
join the songs of leo fancult do it
Cameron Clark
trips
Alexander Allen
hey familia have u heard anything by melt banana?
David Gutierrez
What to do for my next review (won't be as long or in the track-by-track format, btw):
By the way, have you heard anything by They Might Be Giants? Ween and TMBG fans have a very large cross-over.
Christian Collins
Holy shit guys, you delivered. Thanks! Good looks on that other stuff, too Nat since I have only listened to the Blind Willie and Cotten on my chart and the Son House you recced.
>Lots of great stuff in here! Thanks! But...I have already listened to it all. It's what I have been playing for the past four weeks considering my ridiculous in total six hour commute. It's a chart thread chart, not a /daily/ style chart. So yeah unless someone's interested I don't see the point.
I don't usually come here often though, but I may do a /daily/ chart for all this folk/Fahey that's been recced to me? Though you guys probably know this shit far better than I do.
Ryan Stewart
Good review! I enjoy track by track break downs, I think it helps encourage readers to at least check out the few worthwhile tracks even if on the whole the album is subpar
Ryder Scott
Chantal Goya - Masculin-féminin (1966) >Yé-yé, chanson, film soundtrack
Totally irresistable pop music. More could be accomplished from these songs in the 12-minute span they're given, and sometimes the definite campiness can be a bit overbearing, but this is pretty undeniable. Goya's voice is wonderful, the arrangements are overblown but still tasteful, the melodies are catchy and memorable, the package as a whole is pretty damn enjoyable. However, another issue I have with this is the production, I think that the vocals and the percussion are pushed too far upwards, everything else just seems far too distant. Still very good, even though I'd definitely like to hear this in a longer format. Also, my goal in life is to become a decent producer and use the drum beat to "Tu m'as trop menti" in a hip hop song, that's /so/ sampleable it hurts.
3.0+
Colton Long
Pig time.
>Cluster - Cluster II [Brain, 1972] (1st impressions) This was a pleasant surprise after the lacklustre rookie performance of Cluster 1. The awareness in the way sounds interact, and the ability to sculpt palpable landscapes of purely electronic sound is fully realized in this album. It's no wonder Eno drew influence from Cluster; they manage to make cold robotic noises sound human. The sounds are evidently perfectly crafted, but give off an edge of imperfection and realism in the same way a horn or stringed instrument might. The compositions themselves come across quite haunting and nihilistic, often painting a bleak dystopian landscape. Very effectively, I might add. The last track pushes this ideal to the limit, almost as if being confronted by all the ideas sprinkled throughout the first 43 minutes. This would probably be the worst record imaginable to listen to on psychedelic drugs. Recommended to fans of: Klaus Schulze, Neu, Kraftwerk, Eno, or krautrock and experimental music in general. 8.0 /10
>Keith Rowe & John Tilbury - Duos for Doris [Erstwhile, 2003] (1st impressions) This is pretty good as far as EAI goes. It does a fantastic job creating tension and transitions at an acceptable rate, despite the over 2-hour runtime. That said, almost nothing here is memorable and it feels like an exercise in patience at times. It’s either the most or least replayable album of all time, as 100% of it is taken away on the first listen, yet 0% of it is absorbed. The end result is about as musical as opening a bag of chips. That’s not so say there’s nothing palpable here - as tension and dissonance are used as a primary foundation, rather than any kind of objective musical quality. I enjoyed this for what it is, but I wouldn’t consider it a favourite or a classic. 6.0 /10
(more coming)
Joseph Myers
wolf eyes is really great noise. some of the thick, squealing, and freaky textures that the likes of merzbow are famous for, but structured with some murderous rhythm. I see why this was one of Beau Beasley's (Insect Warfare, the Homopolice) desert island discs.
yes, pic related
David Collins
Whoops! My b. I'd be interesed in seeing what you had to say about Fahey! You don't need to be "knowledgeable" in any given subject to have opinions on it.
Yeah I may not think extremely highly of the Smiths, but based on how many people like them, I would never discourage someone from checking them out, especially since they have so many good tracks.
welcome back pigg-o
Jaxson Morales
i've been interested in them for a while, I've only heard and liked their big songs like Ana Ng. where should i start with them?
please join us! i'd love to see what you think about those albums.
also isn't blind willie johnson just incredible?
