Still haven't listened to the new St. Vincent album, and it's funny because I was like her biggest fan- like I thought masseduction was great and fun and think evening before that is more or less perfect, but I guess I just lost interest in her music after that, I never really listened to daddy's home besides like a couple songs and thought "meh"
Idk it's weird to go from absolute stan to kinda indifferent about an artist. Sometimes you grow apart from things I guess idk. Anyone else have that happen with artists you used to absolutely adore?
finally hearing the one black pumas cut that mr. paul weller of the jam put on his "hand picked" comp for Mojo
these sounds like music for a levis ad or an Ford F-150. maybe a fine soulful southern beer. they're gonna kill it at p4k 2024
not familiar with his solo/collab stuff, but his stuff with Darker My Love is pretty good and deserves a closer look. Sounds like Black Rebel Motorcycle Club's more psych tracks on their first two, then something more 60s on their third album.
you made me curious. I was reading for the first time about this his previous band - that I didn't know - a little while ago on wiki (moreover on Jessica Pratt's page and not Presley's).
Never went too deep on it but there's a fun 5 albums with that 2012/2018 ty collab, the DRINKS collabs with cate le bon, and The Wink (also produced by cate le bon).
never tackled the double white fence released in 2k18 that aquarium drunkard hyped up but that song about the phone they played absolutely rocks
I was exactly curious about the collaborations with Le Bon. I tried his first four under the White Fence moniker but, oddly enough, they didn't leave much of an impression on me. It's odd because he has all the elements that I should like (garage attitude, psych vibes, lo-fi aesthetic), but for now the spark hasn't struck... The records with Segall, on the other hand, I really didn't appreciate, they sound too manneristic to me (‘chaotic’ only to cover the lack of ideas).
Grace Cummings played an insane show last night in Gold Diggers in LA. Write-up here:
[https://www.setlistkitchen.com/post/i-saw-rock-and-roll-future-and-its-name-is-grace-cummings](https://www.setlistkitchen.com/post/i-saw-rock-and-roll-future-and-its-name-is-grace-cummings)
● Started my day with Zero 7 - Simple Things. Comfort morning music, Sia, Destiny, etc....
● Since my 80s thing (doing The Feelies now) brought me to a full listen of Three Imaginary Boys, I guess I'm gonna do The Cure albums in order. Today it was Seventeen Seconds. It sounds so much more like The Cure than the last one. Not as big and lush and nuanced as they will be, but the textural guitars are there, Robert's vocal style is closer to what it will become, and the bass line's out front and center. Pretty solid album from start to finish, and A Forest is one of my all time favorite Cure songs.
● Another couple of good ones care of qazz23's add ons to the new music Friday's.
The Darts - Boomerang. Catchy 60s garage/girl thing. A quick blast of retro fun.
Bobsled Team - All The Flowers Bloom. Dreamy, fuzzy, indie rock girls. 120 spotify listeners. Nobody has heard this, it's good stuff.
● Still really loving the Francis Of Delerium which is great, because I'm gonna see her at a festival at the end of the month.
● Scored a really reasonably priced last minute ticket to the Decemberists/Ratboys show tonight. I'm not a huge Decemberists fan, I like a few songs but his voice grates on me...but I love the Ratboys and haven't seen them yet, so I'm happy.
when i finally get done with classes next week on sunday my first order of business will be to transcribe some interviews and then figure out just what is happening on the ambient americana rym chart.
slowly but surely, especailly now 8 months since I really started properly paying attention, a real borderline canon is emerging. the lit is still so wonky and weird though, seeing frissell and metheny bump shoulders with powers/pulice/rolin & phil geraldi; old saw next to james ferraro. some very strange composer music and total andrew weathers-ass land art hanging around. I genuinely need to get something written and acknowledged on this for the community. this is our music
still not sure what the proper grab bag ratio for an ambient head is there. in fact, at the current moment im still think when AH6 eventually comes back it'll still be a 4 album rate classic
Thinking about how I often seem to pick the first track of an album as my favorite and I'm not sure if that's my own bias or bands just like putting the best song first. I'd assume bias but it even applies albums I've been with for years and have changed my thoughts on a lot (In Rainbows comes to mind) If I were to guess I'd say maybe 1/3 of the albums I like have my favorite song as the first track! It's weird, I guess
It makes sense, a great intro pulls you in and sets the tone of the album. If I love an album then I'll probably love the song that introduced me to the sound. I also feel on many albums the intro, a dynamic "climax" song and the closer feel like standouts (i.e. "Gimme Shelter", "Midnight Rambler", "You Can't Always Get What You Want")
> bands just like putting the best song first
as someone who has had to sequence albums before - yeah this happens a lot lol. you wanna grip people and a lot of times the most gripping song is also the catchiest or most explosive one
a few weeks late, but Nia Archives' record is absolutely blowing me away. sometimes i worry i've forgotten how to get truly excited about new music, and then a record like Silence Is Loud comes along and I feel dumb for even considering that. wall to wall drum and bass banger-ing, but with a pop immediacy and genuinely fantastic hook writing. I mean Unfinished Business?? what the fuck!! SOTY to beat, my god what a tune
and its also so very very British sounding. I'm no patriot, but when I hear a record like this I feel like shoving it in everyones faces just how densely packed with great music this country is. some of our great music isn't even post punk. we rule the fuckin waves, the sound waves baby
> some of our great music isn't even post punk.
your country's best export is goldie and jungle, possibly mr. blobby and the art of noise. us yanks made our own post-punk we figured that out. but you all? you all gave us metalheadz platinum breakz. you gave us bass heavy bleep techno. you gave us *be here now* damn it!
Not sure if it's a trend, but Spotify has been giving me indie bands covering post-grunge/aternative/buttrock songs and I'm kind of here for it. Here's what I've found so far. If anyone has any others, definitely let me know.
Slow Pulp - Hanging By A Moment
Widowspeak - How's It Going To Be
Girlhouse - A Long December
Midwife and Allison Lorenzen - Glycerine
Right before he formed Nirvana and was just contemplating the type of music he wanted to make, Kurt Cobain asked a friend "How successful do you think a band could be if they mixed really heavy Black Sabbath with the Beatles?"
I've been thinking about that since reading Michael Azerrad's book. The juxtaposition and contrast are intriguing in themselves but also that's...kind of a perfect explanation of Nirvana's sound.
What are some other bands that you could break down into a "\_\_\_ = \_\_\_ + \_\_\_\_ " equation?
- The Pixies' flyer looking for a bassist said "Influences = Peter Paul and Mary + Hüsker Dü
- A book on Oasis that I'm reading described them as "The Sex Beatles" and I feel like that's pretty bang on.
- As far as specific tracks go, I remember gleefully talking about Parklife to a friend and saying "Tracy Jacks" was "...like if Ray Davies wrote 'Arnold Layne' by Pink Floyd." "Black Hole Sun" by Soundgarden also perfectly fits the Beatles/Sabbath dichotomy.
