ITT: Post albums you don't get, others explain what's great about them

ITT: Post albums you don't get, others explain what's great about them

The instrumentation is incredible, guitarist Tom Verlain really led the music with the guitar really affecting the tonality of the music and being used in a very unique way at the time, also experimental time signatures

Now someone someone explain this

you're right but it's not just Verlaine, it's the interplay between him and Lloyd that makes it

and I don't love the whole of the album but the song heroes might be the pinnacle of the wall of sound

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One of the finest guitar albums ever crafted. The guitar exchange between Verlaine and Lloyd still exceeds what most bands with two lead guitarists even to this day have been able to achieve, and one can only imagine what this sounded like at the time. Complex, melodic, always fitting in tight with the lyrics and melody (particularly on Venus).

The rhythm section is as tight as you could ask for and the lyrics and vocals are outstanding. The title track is essentially the zenith of post punk. Basically the perfect rock record.

Great fusion of experimental and pop. Heroes is an outstanding song. That's about it.

P O L Y R H Y T H M S

I like it but it doesnt keep my attention and fades into background music

i really love the guitar.
thats about it, i listened a lot but not anymore,since just a really good guitar is enough for me to stick around and listen to it regulary.

This.

The albums directly before and after it are amazing though

Some songs are amazing and some songs are shit. There is no in between.

Ege Bumyasi is a near perfect work though.

PLEASE:
Merriweather Post Pavillion

While it's not my favorite Bowie album it's a great blend of Eno's ambient and Davids hard rock style. A lot of great stuff on their. Moss Garden and Secret Life are my personal favorites.

its pop. If the hooks don't jump out at you then there is not much to say.

It's not bad but I feel I'm in the minority by not granting it the highest of praises

vocal harmonies and production
example:guys eyes

Funky and amazing melodies and rythymns

Maja.

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Pinkerton
It sounded like shit to me

not hearing it

maybe if you said something like it laid the foundation for amatuers who aren't very good at their instruments to put out innovative music these explanations might have made sense, but the guys in television are not good musicians at all.

I dont like it

The guitar work and drumming is absolutely brilliant. Songs like Elevation and Marquee Moon are just masterpieces

>the guys in television are not good musicians at all.

You could have just said you don't like the album or artists and never will because you're a tasteless cunt and saved us all time. Thanks.

probably bait but you're a moron if this is real.

what don't you like about it? if you're new to Coil Love's Secret Domain is probably a better place to start

It's honestly not the masterpiece it gets made out to be but it's one of the most fun albums I've ever listened to. When I was getting into it what helped was to pick out a few songs from it that were at least listenable and then just listen to those for a while, trying to pick out the individual instruments' parts and how the melodies all work with each other

I feel like it's probably okay for it to fade into background music, especially on some of the less structured songs. If you enjoy listening to it kind of like ambient music that's cool
But yeah like the others said Ege Bamyasi is the best

The production in this album is incredible, every song is deeply layered, groovy and funky

Raw and edgy power pop, Rivers feels desperate and sincere (for better or for worse) while still the songs are catchy

I love Replica but i feel like i don't get this one, the tracks seem too fragmented.

this boy needs therapy

do you like rock music?

Don't listen to the idiots saying Ege Bamyasi is better
It's a great album and songs like Oh Yeah and Bring Me Coffee Or Tea are still fucking mind-boggling to me today but the big problem is that you kind of have to buy into the drawn-out improvisational aspect of Halleluwah > Aumgn > Peking O otherwise you're left with an album of only 4 real songs you're going to enjoy

Same thing with Xen.

Please someone explain this.

I can't help to mention Verlaine top fucking lyrics.

It's just a bunch of goofballs writing amazing pop songs with noisy junk guitars
What do you need explained to you

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Xiu Xiu
The entire discography

I tried, god knows i tried, but nothing
And no it's not because they're fags or i don't like experimental music, i like parenthetical girls, which is why i insisted on liking Xiu Xiu for, but no dice.

Maybe they dropped you on your head as a kid?

I found the collector's edition bonus disc to be better than the actual album.

>Big Black - Songs About Fucking
You didn't explain what you dislike about it so it might be a bit harder to explain. It's noise rock so it's meant to sound dirty as fuck. The songs are pure energy, and Steve Albini has a really good voice for this style.

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How can you like any album from him and not like the rest?

I'm not insane about this album but what makes it stand out from other electronic music for me is how much dissonance there is between the textures and the compositions. Like, usually in electronic music the "sound" of the synth is kind of half the magic, whereas this album uses all these dime-a-dozen plastic-sounding presets. Which I guess means the sound still kind of does matter, but you know what I mean.

Also everytime I relisten certain parts of the songs go on way longer/shorter than I expect them to. Like I can't keep track of them in my head. Not what makes it good but kinda weird and memorable

Not even singles from their new album? I feel like Wondering and Jenny Go Go are super accessible and still great. Twin Peaks is an amazing album, how can you not like it?

any of their albums really

One of the most creative pop albums as well as psychedelic records. Great use of layered textures, beautiful melodies, interesting samples, intricate harmonies etc

Just picked up Quebec at the record store today. Mollusk is super accessible, you're probably just not into those kinds of tunes yet

I like the sound of it, I think I just need to listen to it a few more times to finally GET it.