Oliver Sanders
>Shoji Aketagawa, 三上寛 [Kan Mikami] & 石塚俊明 [Toshiaki Ishizuka] - 大勘定 (Daikanjyo) [Aketa's Disk, 2002] (1st impressions) WUT. God damn this is a passionate and strained performance. The vocal delivery and uniquely hopeless atmosphere are enough to bring a grown man to tears. This album is raw human emotion. I haven’t been overwhelmed by an album like this in quite some time; it’s as though every profound moment in your life comes crashing toward the forefront of your thoughts simultaneously. Emotion is not told here, it’s experienced. The music is a blank canvas conjuring your innermost thoughts, in the same way Leonard Cohen’s deadpan vocal delivery allows the emotion to exist purely on a deeper level. The vocals, in stark contrast yet perfectly complimentary, possess a raw unabashed despondency that somehow only increases throughout the hour long session. The instruments, when singled out and as a collective, are breathtaking. The drums and piano are explored in ways not thought possible, the guitar shines in original and ever-changing light, and the ocarina is a beautiful and complimentary addition. This album must be experienced. 9.0+ /10
>Gas - Königsforst [Mille Plateaux, 1999} (1st impressions) Probably the most middle-of-the-road release for Gas, happening, perhaps not coincedentally, near the middle of their lifespan. This techno ambient formula treads between ominous and euphoric, which comes off a bit as a downside due to the less direct approach. The techno beats are mixed perfectly in that they demand attention, but the ambient effect has no trouble taking the foreground (something that Oktember lacked in). The longer tracks are a little cumbersome but still demand your full attention. The subtle details and intricate layering ensure this release will continue to yield new discoveries upon every new listen. A very good release by an artistically transitioning Gas. 7.0 /10
Ethan Bailey
alright good. i just heard fetch for the first time, and i wanted to rec it to you as "lightning bolt meets deerhoof" but you've got that squared off.
Hunter Rogers
also i've been boycotting wolf eyes for moral reasons ever since last year.
Mason Myers
>Miles Davis - E.S.P. [Columbia, 1965] (1st impressions) This is a VERY well banaced jazz album, and an incredibly enjoyable listen. The musicians are all on point in terms of communication and individual style; it’s clear everyone in the set is comfortable with the setting. Occurring after the lackluster Quiet Steps and Seven Steps to Heaven, this album is the real step up. This showcases a beautiful mixture of upbeat, fun Miles grooves, as well as more intimate scores that Miles and his quintet adopt to and thrive in. Wayne Shorter and Tony Williams are sure to pleaee, and this is no exception. Herbie’s piano parts are a little weak and subdued, and seemingly lacking in confidence, but are thankfully never detractory to the pieces. Davis’ trumpet comes off rich in emotion and shimmery smooth; a welcome change from his previous two endeavours which felt stoic. This is a choice pick in Davis’ career, and in 60’s post-bop as well. 7.5 /10
Eli Howard
That's what frustrates me about just summing up an album, a lot of times when I give something a 5 or 6 there will still be really good songs on it and I want to give them fair dues. I might start doing track by tracks for certain albums. Thanks for the inspiration fish!
Aiden Williams
I still haven't heard a full deerhoof record. I can't get in to it. not wild about the vocals. Greg Saunier is a great drummer though, check out the album he did with chippendale if you havent
Owen Martin
Lincoln is a must, and if you like that, try out Flood and their s/t. The rest of their discog isn't as essential, but they have a lot to offer.
Plus if you ever watched homestarrunner, they did a lot of songs with them, plus the Malcom in the Middle theme, plus a lot of shit with cartoon network songs.
This is another reason that they're closely associated with Ween: Their cartoon/TV song similarities
Nolan Nguyen
>where should i start with them? Flood or Lincoln are both good starting places. from there, If you like the more New-Wavey influence go back to their first album, and if you want more alt rock style go forward to apollo 18 and John Henry.
or if you want something completely different try The Else or The Spine for an indie rock feel.
here comes science is pretty cute too
Angel Bailey
i'll check em out, thanks!
Tyler Martinez
>experimental film you know that song is on The Spine right? :^b also any time someone mentions homestar I get such a pang in the nostalgia gland
Ryan Gutierrez
Here's my listening chart, meant to include it in I wrote a review for "Alan Sorrenti - Aria" but I decided to scrap it as I wasn't happy with it. I'm only really inspired to write reviews during / directly after listening to an album so I wont write a new one, but I did award it my highest possible score for a first listen (9.0+). Maybe I'll write a review at another time, as I'll surely listen to it again sometime soon. Check it out if you like Tim Buckley or progressive rock, though.
Anyways how ya'll fuckers been??
Michael Thomas
I've been listening to music off this proto-punk (mostly late 70s early 80s stuff) list that paste published a couple weeks ago. I've been listening to XTC, New Order, Missions of Burma, This Mortal Coil, and Swell Maps. I'm planning on listening to Pere Ube, The Slits, and Nick Cave for the first time. I'm excited to listen to Nick Cave because I've heard a lot about him, but have never gotten to listening to him. Any advice on where to start with these bands + other things I may like in this area?