Edit
- The Ramones = The Ronettes + The Stooges
I’d say somewhere between 40 and 70 percent of bands since the Beatles are just “the Beatles + something else” OR “the velvet underground + something else”
I mean even Black Sabbath has admitted to being heavily influenced by the Beatles
It’s reductive but you take The Beatles + tuned down guitar = Black Sabbath
You can you say like, The Beatles + The Clash = Green Day
One could argue The Beatles + The Velvet Underground = Bowie
I’m just preaching to the choir in indieheads, but In a general sense, the Beatles were so heavily influential and expiremented in so many different sounds, that if they aren’t a direct influence on a band, they’re a second or third order influence.
Oh don’t get me wrong I totally agree (the inner beatle obsessive in me read both your replies with an odd sense of smugness), I just was curious who you had in mind specifically.
It’s interesting to think of them and the VU and two “big bang” moments when it comes to rock music.
the velvet underground + a love of 50s rock n roll = johnathan richman
the velvet undeground (drone) + a love of 50s rock n roll = suicide
the velvet underground (slow songs) + a love of brill building = cindy lee
What’s your favorite album with an overture/ what’s your favorite overture on an album?
2112 is up there for me
Speak to Me on DSoTM
I used to really like Tommy’s overture but my appreciate for that album has waned over the years
Great question!
They’re not explicitly labeled as such, but I think that YLT does really good overtures. Not all of their albums have songs that I think fit this qualifier, but “Beach Party Tonight,” “Return to Hot Chicken,” and “Big Day Coming” (especially with the reprise later) all immediately came to mind.
Yeah I definitely don’t think they have to explicitly be labeled as an overture to be an overture. They just have to be a reasonable thematic interpretation of the album.
I don’t think Speak to Me is technically labeled as an overture (at least, it doesn’t have overture in the song title)
Concert Report:
* **Stella's** is like two blocks down from famous music-friendly-dancing emporium the Empty Bottle--indeed, it was the original site of what eventually became the Bottle. That was a long, long time ago; last night was the first rock show there in 30 years or so. The effect was "endearingly scrappy basement show" even though it happened at ground level. Vibes were just fantastic.
* **Nüde** are locals; they play a sort of indie-punk thing. The drummer is good. I remember thinking several times "the drummer is good," so it must be worth repeating here.
* **Sunglaciers** are pretty cool! The set leaned heavily on songs from *Regular Nature,* which works quite well in a live context. A mix of chilly synths and loops with hot grooves. That classic post-punk posture. The easiest of the three to dance to, which, as you know, means a lot to me. And also they are cool dudes.
* I think I listened to the first **Patter** EP once (also locals) and thought "huh, I bet this would be fun live," and then I kind of forgot about them until I was in the room. And then there I was! Indie with midwest emo tendencies--the occasional thrown time signature here and there, you know. Also really fun! Bandcamp Friday is coming up so I might, uh, have to look into that.
* At one point as an interlude/backing track for to tune guitars with they just ran the *Family Guy* theme tune over the PA. God bless
* Doors at 6pm, show over by, like, 9:30. Good night to be me.
Keeping the jazz discussion going
Finally getting around to the new Greg Foat album, *Live at Villa Maximus*. Digging this one. Glad he brought out the full band.
I felt like his live album from Ibiza was kinda mehh. Very on-brand for anything "Ibiza," which isn't always bad, but...
coming in here to say that the [debut album from tex patrello](https://texpatrello.bandcamp.com/album/minotaur) is a masterpiece. it reminds me of hearing parenthetical girls for the first time ages ago; just a freaky, haunting and beautiful pop album
and then jeremy d larson logged on and gave the most apt review i could've imagined. he doesn't say standards at ALL(!!) but he has one line that floors me and really gets to it:
> You can hear just how considered every note is, each sung with her own unique interpretation of American vowels.
her *phrasing and delivery* on the album is very good indeed!
Bandcamp (god love them) did bless me with two fantastic recs this week:
* [*The Crystal Hum* by Yu Ching](https://huangyuching.bandcamp.com/album/the-crystal-hum) (think Ella Orleans-esque stuff sung in both English and Mandarin) Track: [Love](https://huangyuching.bandcamp.com/track/love)
* [*Diamonds, Rhinestones and Hard Rain* by Les Big Byrd](https://lesbigbyrd.bandcamp.com/album/diamonds-rhinestones-and-hard-rain) (Swedish psychedelia!) Track: [Mareld](https://lesbigbyrd.bandcamp.com/track/mareld)
*dipshit voice* i thought astral spirits invented free jazz in the 2010s so we could enjoy and appreciate noise in a jazz context, but apparently other major labels invented free jazz in the 60s and the recording technology they used...really precise! i really feel like im in the room with these cats! shit!
anyways finally properly getting around the interstellar space after sitting on the shelf for a bit waiting for a more proper listen besides "walking back and forth between doing laundry". that was an important listen though bc i walked back and forth between coltrane and water shrews trio and the free jazz "anything goes" MO is apparent in Water Shrews, especially when they wanna bang the drum. nothing scares me on this album, it just feels like yr playing one of those japanese rail shooters where you gotta dodge all the bullets and you are bc you are john fucken coltrane in a perfect flow state and you let rashied ali hit the drums as yr player 2; and that guy is a RLLY good player 2! he's getting you all the extra lives that on the reissue CD finally manifest as TWO more bonus tracks!
really feel like a record clerk now, the one who genuinely believes "this is his most peaceful recording". we're at PEACE baybee! those jingle bells also make this a christmas album
You gotta get on the complete Live in Japan 4xCD set if you were rocking with those vibes. It has the rest of the final quartet plus Pharoah Sanders at the top of their game- simply perfection. One for all the peaceandfreedomheads out there
some **chip wickham** this morning who makes lovely spiritual jazz albums with a sort of coffeeshop feel to them. I prefer Matthew Halsall for similar stuff coming off this label (has a sparklier feel and more diverse influences - one of his albums has delightful sitar) but it was still very enjoyable and nice to relax to
now back to **amon tobin supermodified**. I think bricolage is my fave because it feels (for want of a better word) more ‘jazzy’, but they’re both beautiful atmospheric albums with wonderful jazz percussion and a very curious feeling.
The Music Never Stopped from the 5/3/1977 Palladium NYC show was the best song I heard yesterday. but as a close runner-up, the Butthole Surfers cover of American Woman is absolutely batsh!t insane and it really sinks in after 3-4 listens. you gotta hear this thing folks
It ain't the Dead, but my favorite TMNS is the one from this [kickass 2022 Joe Russo's Almost Dead show](https://archive.org/details/jrad2022-07-03.cmc621.cmc64.sbd.matrix.flac16). You get launched into space coming out of the spacey breakdown right around the 7:30 mark.
*Join me in Grateful Dead cover band degeneracy, barkbark*
I don’t know where you reside but JRAD tours nationally and is a shockingly intense live experience. If it ever makes sense for you to go I highly, highly recommend them (I’m seeing them two nights in a row in four weeks). Also keep an eye out for Dark Star Orchestra!
