The point of these threads is to encourage people to look for new and interesting music. We do this by listening to and ideally discussing albums we've never heard before. Many of us already listen to new music daily, these people are in it to venture "out of their comfort zone" by listening to albums they otherwise wouldn't have, or just to have a good time.
this is probably the most british single i've ever listened to
Jace Jackson
Why people didn't liked this again? I'm relistening and that sludgy dirty bass and driving rhythms are sooooo good.
Nathan Butler
Good-evening /daily/. Tried the following recently.
>CAN - Monster Movie. Very much surprised me, quite an inventive record that is considerably ahead of its time, love Suzuki's vocals that have an oddly British tint to them, the guitar melodies on Mary, Mary are especially tight. >CAN - Soundtracks. I didn't enjoy this as much as Monster Movie though I still enjoyed it, the distortion and feedback was not as pronounced as on Monster Movie and I felt the album was more a case of the band applying their newly found krautrock sound into the emerging rock scene. Mother Sky is a brilliant 14-minute track though with some fairly soulful vocals atop a pulsing bass line. >Cornelius - Fantasma. I've never listened to Shibuya-kei before so this album naturally blew my mind when I first listened to it, the dual-panning and eruption of samples especially on Clash and Thank You For The Music were fantastic though could get pretty tiring on repeated listens, thankfully the album is well paced and has numerous breathers of joyous samples and slow-paced ambiance to keep things fresh. >Cornelius - Mellow Waves. Not as enjoyable as Fantasma though more chill, certainly feeling something of a GAS influence somewhere in the mix. Still one of the better releases to come out of this year. >Havok - Conformicide. Wasn't too keen on the skit at the beginning of Intention to Deceive though otherwise brilliant, could get somewhat cheesy in places though the soaring guitar leads coupled with some spectacular drumming created a fantastic album - and whilst I did not like the intro to Intention to Deceive the rest of the track was great. There's even some gosh darn slap bass, holy smokes! >Havok - Unnatural Selection. Feel I'm reaching the end of the character limit so I'll keep it brief here. I enjoyed it slightly more than Conformicide. >Nine Inch Nails - Add Violence. Strong 6.
Good-night, sweet dreams Yamir and have a considerably nice day afterwards.
Gabriel Anderson
hmm
Evan Brooks
>though could get pretty tiring on repeated listens I've been listening to Fantasma for some months and it really doesn't get tired. It's so much you can never memorize went stuff is gonna happen in certain tracks.
Btw have you heard Future Days yet?
Wyatt Richardson
>Bill Nelson - Quit Dreaming and Get on the Beam >New Wave Art pop + Zolo Did not leave any significant impact on me. I recognize the Berlin synths, and that this took quite a while to come out, but it's just another album that seems to float indecisively between "engaging" and "flowing" for its genres, maybe because of Nelson's voice and the electronics I'd usually associate with calmness? I'll revisit this at some point.
6+/10
>Blacksheep - blacksheep >Avant-garde chamber jazz So there's a piano, trombone, and saxophone ALONE on this album, yet it still manages to remain fleshed out. The first track utilizes a star-twirling piano before fully erupting into free jazz, the trombone and sax playing off excellently. The piano being a percussion instrument and all, dissonant chord pounds are also interspersed, forming the heavier frequencies with the saxophone throughout the album. The way this album shifts between black and white moods (haha sheep) makes for a stunning listen, even with just three performers and NO DRUMS.
How was this album not noticed by ANYONE? Where do you even find this shit, lamb? what kind of travesty is this?
8/10
>Zom Zoms - Yellow Rainbow >Synthpunk/Zolo The combination of punk vocals and synths is moderately strange, while the square waves are particularly grating and Patrick Healy's vocals are unapologetically aggravating and manic. I'm not entirely keen to classics like Devo! in Zolo, but I'm finding the infusion of punk to be particularly unpleasant in this album.
4+/10
Ayden Howard
>Frank Pahl - The Romantic Side of Schizophrenia >Avant-Folk I started off numb to this, but Overture To Enrique Miasmo really got me into listening somehow. There are actually a few minimalism style compositions-- the hypnotizing plunge of Knives and Vegetables, the twilight stroll in Dirge #15, the eastern drones of Blues. Hell, even Exit sounds like an intoxicated Terry Riley prancing through a meadow.
The second half of the album seems a bit sparser, until the lovely Escabeche (Pickled Fish). And the fucking fog horn as the final track was actually grea. Can't say I fully appreciate the length of the album as a whole.
6+/10
>Bill Wells & Mahe Shalal Hash Baz - Gok >Big Band, Game-Over-screen music Off-colour notes and weak breath support seems to be the biggest part in seperating this from lounge music. It feels very cheap at first, but there's an undeniable charm to many moments that come from the disregard for technique-- it would take effort to halt set-in stone playing habits and mimic how you played in your first month of learning.
I think what first irritated me about this was that it reminded me of middle school band. Poxy is what made me imagine those awkward middle school performances-- the tuba's in the wrong key, the trumpets are too scared to play out, there's a few people trying to hold it together while the audience anxiously waits for the embarassment to be over. But that visceral image is exactly what made this album
It's when the group manages to pull together, or an intimate moment appears (On the Beach Boys Bus) that the satisfaction appears.
8-/10
>Pere Ubu - Terminal Tower >Post-Punk, Art Punk
i'm lookin inTO A HEART A DARKNESS
I didn't expect to enjoy this, but I ended up liking David Thomas' voice-- it's not youthful anger, it's middle-aged seething. And that's cool. Only tracks I were impartial to were Not Happy (bit too much there, Thomas) and Cloud 149