>you just don't get it

okay thank you

i feel like you kinda got be a nerd to be into ween
it's like mr. bungle you know
like you either have to be a hardcore dweeb or able to let go of your ego a little bit

Nah, not saying that. I find Mollusk to be a charming record that makes me want to go watch spongebob. It's also really sad the more you listen to it amd I love feeling sad, so there's that.

Are you retarded? The guitarists are excellent.

Ween makes whatever the fuck they want. A lot of it is amazing, but I can see why it wouldn't be an instant click for a lot of people.

I don't like Morrissey, and don't really care for the Smiths that much except for maybe one song off of each of their albums, but I don't get how this can be the best Smiths album

I'd also like to hear this. NO is in my top 5 bands but the regular edition of this album is so samey and boring

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it's the poppiest and most "fun"

Have you heard other Swans albums? If not then Something like Children of God or The Great Annihilator would be a better entry point.

Or if you have and you're working your way through their stuff then I'd recommend trying To Be Kind. It's heavier, a little less repetitive, and less ambient.

The technically brilliant musicianship combined with Morrissey's wry lyrics. It's sad and darkly humourous at once.

That's because Strangeways is their best album, m8

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>kys

Nothing, it's just a shadow of their former self, the best part about it is Jarboe's gone but their best stuff was before she joined anyway

Listened to it and thought it was boring.
Why is it so highly rated?
Is this really the best the 2000s have to offer besides Radiohead?

was unique at the time. A Ghost is Born is better.

It isn't. The best is Meat Is Murder

its silly, almost parody of prog rock that's supposed to be dumb and ridiculous

give me that Z, O-L-O-F-T

do you know what instruments are and what they sound like?

I think Arca is doing something that has been building up for a while which is incorporating noise into composition, not just presenting it outright like Sonic Youth did (just one example, still love SY tho) but actually making noise the central structural element of a song. Listen to 1965 piece Agony by Ilhan Mimaroglu and maybe youll hear how this sound has been dying for the level of technology the digital age has provided

it sounds boring and like sad black flag

Only listened to Xen, but I don't really think there's much to get, other than it's just weird electronic music. You like it or you don't

check ur ears. sounds nothing like black flag.

dae all 80s bands sound alike

"Boundless creativity." Pffft.

White man funk. But I think the guitars and synths are great.

This is a total jam. And it's half classical.

It makes me happy, that's why.

It's a well done plunderphonics album. Doesn't mean it sounds good. Agreed.

It's more of a visual thing--morphs aural and visual stimulus. Abstract, of course.

I like A Promise a lot because of the eastern instrumentation. But I can see how the rest is questionable, beyond Fabulous Muscles is where it loses me

Nice synths. Summery. Basically what everyone else says. I like it, I guess, though I prefer Sung Tongs as a pop album

Anco + Zappa + Nihilist Spasm Band. I love "Axis: Bold as Boognish" and I think The Mollusk is pretty cool, as well. Funny guys.

Ritualistic. Intense. "Heavy." Piece of the sky and mother of the world are nice pieces. I prefer TBK

Another falsely praised 90's album alongside OK Computer because no one could find any better 90's album. From the west, at least.

Good songwriting, but poor music. Uncomfortable balance between indie and feeble noise rock

Trust me, a LOT of people here didn't "get" MPP at first either, you're not in the minority. Albums like this need a few listens

vast understatement, this use of purely atonal "noise" sound with this much control has been something composers have tried to do since the early twentieth century. Not saying others haven't done similar things before it but Mutant and the title track especially are shining examples of the precision of modern technology on this idea

>It's honestly not the masterpiece it gets made out to be but it's one of the most fun albums I've ever listened to
This, i used to hate this album thinking it was pretentious trash and didn't deserve its praise. As a fan of Zappa i never understood why he did this

Then I realized "wait, it's Zappa, is it supposed to be that serious ?" and realized the album wasn't supposed to be taken seriously at all, it's just really fun and crazy. It's actually not pretentious, but it's most fans of the album that are pretentious.

To be honest listening to it high (dude weed lmao) made me realize that, because i had so much fun listening to it and realized how good the songwriting and performances actuallu were
I still don't think it's that much of a masterpiece, but i can enjoy it now

it sounds like hardcore punk which had been done before i don't know why its and indie masterpieces

it doesn't sound like hardcore punk so maybe you had the wrong album

YHF didn;t come out in the 90s so choose a different bullshit reason

its very quaint for 89

Unmemorable fast punk riffage don't get it

I feel I'm a p. big Bowie fan, and even I don't get that album. I've tried listening to it a few times and I don't think I've ever got past half way. Heroes of course is one of the greatest songs of all time though.