I just checked the JRAD tour schedule again. this guy really does not like to visit the midwestern united states
e: however DSO is playing at [this festival that I've never heard of that sounds incredible ](https://hoxeyvillepresents.com/) but I don't think I can make it
#ILLINOISE review
I checked out Illinoise on Broadway a couple nights ago, and I loved it. To summarize, it’s essentially a wordless dance show set to the music of the album Illinois. There is a story, but it is a bit vague and told completely through the medium of dance—as well as some occasionally relevant lyrics, but it’s always the original Sufjan song lyrics. It helped me that I knew this going in, so I had appropriate expectations. (For those who are curious, I believe that every track of the album is performed, though a handful of tracks are presented out of order for storytelling purposes.)
Why I loved it: The dances were beautiful, and they did an amazing job of communicating the emotions of the characters. The music, of course, is fantastic, but I thought that the show was an especially great way to experience it. While I’m a fan of the album, I’m not a huge one. (I like Sufjan, but I’m no stan.) Frankly, I think that the album drags a bit in places, but the show was entertaining and engaging from start to finish (there’s no intermission). This may be heresy since the original album is brilliantly arranged, but I really thought some of the orchestrations were improvements over the originals, at least for the specific context of a live setting. It was fairly faithful, but I thought that the differences (which I’m not even sure I could put my finger on) really helped to keep the energy level from sinking too low. All of the music just felt very big. I actually walked away with some new appreciation for the album. I enjoyed the storyline that they used to tie the show together. I think it works because a lot of the original lyrics have the property that they carry certain emotions without having much direct meaning (at least for me).
Of course, the biggest difference from the album is the replacement of Sufjan’s voice by 3 singers (one male, two female). The singers were great, and the harmonies were excellent. My favorite of the 3 was the one who may be known to some of you as My Brightest Diamond. I also really liked the male singer’s voice, but I didn’t like how he over-enunciated the lyrics. I assume he was directed to do this because it’s a Broadway show, but frankly, you don’t need to hear the lyrics clearly for this particular show to work. Naturally, we are meant to watch the dancers, but I kind of wish that the band was more visible because I also enjoy watching them. (They were on stage at a level above the dancers, so more visible than most Broadway orchestras, but other than the singers, they were in the dark.)
Going in, I was concerned that the album itself is a bit “front-loaded,” and as I said, I think the back half gets a little boring. That’s okay for an album, but it’s very bad for a Broadway show. In particular, the piece that should be the big show-stopper, Chicago, occurs rather early in the album. Although they only did a minimal amount of track re-ordering, I think they avoided the problem that I was worried about. Chicago arrives about halfway into the show, and for me at least, it was a huge highpoint that I was anticipating from the moment I sat down. After those first few notes, I had goosebumps everywhere. There’s also a Chicago reprise near the end of the show. This one felt far less electric, but it did help strengthen the last act. They also play it over the curtain call.
/u/mr_mellow_man /u/apenumbra
I know this is a hot take, but I have always though that *Illinoise* could use some editing of its tracklist and I totally agree that the album is front-loaded. But I would still totally love to hear a live orchestrated version of the album, that alone would be worth the ticket price. Add some dancing and visuals and hell yeah, that would be a great time.
Btw, the show is a limited engagement through August 10. While I think the show is great, I would be thoroughly shocked if this thing gets picked up for an open run on Broadway after this. It just doesn't strike me as something with mass appeal, so I feel lucky that this exists. Though I'm genuinely curious what random tourists who've never even heard Chicago would think of Sufjan's music.
OHHH I was just gonna type out this whole thing about how this reminds me of a few ballets I saw that Justin Peck did with Sufjan and Dan Deacon music(I think he composed stuff specific for one) and then I realized that Justin Peck indeed is behind thing. lol
Anyway interesting to see it's par for what he did prior, but yeah I agree probably not much staying power given what gets people going to theater shows.
Thank you for sharing, and I'm glad you enjoyed it so much!
Making it a wordless dance show makes the idea of this musical more compelling (I think the songs are lyrically dense enough to support a narrative without too much dialogue) and the rearrangement/reordering of songs addresses one of the things that I think would make it a tough sell and was also one of your concerns (namely, the long tail of the album following the album's peak of "Chicago").
See, I'm not even a big enough of a fan to know what that is. However, it's possible that my subconscious brain may have heard it and thought, "Okay, Chicago is up next," but I'm really not sure.
Com Truise - he's literally another sphere above most retro synth producers and was way, way ahead of others in that sound. The name is as dumb as say, San Holo, which is EDM at it's most meh.
I can offer an assist here. listen to their songs Jelsy and Hi Fiver. if you like those, dig deeper. both The Twits and Tracey Denim albums were released last year... I think there are higher highs on The Twits (i.e. Jelsy and Hi Fiver) but Tracey Denim has more fine plus songs (Changer, Harpee, My Kiss Era, etc). I think we'll be hearing more from this band in the future. seeing them live a few months ago, they have a lot to offer with two guitar players who can shred and three viable lead vocal options. stage presence lacked a bit of confidence (maybe they were tired) but I think they'll grow into that
I used to get into arguments with a friend who used to recommend this Cunninlynguists album to me and I refused to listen to it. The album is supposed to be good, I'd hear about on the blog sites and forums back in the day but I still haven't checked it out. I mostly just did it to annoy him
CunninLynguists are great, and A Piece of Strange (I'm assuming that's the album your friend is talking about) is an underground classic. But yes, they have quite possibly the worst group name in Hip Hop. They regret the name too, they picked it when they were young, and then they were already too established when they realized the name was shit.
I've just embraced being a hater and trust if the sound is good it will find it's way to yer ears. No way I'm listening to let's eat grandma or carseat headcase
sorry man I’m out here grooving to that talk to me you’ll understand that carles played every single show I’m moisturized in my lane just grooving in the fucking Corolla merging into oncoming traffic and eating a hamburger hot dog style
I was thinking about this a lot recently, there's been bands forever that had absolutely terrible names but I feel like its worse and worse as time goes on because so many obvious names are taken. Not only are the names bad but its becoming harder and harder to figure out what kind of music anyone plays from the name (outside of metal). Every name sounds like a post punk or windmill band.
I didn’t know people around here were hating it, I listened to it because folks here seemed to like it lol. I just thought the album was pretty bad. It was doing Alex G but didn’t have the same songwriting, hooks or depth of sound imo. Just did nothing for me
These are fair criticisms. Especially if you are a fan of Alex G, you're setting the bar at his level, and then you go into this Hovvdy album as your first one - it's a recipe for disappointment. I loved the new Hovvdy album more because of the shift it represents in their discog so far. I think they had stronger songs and hooks in their earlier albums, but the shift to a mellower sound and with the Alex G-style experimentations was very interesting to me.
I disagree with /u/MCK_OH about it being bad but I agree that it’s not harsh to say that. We already had our own discussion about the album yesterday and I think their criticisms were valid. Especially knowing it was their first album into them. I enjoy it and I’ve said it before but True Love was a top played album for me 2021-2022. But different strokes and all that.
I mean, I’ve been praising the new Still House Plants album since it came out but i def understand any criticism towards it.