Elijah White
that's definitely where i remember them from, goddamn i love homestar runner.
>here comes science is pretty cute too their educational stuff has always intrigued me, mainly because it just seems so goshdarned innocent.
Leo Moore
>if i liked melt will i like it? Its about as good as melt to me it's strictly drumming though, which is fun.
sick. will listen. it just seems so lame to me to dis the genre that made you big for some fleeting attempt at relevancy when you were on an alright course before, especially while some of your ex-bandmates (dilloway) are currently pumping out some of the most creative noise of the 2010s. trip metal. like come on.
Lincoln Rodriguez
If you're looking for post-punk / dark Nick Cave i'd start with Tender Prey, From Here To Eternity and Henry's Dream.
Jack Smith
Here Comes Science was playing in a Jimmy Johns the other day. Shit was wild, and my friends thought it was weird I knew some random educational CD.
rad!
Bready gud!!!! How bout u???????
You heard Doopee's yet boyo? You kinda have to now given this thread.
IIIIIIIIIiiiIIIIIIIIIII WAS RAISED BY A CUP OF COFFEE
Gavin Harris
>og EP Why did I not know this exists... Are they the same versions present on Terminal Tower? Because then I feel like less of a dickfingers.
Nathan Sanders
Doesn't look like it, the track lengths are different
definitely get on that dewd, Datapanik has my fav versions of those songs
Lucas Roberts
Is this the 3rd best Modest Mouse album?
>You heard Doopee's yet boyo? I could do that right like immediately.
Fuck, I can't believe I missed this. I thought i'd heard everything RFTT related. I even own an og press of The Modern Dance.
Michael Bennett
Might as well be. B2S has two other good albums as well.
Get on that right away pls ^(oo)^
>og press of The Modern Dance sick my dude-o
James Flores
mane I need to relisten to that
Grayson Sanchez
>og press of The Modern Dance damn noice I own an og press of their first EP :b
Ryan Nguyen
Fish inspired me to go through with this note that I'm writing this based off memory of the album, so I might get a detail or two wrong.
>Sonic Youth- Goo
One first thing you notice about Goo is just how cool it is. The figures on the cover look like a picture of the 60s Velvet Underground, darkly confident. At this time, the Youth were a bit like the Velvet Underground, transitioning from a noisy sound to a more contained, pop sound.
The record starts with Dirty Boots, one of the lead singles, and one of the tracks that show a more accessible, alt rock edge than anything released so far. This was a path Sonic Youth have been on for a while, as the scream laden No Wave of Confusion is Sex and Bad Moon Rising gave way to the noisy rock of the Sister-Evol-Daydream Nation trilogy. Dirty Boots begins as soft as the Youth can be, rising to a crescendo that reminds you that if Sonic Youth are only good at one thing, it's starting an album. It's a powerful track, and arguably the logical conclusion to their alt rock sound The next track, Tunic (Song for Karen) is one I don't particularly like, unlike most people (all though, to be fair my opinion might be soiled a bit as it's following one of their best in my opinion). The chorus is nice, but it goes on too long without going anywhere interesting. Many SY songs, especially when you move in the the longer song territory, while very freeform, maintain a structure and direction, where the song always feels like it is either in a phase of itself, or moving towards one said phase, but Tunic never really does I feel. (1/3)
Blake Williams
Mary-Christ gets the album back on track, blisteringly garage punk, with Thurston giving an incredible vocal performance. The track perfectly segues into Kool Thing, and then completely drops that transition, which is a huge mistake. Kool Thing is one of the best tracks on the album, with an especially hard-hitting riff and drum performance from Steve Shelley. Chuck D's appearance lends itself well, giving the song a little bit of extra flair that kept it from being something like Washing Machine's Panty Lies (although it could never be that bad lol).
Mote works pretty well splitting this album in half, as it's a hell of a song, that almost signals a bit of a change. Mostly everything before it is closer to alt rock stuff, while on this second half they prove that they can still bring the noise, and o can they bring the noise. Mote is a definite callback to Daydream Nation, fitting exactly in the structure of “long song that starts with a couple of verse-chorus repetition that devolves into incredibly noisy soloing”. The freeform section is one of their best, a hellish whirl of exploding drums and jagged guitars. I'd also like to give some props to Lee here, he only gets one chance to sing on this album and he knocks it out fairly well imo.
(2/3, maybe 4)
Michael Smith
in a change of pace, i'm gonna talk about a stand-up record!