Thiiis

that's because you listened to it only one or two times, give it another try.

awful vocals, badmelodies, i have no idea about the hype....

just try out the new album or fabulous muscles. they're their most accessible.
really not an easy band to acquire a taste for, that is if it's even possible for some people.
once you get past the erraticism in jamie's vocals and just let him and the layers of textured sounds envelop you, it becomes something a lot more emotional and tortured than it may seem. especially on Forget.
great songwriter too. it's cryptic a lot of the time but there are some really surreal lyrical moments throughout their discography.

this is my favorite record of theirs, can't really describe why without it being mainly sentimental.
they definitely have more highlights and great hits in their later albums, but to think about the context of this album and how it came directly after JD's demise makes it a more tangible example of how inbetween genres they were at this period. the vocals are so reminiscent of Ian Curtis compared to PCL where they sound a lot more boyish.

Someone please explain. How can people think it's the best rap album ever? Not even a good album imo, only a decent one.

I used to rly hate it bc of the first 3 songs having repeating rhythms for 5 minutes but now its one of my fav albums ever bc
>quotable lyrics
>up-beat hypnotic rhythms that make you want to dance
>once in a lifetime
>the freestyle on crosseyed and painless
trust me once it clicks it will make you appreciate life everytime you listen to it

1. Bowie's vocal performances on this album are some of the most passionately idiosyncratic of his entire career. The way he effortlessly fluctuates between straightforward singing, strained almost-shouting, quasi-spoken word and full-on screaming is really hypnotic. That's not to mention his wonderfully abstract, evocative lyrics that were mostly improvised on the spot.
2. Robert Fripp's guitar playing (also improvised) is absolutely superb. He takes his distinctive angular, methodical, often dissonant playing style and imbues it with a degree of fervour not usually found in his work. The end result excellently complements Bowie's trademark neurosis.
3. The whole album has this almost obsessive attention to detail in the production and arrangements that I can only assume is mostly Eno's doing. Tiny elements like the layered vocals in Joe the Lion, the shifting drum patterns in Sons of the Silent Age and the industrial-sounding percussive breaks in Blackout really bring the songs to life and help to elevate them that one step beyond into god-tier status.
4. The song structures of some of the tracks on here are completely bizarre. They aren't your typical verse/chorus/verse pop song formats, but they aren't miles away in the realm of progressive rock either. They usually start with a verse or two and then go straight into a bridge, then come out the other end into a repeating chorus or outro. He never really repeats himself either: he sings the same thing but with the lyrics slightly altered; the chords are the same but in a different order. It gives the songs this sense of constant progression that's really great and Kraut-esque.

can anyone explain this to me
it genuinely sounds really really boring to my ears
not even contrarian

its not "good" singing but it's human, emotive and powerful
really good imagery in the lyrics, fantastic band playing, you really need to concentrate though. listen to stuck in mobile again

I dont get it either

It's the perfect balance between the chaotic No Wave of their earlier releases and the more accessible indie rock style they'd move towards later. Apart from that, it basically codified indie rock and did so with a degree of songwriting sophistication far more impressive than the vast majority of indie music that followed it, making effective use of counterpoint, lengthy improvisatory sections and lush, expressive harmonies, and taking influence from modal jazz, Krautrock and classical minimalism.

I'm no Can scholar, but it's always seemed to me that what they're going for is to take a tiny motif, occasionally a melody or chord relationship but more usually a drum pattern, and see just how long they can improvise without deviating from the motif but without indulging in direct repetition either. Solos in the traditional sense are kept to a minimum or omitted entirely, because the focus is never on any individual performer or even an individual melody but more a state of mind that unfolds very slowly over several minutes until it seems to encompass much more than it originally appeared to, helped in no small part by Liebezeit's understated and hypnotic drum contributions.

Actually, on some level, they aren't structured entirely dissimilarly to the Grateful Dead's slow-burning jams, but whereas the Dead maintained interest over extended periods of time by shifting from one harmonic mode to another, Can foregoes any real harmonic development and maintains interest by methodically, almost obsessively developing the mood and timbre. This tactic is (in my opinion) highly effective for them both because of the egoless temperament of the individual musicians but also the wealth of synthesizer and studio effects at their disposal.

I see it as one of the earliest, most committed, and most successful attempts to meaningfully emulate classical minimalism within a rock music framework. Based on the close relationship of many of the members to Karlheinz Stockhausen and therefore their likely familiarity with contemporary classical music developments, it is likely that this was a conscious stylistic decision.

fucking kill yourself

this

>i dont get it

Listen to all their other albums first. I thought it was just dumb, overrated p4k-approved synth pop the first time I listened to it. To me it seems like they took the energy from Strawberry Jam and put it to electronic music. Also it's the first AnCo album where Panda Bear is given a leading role and he absolutely kills it. Really a great culmination of all their previous albums, and they haven't matched it since imo (besides Fall Be Kind)

explain how this is sadder than unknown pleasures. Most of the lyrics outside of Isolation are too artsy and open to interpretation to be sad

their s/t is my fav