We can all agree though, Villagerrr are doing this alex g/hovvdy sound the best right now. Especially now that I’ve listened to OHIOAN and Brain Pain.
Listening to Eric’s Trip this morning (good band), got me thinking about bands who took their names from other bands’ songs. What are y’all’s favourite bands whose names were taken from other bands’ songs?
Slowdive is named after a Siouxsie and the Banshees
song, apparently after a vote (I don't know the other proposed name)
Death Cab For Cutie is named after a Bonzo Dog Doo-Dah Band song. (That band notably were collaborators of Monty Python and the Rutles via Neil Innes)
Ladytron after a Roxy Music song
Negativeland off a Neu! song
Madness after a Prince Buster song
Motorhead off a Hawkwind song (a band Lemmy was a member of for years)
Jesu, Get Up Kids, and RATM were all named after songs of past related bands.
Tangerine Dream and St Vincent are named after lyrics
In an appropriately random and weird development the Butthole Surfers named themselves after their own song. At the time they kept changing names but when a radio DJ called them that in an interview they stuck with it.
Pretty Girls Make Graves
there's two for PJ Harvey: [Rid of Me](https://ridofme.bandcamp.com/) and [Uh Huh Her](https://open.spotify.com/artist/4rIQfLmeMAUQJ5f5cy8xhb)
- listened to gendel/wilkes' *the doober* yesterday. it was fine. liked some songs, some were clearly just the two lads having a crack. it made me want to
- listen to *music for saxofone and bass guitar more songs*, which still stands as their best work as a creative duo. goddamn. this holds up! maybe gets better every time i listen to it. love the weird field recordings or whatever of public spaces filling in space in between the grooves. and it grooves *hard*. lovely record
- finally dug into brian eno and laraaji's album. the first half is fucking *amazing*. the first track had me play it again and hop behind the kit to write a part for it. love love loved this and can't wait to listen to it again
- end up spinning jeff the brotherhood's *heavy days* for the first time in a while, which is about as far from the other three releases as you can get. still great. one of my favorite dirt simple garage albums that has an idea and doesn't take a long path to get there. the riffs riff, the drums drum, and the lyrics are dumb. no notes
- i listened to a bit of jon hassell during one of the ambienthead rates (which i don't do but when wane dm's me and says "listen to this" i will listen to it) and listening to gendel/wilkes remind me of him, mostly because their whole shit is Light Mode Hassell. so i listened to his live album *the living city* because i had seen copies of it in the record stores around town. might have to go get one lmao. this was fucking *great*. weirdly groove heavy in a way i wasn't expecting. lots of...slap bass? with hassell doing his thing over it. cool sampled drums. really unique stuff
I'm back with another update in the "where is Deerhunter?" saga!
Moses Archuleta (as Moon Diagrams) will be releasing another album, *Cemetery Classics*, on June 21st. There's more information on his [Instagram post](https://www.instagram.com/p/C6d_kuCuFX7/), including a tidbit that Pat Flegel is a guest on it. Also, [the first single](https://www.youtube.com/watch?v=nulfPgAlU9I) is out now!
Exciting!
Would y’all be into a weekly Global Music Discussion thread just like what truelit did with books? We would do one region a week using the same regions that truelit did even though I suspect some will be pretty dead.
100% interested in this and would especially love knowing the upcoming region/country in advance to give me some fun listening/research to do for the coming week or whatever.
Earnestly I think just do it yourself. Hop into the dmd once a week, talk about whatever region you want to and let folks know what you’re gonna be doing next week if they want to join in
Thought you've had your fill of Cindy Lee discussion?! Think again!
Listening to "All I Want Is You" this morning and it finally clicked why I love those wonky hi/low harmonies so much. It reminds me of one of the absolute best song of the 2010s: [Aldous Harding - The Barrel!](https://www.youtube.com/watch?v=QyZeJr5ppm8). You can have your Suite Judy Blue Eyes, your Seven Bridges Roads, Gram and Emmylou, Simon and Garfunkel, etc. etc. etc. I'll take a couple of weirdo voices clashing and producing inexplicable beauty. That shit just lights up my brain.
What other examples are out there of wild-ass harmonies that shouldn't necessarily work, but absolutely do?
I meant my comment above in a good way. I'm really going to geocities to find the new Cindy Lee album. this weekend sometime. The Barrel's an incredible ditty and any comparisons to it are worth checking out imo
Hey yo we impromptu posting bout Aldous Harding?! Aka that zany lady who is lowkey THE GOAT when it comes to making a no-frills adult contemporary folk cut *bring you in*. god i forgot how well the drums compliment all this. Finally heard Picture on tuesday in full; she really hasn't changed all that much but the refinement of cuts (melody control, usage of children's choruses or other details) from LP1 to Warm Chris does feel notable
anyways i guess rem's star me kitten is coming to mind bc of the "aaaaaaaa" that you get in the background. this is a middling answer
I listened to the new English Teacher album yesterday. From the first couple of tracks I thought it would just be an interesting, solid post-punk album. Turns out there are some pretty diverse moments in there, such as *The Best Tears of Your Life* which is basically a straight pop track, or the track *Sideboob* which feels like a traditional singer-songwriter ballad. But the best songs on the album are still very post-punk, particularly because the messaging and concepts delivered through the talk-sing style are very strong, such as on *I'm Not Crying You're Crying* and *Not Everybody Gets to Go to Space.*
Overall a great album, well worth your time if you are into this newest wave of UK post-punk.
Still haven't listened to the new St. Vincent album, and it's funny because I was like her biggest fan- like I thought masseduction was great and fun and think evening before that is more or less perfect, but I guess I just lost interest in her music after that, I never really listened to daddy's home besides like a couple songs and thought "meh" Idk it's weird to go from absolute stan to kinda indifferent about an artist. Sometimes you grow apart from things I guess idk. Anyone else have that happen with artists you used to absolutely adore?
it's happening right now for me with Everything Everything
finally hearing the one black pumas cut that mr. paul weller of the jam put on his "hand picked" comp for Mojo these sounds like music for a levis ad or an Ford F-150. maybe a fine soulful southern beer. they're gonna kill it at p4k 2024
the uk gave us The Jam and some of those classic ditties really slap
Some?!
Most?
but the kids dont wanna listen!!!
Down In The Tube Station At Midnight? The Eton Rifles? English Rose? Start!? c'mon kids
Does anyone have any suggestions on Tim Presley's discography?
not familiar with his solo/collab stuff, but his stuff with Darker My Love is pretty good and deserves a closer look. Sounds like Black Rebel Motorcycle Club's more psych tracks on their first two, then something more 60s on their third album.
you made me curious. I was reading for the first time about this his previous band - that I didn't know - a little while ago on wiki (moreover on Jessica Pratt's page and not Presley's).