Tig Notaro - Live (2012) >stand-up comedy
Fucking wonderful. Stand-up has always been kind of a hit-or-miss style of comedy for me, but Notaro nails nearly every aspect of what makes stand-up great. The delivery is the most obviously amazing and hilarious part of this album, the way she just treats everything so nonchalantly is admirable, and it makes even such horrible and awful things seem hilarious, like starting the show with "Hi, I have cancer!", and the whole bit about a hospital mailing a questionairre to her dead mother. Therein lies the major problem of this album though, Notaro is relying a bit too much on her delivery rather than the actual content of the jokes. That is a bit of a moot point, however, considering that the delivery of the jokes makes them as fucking hilarious as they need to be. The audience interaction is wonderful as well, I love how audience members are called out for laughing at inopportune moments ("Sir. This should not tickle you that much. I'm not /that/ happy and comfortable). And of course, the way that the humorous and the soul-crushingly depressing and awful is balanced together here is nothing short of legendary. Listen to this if you like comedy, it's great.
3.5-
also, my favorite lines here
>Why am I even buying food? Why am I trying to sustain this? Nourish my body just to stick around to get more bad news? Gotta keep myself alive so my ears work and I can hear horrible things! >You're gonna get cancer! >I was kinda having a hard night, believe it or not. >Y'know what it is, I'm a drama queen! >Let me read the ingredients: "CRACKED WHOLE WHEAT". I was trying to drown my emotions in /something/. >I have cancer! Serious inquiries only.
you should! i still love it even if its fallen off a lot for me.
Kayden Jackson
fugg
Christopher Gray
After that, we get My Friend Goo, a track that I would honestly dislike if it were not for the album's pacing. Gordon's vocals are some of her most annoying, and the riff isn't anything special (compared to what we've gotten so far). However, it provides a nice respite from the last track, and for all I rag on it, I actually think it's somewhat charming, especially J Mascis's guest vocals (Hey Goo what's new?). Disappearer is a good track, but nothing about it can really stands out, as it sounds like a slightly lesser version of Dirty Boots and Kool Thing. Mildred Pierce, which is essentially an instrumental, fixes any problems that I've really had with past SY instrumentals (I'll touch more on that if I ever review Evol.) It stands out fairly well, fast paced and punky. Cinderella's Big Score sounds like a take off of Sister or Evol, with a very natrually noisy riff that also works well in a poppier song. The kinda juvenile lyrics are pretty funny “If I could give you anything, I'd give you a KICK, you really fucked up now), kinda reminds me of a more serious take on Ween's You Fucked Up. It also shows off Kim at her best vocally. Titanium Expose bookends the album well, with one of their best riffs on the album. The duet between Kim and Thurston is nice, but it draws minor connections to Death Valley 69 in my mind, which it is not as good as. The song shifts between its riffs well, almost reminding me of a less extreme Don Caballero.
Overall, this album proves that SY can do a more commercial sound without losing what makes them great, or the avant-garde edge that permeates the earlier albums.
8/10 normally but since I've listened to it so much lately I'll give it a 10/10 for now.
Oliver Russell
Alright I guess for the next few days I'll be covering the Fahey you guys recced me (plus the three I already listened to so it's all easier to compare/understand)! Then maybe try out that list of other folky stuff, too.
>also isn't blind willie johnson just incredible? I am new to this kinda music, so I was surprisingly impressed. As a guy who normally listens to a lot of punk and metal, his raw voice was a very pleasant surprise didn't think there was someone who sounded like that so long ago. Then there's also the way he plays the guitar where most of the tracks have this repeated bends thing he does, but it doesn't sound like the cliche bendy stuff I am used to that was popularized by guys like Chuck Berry and all the blues Kings.
You need
Datapanik In Year Zero (the EP version not the Compilation album!) The Modern Dance Dub Housing Terminal Towers (shares some tracks with Datapanik BUT are the older versions that were released as singles)
Nicholas Gonzalez
i hope you enjoy all those!
and i'm definitely glad you found a liking for blues music through blind willie.
Sebastian Bailey
first two teams advancing probably tonight get excited do any of you know why there's no Guitar Vol 5 by Fahey? is Transfiguration supposed to be vol 5?
Jason Allen
Probably. Let me form a score first
Nicholas Ramirez
Discogs says Transfiguration is Vol. 5
Yeah, all this music might be the first time in years I have wanted to play my acoustic rather than my electric. It's fascinating how...human of an approach these guys have not only to performance, but rhythm, too.
Also gotta give some extra love to that Elizabeth Cotten record, too. She didn't even restring her guitar she just played it upside down since she was left handed, and even then her technique is freaking great.