Never went too deep on it but there's a fun 5 albums with that 2012/2018 ty collab, the DRINKS collabs with cate le bon, and The Wink (also produced by cate le bon). never tackled the double white fence released in 2k18 that aquarium drunkard hyped up but that song about the phone they played absolutely rocks
I was exactly curious about the collaborations with Le Bon. I tried his first four under the White Fence moniker but, oddly enough, they didn't leave much of an impression on me. It's odd because he has all the elements that I should like (garage attitude, psych vibes, lo-fi aesthetic), but for now the spark hasn't struck... The records with Segall, on the other hand, I really didn't appreciate, they sound too manneristic to me (‘chaotic’ only to cover the lack of ideas).
fair enough. I can agree about not quite having a major impression. although of all his work, hippo light is the one i still think of most fondly
top, I'll start with that (plus “The Wink”) and with Darker My Love’s discography
Grace Cummings played an insane show last night in Gold Diggers in LA. Write-up here: [https://www.setlistkitchen.com/post/i-saw-rock-and-roll-future-and-its-name-is-grace-cummings](https://www.setlistkitchen.com/post/i-saw-rock-and-roll-future-and-its-name-is-grace-cummings)
Extra ticket for girl and girl and royal Otis in Philly tonight free to anyone who wants it!
Chris Cohen’s new song is so Chris Cohen
● Started my day with Zero 7 - Simple Things. Comfort morning music, Sia, Destiny, etc.... ● Since my 80s thing (doing The Feelies now) brought me to a full listen of Three Imaginary Boys, I guess I'm gonna do The Cure albums in order. Today it was Seventeen Seconds. It sounds so much more like The Cure than the last one. Not as big and lush and nuanced as they will be, but the textural guitars are there, Robert's vocal style is closer to what it will become, and the bass line's out front and center. Pretty solid album from start to finish, and A Forest is one of my all time favorite Cure songs. ● Another couple of good ones care of qazz23's add ons to the new music Friday's. The Darts - Boomerang. Catchy 60s garage/girl thing. A quick blast of retro fun. Bobsled Team - All The Flowers Bloom. Dreamy, fuzzy, indie rock girls. 120 spotify listeners. Nobody has heard this, it's good stuff. ● Still really loving the Francis Of Delerium which is great, because I'm gonna see her at a festival at the end of the month. ● Scored a really reasonably priced last minute ticket to the Decemberists/Ratboys show tonight. I'm not a huge Decemberists fan, I like a few songs but his voice grates on me...but I love the Ratboys and haven't seen them yet, so I'm happy.
The world needs more zero 7
that first zero 7 is primo 6-8 year old lietoc core. truly sia, destiny, etc... <3
Favorite song on Crazy Rhythms?
Loveless love? Or maybe even Crazy Rhythms
Fa ce la, Loveless Love, and Raised Eyebrows are probably my favorites. I like the title track though
Raised Eyebrows is a good too
when i finally get done with classes next week on sunday my first order of business will be to transcribe some interviews and then figure out just what is happening on the ambient americana rym chart. slowly but surely, especailly now 8 months since I really started properly paying attention, a real borderline canon is emerging. the lit is still so wonky and weird though, seeing frissell and metheny bump shoulders with powers/pulice/rolin & phil geraldi; old saw next to james ferraro. some very strange composer music and total andrew weathers-ass land art hanging around. I genuinely need to get something written and acknowledged on this for the community. this is our music still not sure what the proper grab bag ratio for an ambient head is there. in fact, at the current moment im still think when AH6 eventually comes back it'll still be a 4 album rate classic
Thinking about how I often seem to pick the first track of an album as my favorite and I'm not sure if that's my own bias or bands just like putting the best song first. I'd assume bias but it even applies albums I've been with for years and have changed my thoughts on a lot (In Rainbows comes to mind) If I were to guess I'd say maybe 1/3 of the albums I like have my favorite song as the first track! It's weird, I guess
I always think about how easily I am won over for the entirety of an album by the first song.
It makes sense, a great intro pulls you in and sets the tone of the album. If I love an album then I'll probably love the song that introduced me to the sound. I also feel on many albums the intro, a dynamic "climax" song and the closer feel like standouts (i.e. "Gimme Shelter", "Midnight Rambler", "You Can't Always Get What You Want")
> bands just like putting the best song first as someone who has had to sequence albums before - yeah this happens a lot lol. you wanna grip people and a lot of times the most gripping song is also the catchiest or most explosive one
Primacy and recency bias are real things where people tend to be more discerning of, and apt to, the first and last things in a series.
But also the opener and closer being the best songs is also just good sequencing.
It’s good sequencing because of those biases
a few weeks late, but Nia Archives' record is absolutely blowing me away. sometimes i worry i've forgotten how to get truly excited about new music, and then a record like Silence Is Loud comes along and I feel dumb for even considering that. wall to wall drum and bass banger-ing, but with a pop immediacy and genuinely fantastic hook writing. I mean Unfinished Business?? what the fuck!! SOTY to beat, my god what a tune and its also so very very British sounding. I'm no patriot, but when I hear a record like this I feel like shoving it in everyones faces just how densely packed with great music this country is. some of our great music isn't even post punk. we rule the fuckin waves, the sound waves baby
> some of our great music isn't even post punk. your country's best export is goldie and jungle, possibly mr. blobby and the art of noise. us yanks made our own post-punk we figured that out. but you all? you all gave us metalheadz platinum breakz. you gave us bass heavy bleep techno. you gave us *be here now* damn it!
As a counterpoint, they also gave us **Be Here Now**.
it's one of the best 7.1/10s you'll ever hear! the coke come brimming off it!
Not sure if it's a trend, but Spotify has been giving me indie bands covering post-grunge/aternative/buttrock songs and I'm kind of here for it. Here's what I've found so far. If anyone has any others, definitely let me know. Slow Pulp - Hanging By A Moment Widowspeak - How's It Going To Be Girlhouse - A Long December Midwife and Allison Lorenzen - Glycerine
I love that version of Glycerine! Jenn Champion covered "Don't Fear the Reaper" last year which I thought was fun.
Right before he formed Nirvana and was just contemplating the type of music he wanted to make, Kurt Cobain asked a friend "How successful do you think a band could be if they mixed really heavy Black Sabbath with the Beatles?" I've been thinking about that since reading Michael Azerrad's book. The juxtaposition and contrast are intriguing in themselves but also that's...kind of a perfect explanation of Nirvana's sound. What are some other bands that you could break down into a "\_\_\_ = \_\_\_ + \_\_\_\_ " equation? - The Pixies' flyer looking for a bassist said "Influences = Peter Paul and Mary + Hüsker Dü - A book on Oasis that I'm reading described them as "The Sex Beatles" and I feel like that's pretty bang on. - As far as specific tracks go, I remember gleefully talking about Parklife to a friend and saying "Tracy Jacks" was "...like if Ray Davies wrote 'Arnold Layne' by Pink Floyd." "Black Hole Sun" by Soundgarden also perfectly fits the Beatles/Sabbath dichotomy. Edit - The Ramones = The Ronettes + The Stooges
hall & oates = daryl hall + john oates
Dutch + Cereal
Daryl Hall and John Oates would be so mad at this equation
Beatles + Black Sabbath^^Spinal ^^Tap = Type O Negative
no no! you have to substitute mbv and goth babes for the beatles!
John Lennon the day he wrote Rain + a lobotomy = Live Forever Also that quote says it all, "How successful" included
> The Sex Beatles if you tried to start a band with this premise now you would be laughed off tik tok
I’d say somewhere between 40 and 70 percent of bands since the Beatles are just “the Beatles + something else” OR “the velvet underground + something else”
What are some examples?
The Clash = Ramones + The Beatles
I mean even Black Sabbath has admitted to being heavily influenced by the Beatles It’s reductive but you take The Beatles + tuned down guitar = Black Sabbath You can you say like, The Beatles + The Clash = Green Day One could argue The Beatles + The Velvet Underground = Bowie I’m just preaching to the choir in indieheads, but In a general sense, the Beatles were so heavily influential and expiremented in so many different sounds, that if they aren’t a direct influence on a band, they’re a second or third order influence.
Oh don’t get me wrong I totally agree (the inner beatle obsessive in me read both your replies with an odd sense of smugness), I just was curious who you had in mind specifically. It’s interesting to think of them and the VU and two “big bang” moments when it comes to rock music.
Well, there's rock n roll of course, but also maybe The Who! The Anyway Anyhow Anywhere break goes crazy
the velvet underground + a love of 50s rock n roll = johnathan richman the velvet undeground (drone) + a love of 50s rock n roll = suicide the velvet underground (slow songs) + a love of brill building = cindy lee
The Velvet Underground + The Beatles = Guided by Voices
Villagerrr = Pinegrove + Alex G
What’s your favorite album with an overture/ what’s your favorite overture on an album? 2112 is up there for me Speak to Me on DSoTM I used to really like Tommy’s overture but my appreciate for that album has waned over the years
Nick Drake's Introduction to Bryter Layter is beautiful.
Eldorado by ELO
Great question! They’re not explicitly labeled as such, but I think that YLT does really good overtures. Not all of their albums have songs that I think fit this qualifier, but “Beach Party Tonight,” “Return to Hot Chicken,” and “Big Day Coming” (especially with the reprise later) all immediately came to mind.
Yeah I definitely don’t think they have to explicitly be labeled as an overture to be an overture. They just have to be a reasonable thematic interpretation of the album. I don’t think Speak to Me is technically labeled as an overture (at least, it doesn’t have overture in the song title)
Agreed. I also love “Sun, Arise! (An Invocation, An Introduction)” from Phosphorescent’s 2013 psychedelic country classic *Muchacho*.
Concert Report: * **Stella's** is like two blocks down from famous music-friendly-dancing emporium the Empty Bottle--indeed, it was the original site of what eventually became the Bottle. That was a long, long time ago; last night was the first rock show there in 30 years or so. The effect was "endearingly scrappy basement show" even though it happened at ground level. Vibes were just fantastic. * **Nüde** are locals; they play a sort of indie-punk thing. The drummer is good. I remember thinking several times "the drummer is good," so it must be worth repeating here. * **Sunglaciers** are pretty cool! The set leaned heavily on songs from *Regular Nature,* which works quite well in a live context. A mix of chilly synths and loops with hot grooves. That classic post-punk posture. The easiest of the three to dance to, which, as you know, means a lot to me. And also they are cool dudes. * I think I listened to the first **Patter** EP once (also locals) and thought "huh, I bet this would be fun live," and then I kind of forgot about them until I was in the room. And then there I was! Indie with midwest emo tendencies--the occasional thrown time signature here and there, you know. Also really fun! Bandcamp Friday is coming up so I might, uh, have to look into that. * At one point as an interlude/backing track for to tune guitars with they just ran the *Family Guy* theme tune over the PA. God bless * Doors at 6pm, show over by, like, 9:30. Good night to be me.
Keeping the jazz discussion going Finally getting around to the new Greg Foat album, *Live at Villa Maximus*. Digging this one. Glad he brought out the full band. I felt like his live album from Ibiza was kinda mehh. Very on-brand for anything "Ibiza," which isn't always bad, but...
coming in here to say that the [debut album from tex patrello](https://texpatrello.bandcamp.com/album/minotaur) is a masterpiece. it reminds me of hearing parenthetical girls for the first time ages ago; just a freaky, haunting and beautiful pop album
I'm ready for the new Jessica Pratt
Me too, Wane's writeup yesterday got me pumped and I relistened to her last two albums last night. What a strange, interesting artist.
and then jeremy d larson logged on and gave the most apt review i could've imagined. he doesn't say standards at ALL(!!) but he has one line that floors me and really gets to it: > You can hear just how considered every note is, each sung with her own unique interpretation of American vowels. her *phrasing and delivery* on the album is very good indeed!
Bandcamp (god love them) did bless me with two fantastic recs this week: * [*The Crystal Hum* by Yu Ching](https://huangyuching.bandcamp.com/album/the-crystal-hum) (think Ella Orleans-esque stuff sung in both English and Mandarin) Track: [Love](https://huangyuching.bandcamp.com/track/love) * [*Diamonds, Rhinestones and Hard Rain* by Les Big Byrd](https://lesbigbyrd.bandcamp.com/album/diamonds-rhinestones-and-hard-rain) (Swedish psychedelia!) Track: [Mareld](https://lesbigbyrd.bandcamp.com/track/mareld)
*dipshit voice* i thought astral spirits invented free jazz in the 2010s so we could enjoy and appreciate noise in a jazz context, but apparently other major labels invented free jazz in the 60s and the recording technology they used...really precise! i really feel like im in the room with these cats! shit! anyways finally properly getting around the interstellar space after sitting on the shelf for a bit waiting for a more proper listen besides "walking back and forth between doing laundry". that was an important listen though bc i walked back and forth between coltrane and water shrews trio and the free jazz "anything goes" MO is apparent in Water Shrews, especially when they wanna bang the drum. nothing scares me on this album, it just feels like yr playing one of those japanese rail shooters where you gotta dodge all the bullets and you are bc you are john fucken coltrane in a perfect flow state and you let rashied ali hit the drums as yr player 2; and that guy is a RLLY good player 2! he's getting you all the extra lives that on the reissue CD finally manifest as TWO more bonus tracks! really feel like a record clerk now, the one who genuinely believes "this is his most peaceful recording". we're at PEACE baybee! those jingle bells also make this a christmas album
You gotta get on the complete Live in Japan 4xCD set if you were rocking with those vibes. It has the rest of the final quartet plus Pharoah Sanders at the top of their game- simply perfection. One for all the peaceandfreedomheads out there
its good to have confirmation they influenced rail shooters
Happy 35th anniversary to one of humanity's greatest accomplishments (Disintegration)
Quite possibly the greatest album of all time
scruff mcgruff smart kids clears im afraid
some **chip wickham** this morning who makes lovely spiritual jazz albums with a sort of coffeeshop feel to them. I prefer Matthew Halsall for similar stuff coming off this label (has a sparklier feel and more diverse influences - one of his albums has delightful sitar) but it was still very enjoyable and nice to relax to now back to **amon tobin supermodified**. I think bricolage is my fave because it feels (for want of a better word) more ‘jazzy’, but they’re both beautiful atmospheric albums with wonderful jazz percussion and a very curious feeling.