David Brown
> first time in years I have wanted to play my acoustic rather than my electric.
same thing happened to me, after my friends turned me on to a bunch of old country blues and gospel I went out and bought some slides and now I've been practicing like crazy.
once you fall down the rabbit hole of american folk and blues I think you're stuck their, it's all I've wanted to listen to for the past three months
Luis Evans
Fahey only put the volume numbers on albums released on Takoma. Transfiguration was released on a different label which is why San Bernardino Birthday Party was called Volume 4 despite being his 5th overall. but like said, Transfiguration did get labeled Volume 5 when it was reissued on Takoma.
cotten is probably my fav blues guitarist, and she lived in my home city most of her life!
Dylan Barnes
Good review!
Juan Young
hey triangle, what's the best way to tune in an open style without breaking my strings? I've been itching to play in open tuning for quite some time but everytime I try tuning my strings just snap.
Cooper Turner
>B2S has two other good albums as well I've heard Perfect From Now On and thought it was pretty good too. Built To Spill for me is like 7/10 - The Band. I keep feeling compelled to listen to it as though it'll click, but all I see is 7.
What kind of strings do you use dude?? My strings almost never snap unless I go to open E too quickly (I usually just go to open D if I can get away with it).
Leo Flores
I'm really only playing a cheapass guitar with some cheapass D'addario strings. they've served me better than the strings on my old guitar but I have to stay in standard pretty often.
Nathaniel Jackson
Listening to some Taku Unami, then going to sleep. I'm digging through this guy's discography and it's fucking amazing. I like how he manages to create such dense atmospheres with found sounds and sampling. Not knly that but he created some otherworldly collages. Really don't know why he is not that discussed in /daily/
Blake Carter
idk shit about guitar stuff so idk if I'm the best resource but I suggest switching up the strings you're using. get some thicker bronze one perhaps, that's what I'm using and I can tune all the way up to open E no problem
I'd consult with /gg/ or any of the countless other guitar forums first though
Ian Taylor
>cheapass guitar I believe I have identified your problem, sir :^) Cheap guitar necks aren't good at handling changes in tension caused by strings, which is why they go out of tune faster as you play. Your best bet is to give it some time to adjust to the tension before tuning to the full amount. Tune all the strings about half way to the desired note, wiggle them around a bit and give the guitar a few mins to adjust to the change in pressure. Also heaver strings cause higher tension which means less variability in pressure so they'd be less likely to break.
Angel Lee
ROUND ONE FINAL SCORES Team Termisha- 7 Team Thorts- 7.75 Team Darkween Team 92i Feelist- 7.75 Team Transcendental Kanzler Team Benjrelund Team Anonymouse Cubed Team Good Friend Dogwander Team Giving Fish- 8.5 Team Jangthotep- 6.5 Team Tecbera 9000 Team Jimtov Team Natmir Team Rudi Guy Team CoS Team Mark And Tuco THE FOLLOWING TEAMS ADVANCE (Round 2 Tags- Instrumental(this album will not get bonus points for fitting tag obv, Passionate) Team Giving Fish Team Thorts
Brandon Mitchell
dear god this is formated awfully
Samuel Turner
The instrumental album needs to have a passionate descriptor?
Liam Nelson
no sorry that was probably worded bad the two tags are instrumental and passionate, but instrumental won't get any bonus points for fitting the tag because an album is either instrumental or not) btw you can rec passionate or instrumental, but you might want to talk to your partner beforehand
Jace Gonzalez
>Passionate You know what I'm reccing my dude
Xavier Gomez
hate to tell you m8, but I put a 90 minute restriction on the albums this round just so I could get done with this tourney faster
keep that in the back pocket tho, that might come up soon
Justin Watson
Note to self: Nyar a shit
Chase Watson
I almost feel bad not letting you pass, because i went into dream letter ready to shit all over it and it was pretty great
Gavin Cox
fukkin 'ell m8
My rec is Minor Threat - Complete Discography then
Camden Russell
gotcha down
Juan Sanchez
Is there any music out there that is as spiritually satisfying as Talk Talk's final two albums (or Mark Hollis's s/t for that matter)?
>oh god thank you vigar in a tutu is /sooooo/ goddamn bad Now I'm not a fan of that track either but you don't even like the album at all so you should shut it, smdh tbqh
yeeeees feel the daikanjyo hype
wew ur really enjoying this chart innit
fuck u for not loving DCH what's wrong with you :(
Gabriel Brooks
Happy you liked it dude. Nyar a shit so you made the right move canning him at round 1. I consider this a victory for all parties.