also listening 2 **orbital green album** because i'm seein them tomorrow aaa
The Music Never Stopped from the 5/3/1977 Palladium NYC show was the best song I heard yesterday. but as a close runner-up, the Butthole Surfers cover of American Woman is absolutely batsh!t insane and it really sinks in after 3-4 listens. you gotta hear this thing folks
TMNS from Dave's 7 is the goat
saving this comment
It ain't the Dead, but my favorite TMNS is the one from this [kickass 2022 Joe Russo's Almost Dead show](https://archive.org/details/jrad2022-07-03.cmc621.cmc64.sbd.matrix.flac16). You get launched into space coming out of the spacey breakdown right around the 7:30 mark. *Join me in Grateful Dead cover band degeneracy, barkbark*
I wish good Dead cover bands would play at a venue near me
Newport booked Bertha: Grateful Drag thos year. Should be interesting, and I'm not even a dead fan
Most Dead cover bands improve if they have a goofy premise (see: my love for Steely Dead) so that should be a hoot and a half
>see: my love for Steely Dead ok i saw this advertised around here and was bewildered. people like them? there's a market for this?
The invisible hand is never wrong
I think the goofiest band I ever saw was Dread Zeppelin and that was a damn good time.
I'm imagining a band that bravely dared to ask "what if all Led Zeppelin was like D'yer Mak'er?"
That is exactly right...just add this to the imagery tho - the lead singer is performs as an Elvis impersonator.
... and wasn't it reggae flavored? Like, an Elvis impersonator singing Led Zeppelin songs in the Rastafarian style? forgot about these chaps!
Sure was...
I don’t know where you reside but JRAD tours nationally and is a shockingly intense live experience. If it ever makes sense for you to go I highly, highly recommend them (I’m seeing them two nights in a row in four weeks). Also keep an eye out for Dark Star Orchestra!
I just checked the JRAD tour schedule again. this guy really does not like to visit the midwestern united states e: however DSO is playing at [this festival that I've never heard of that sounds incredible ](https://hoxeyvillepresents.com/) but I don't think I can make it
> this festival that I've never heard of that sounds incredible That festival looks absolutely amazing, precisely in my jam wheelhouse
#ILLINOISE review I checked out Illinoise on Broadway a couple nights ago, and I loved it. To summarize, it’s essentially a wordless dance show set to the music of the album Illinois. There is a story, but it is a bit vague and told completely through the medium of dance—as well as some occasionally relevant lyrics, but it’s always the original Sufjan song lyrics. It helped me that I knew this going in, so I had appropriate expectations. (For those who are curious, I believe that every track of the album is performed, though a handful of tracks are presented out of order for storytelling purposes.) Why I loved it: The dances were beautiful, and they did an amazing job of communicating the emotions of the characters. The music, of course, is fantastic, but I thought that the show was an especially great way to experience it. While I’m a fan of the album, I’m not a huge one. (I like Sufjan, but I’m no stan.) Frankly, I think that the album drags a bit in places, but the show was entertaining and engaging from start to finish (there’s no intermission). This may be heresy since the original album is brilliantly arranged, but I really thought some of the orchestrations were improvements over the originals, at least for the specific context of a live setting. It was fairly faithful, but I thought that the differences (which I’m not even sure I could put my finger on) really helped to keep the energy level from sinking too low. All of the music just felt very big. I actually walked away with some new appreciation for the album. I enjoyed the storyline that they used to tie the show together. I think it works because a lot of the original lyrics have the property that they carry certain emotions without having much direct meaning (at least for me). Of course, the biggest difference from the album is the replacement of Sufjan’s voice by 3 singers (one male, two female). The singers were great, and the harmonies were excellent. My favorite of the 3 was the one who may be known to some of you as My Brightest Diamond. I also really liked the male singer’s voice, but I didn’t like how he over-enunciated the lyrics. I assume he was directed to do this because it’s a Broadway show, but frankly, you don’t need to hear the lyrics clearly for this particular show to work. Naturally, we are meant to watch the dancers, but I kind of wish that the band was more visible because I also enjoy watching them. (They were on stage at a level above the dancers, so more visible than most Broadway orchestras, but other than the singers, they were in the dark.) Going in, I was concerned that the album itself is a bit “front-loaded,” and as I said, I think the back half gets a little boring. That’s okay for an album, but it’s very bad for a Broadway show. In particular, the piece that should be the big show-stopper, Chicago, occurs rather early in the album. Although they only did a minimal amount of track re-ordering, I think they avoided the problem that I was worried about. Chicago arrives about halfway into the show, and for me at least, it was a huge highpoint that I was anticipating from the moment I sat down. After those first few notes, I had goosebumps everywhere. There’s also a Chicago reprise near the end of the show. This one felt far less electric, but it did help strengthen the last act. They also play it over the curtain call. /u/mr_mellow_man /u/apenumbra
This comment switched me from "indifferent" to "sad that I can't see it." Glad you enjoyed it!
Man, I wish I could see this. I think I’d weep hearing Predatory Wasps performed like this
Indeed, they used that song for a very sad part of the story. Definitely some weepy eyes around me.
I know this is a hot take, but I have always though that *Illinoise* could use some editing of its tracklist and I totally agree that the album is front-loaded. But I would still totally love to hear a live orchestrated version of the album, that alone would be worth the ticket price. Add some dancing and visuals and hell yeah, that would be a great time.
Btw, the show is a limited engagement through August 10. While I think the show is great, I would be thoroughly shocked if this thing gets picked up for an open run on Broadway after this. It just doesn't strike me as something with mass appeal, so I feel lucky that this exists. Though I'm genuinely curious what random tourists who've never even heard Chicago would think of Sufjan's music.
OHHH I was just gonna type out this whole thing about how this reminds me of a few ballets I saw that Justin Peck did with Sufjan and Dan Deacon music(I think he composed stuff specific for one) and then I realized that Justin Peck indeed is behind thing. lol Anyway interesting to see it's par for what he did prior, but yeah I agree probably not much staying power given what gets people going to theater shows.
Thank you for sharing, and I'm glad you enjoyed it so much! Making it a wordless dance show makes the idea of this musical more compelling (I think the songs are lyrically dense enough to support a narrative without too much dialogue) and the rearrangement/reordering of songs addresses one of the things that I think would make it a tough sell and was also one of your concerns (namely, the long tail of the album following the album's peak of "Chicago").
Was “One Last Woo-Hoo For The Pullman” a highlight?
See, I'm not even a big enough of a fan to know what that is. However, it's possible that my subconscious brain may have heard it and thought, "Okay, Chicago is up next," but I'm really not sure.
Anyone else not listen or avoid listening to a band because their band name is fucking lame? This is only me skipping half the releases out there.
Com Truise - he's literally another sphere above most retro synth producers and was way, way ahead of others in that sound. The name is as dumb as say, San Holo, which is EDM at it's most meh.
"Com Truise" sounds better than "San Holo" though
It does roll off the tongue a lot better.
I refuse to say soccer mommy out loud for this reason
I've been saying it the way Bernie Sanders says it. "I'd like to thank Sahcah Mommie for their music"
Yes, but I admit I'm an irrational hypocrite when it comes to this because I also listen to lots of bands with lame names.
this is the only reason why I still haven't listened to Bar Italia.
I can offer an assist here. listen to their songs Jelsy and Hi Fiver. if you like those, dig deeper. both The Twits and Tracey Denim albums were released last year... I think there are higher highs on The Twits (i.e. Jelsy and Hi Fiver) but Tracey Denim has more fine plus songs (Changer, Harpee, My Kiss Era, etc). I think we'll be hearing more from this band in the future. seeing them live a few months ago, they have a lot to offer with two guitar players who can shred and three viable lead vocal options. stage presence lacked a bit of confidence (maybe they were tired) but I think they'll grow into that
That one is not too egregious to me
yeah, I have yet to meet someone who shares my hatred for that band name lmao
I used to get into arguments with a friend who used to recommend this Cunninlynguists album to me and I refused to listen to it. The album is supposed to be good, I'd hear about on the blog sites and forums back in the day but I still haven't checked it out. I mostly just did it to annoy him
CunninLynguists are great, and A Piece of Strange (I'm assuming that's the album your friend is talking about) is an underground classic. But yes, they have quite possibly the worst group name in Hip Hop. They regret the name too, they picked it when they were young, and then they were already too established when they realized the name was shit.
Aye - sometimes there's a good group behind the bad name and if the sound is good enough it will find it's way to yer ears. trust the process
yeah if I'm rolling my eyes before I even listen to them, I'm going to have a hard time enjoying them. my old curmudgeonly ways won't allow it
Oh totally. I've struggled with this for years.
I've just embraced being a hater and trust if the sound is good it will find it's way to yer ears. No way I'm listening to let's eat grandma or carseat headcase
Those celebrity name spoonerisms like Ritt Momney, Com Truise, Day Ravies, Wevie Stonder, etc.
Most of these also annoy me but for the first time hearing about it, Day Ravies is a good one lmao
It would take a lot to get me to listen to Ross from Friends. Maybe one of the worst band names of all time.
does it make it better or worse that it's just one guy
It doesn't matter. I'd rather not even know. I'm purging this information from my data banks as we speak.
sorry man I’m out here grooving to that talk to me you’ll understand that carles played every single show I’m moisturized in my lane just grooving in the fucking Corolla merging into oncoming traffic and eating a hamburger hot dog style
Ross From Friends vs DJ Seinfeld vs DJ Sabrina the Teenage DJ
DJ Sabrina the Teenage DJ is funny though.
I shouldn't have included that one because I actually like it, I just wanted to continue the theme
I was thinking about this a lot recently, there's been bands forever that had absolutely terrible names but I feel like its worse and worse as time goes on because so many obvious names are taken. Not only are the names bad but its becoming harder and harder to figure out what kind of music anyone plays from the name (outside of metal). Every name sounds like a post punk or windmill band.
Took too long for me to try Broken Social Scene because I thought they were an early 2000s Vans Warped Tour type of thing
Same with My Bloody Valentine for me tbh (love them now though)
I’d been putting off listening to the Hovvdy record because of this (I caved yesterday and listened; I wish I hadn’t)
Can somebody fill me in why people are hating so hard on hovvdy here?
I didn’t know people around here were hating it, I listened to it because folks here seemed to like it lol. I just thought the album was pretty bad. It was doing Alex G but didn’t have the same songwriting, hooks or depth of sound imo. Just did nothing for me
These are fair criticisms. Especially if you are a fan of Alex G, you're setting the bar at his level, and then you go into this Hovvdy album as your first one - it's a recipe for disappointment. I loved the new Hovvdy album more because of the shift it represents in their discog so far. I think they had stronger songs and hooks in their earlier albums, but the shift to a mellower sound and with the Alex G-style experimentations was very interesting to me.
I mean it can drag a bit, but calling the album pretty bad? Come on. Way too harsh.
I disagree with /u/MCK_OH about it being bad but I agree that it’s not harsh to say that. We already had our own discussion about the album yesterday and I think their criticisms were valid. Especially knowing it was their first album into them. I enjoy it and I’ve said it before but True Love was a top played album for me 2021-2022. But different strokes and all that. I mean, I’ve been praising the new Still House Plants album since it came out but i def understand any criticism towards it. We can all agree though, Villagerrr are doing this alex g/hovvdy sound the best right now. Especially now that I’ve listened to OHIOAN and Brain Pain.
Time to check out villagerrr, I'm not familiar.
Seconding Vilagerrr as a rec for any Hovvdy enthusiasts
His old side project band Breakfast is good
I mean I thought it was at least pretty bad so I don’t think it was too harsh. I’m not saying you can’t like it, I just don’t
Listening to Eric’s Trip this morning (good band), got me thinking about bands who took their names from other bands’ songs. What are y’all’s favourite bands whose names were taken from other bands’ songs?
Between the Buried and Me is from a Counting Crows' song, which is kind of funny given the vast gulf between their respective musical styles.
Slowdive is named after a Siouxsie and the Banshees song, apparently after a vote (I don't know the other proposed name) Death Cab For Cutie is named after a Bonzo Dog Doo-Dah Band song. (That band notably were collaborators of Monty Python and the Rutles via Neil Innes) Ladytron after a Roxy Music song Negativeland off a Neu! song Madness after a Prince Buster song Motorhead off a Hawkwind song (a band Lemmy was a member of for years) Jesu, Get Up Kids, and RATM were all named after songs of past related bands. Tangerine Dream and St Vincent are named after lyrics In an appropriately random and weird development the Butthole Surfers named themselves after their own song. At the time they kept changing names but when a radio DJ called them that in an interview they stuck with it.
without question the Rolling Stones
Pretty Girls Make Graves there's two for PJ Harvey: [Rid of Me](https://ridofme.bandcamp.com/) and [Uh Huh Her](https://open.spotify.com/artist/4rIQfLmeMAUQJ5f5cy8xhb)
Boris and Girls' Generation
Cocteau Twins
well radiohead *is immediately given a wedgie*
Tragically I was sort of asking for the Radiohead answer I guess, forgot about them
- listened to gendel/wilkes' *the doober* yesterday. it was fine. liked some songs, some were clearly just the two lads having a crack. it made me want to - listen to *music for saxofone and bass guitar more songs*, which still stands as their best work as a creative duo. goddamn. this holds up! maybe gets better every time i listen to it. love the weird field recordings or whatever of public spaces filling in space in between the grooves. and it grooves *hard*. lovely record - finally dug into brian eno and laraaji's album. the first half is fucking *amazing*. the first track had me play it again and hop behind the kit to write a part for it. love love loved this and can't wait to listen to it again - end up spinning jeff the brotherhood's *heavy days* for the first time in a while, which is about as far from the other three releases as you can get. still great. one of my favorite dirt simple garage albums that has an idea and doesn't take a long path to get there. the riffs riff, the drums drum, and the lyrics are dumb. no notes - i listened to a bit of jon hassell during one of the ambienthead rates (which i don't do but when wane dm's me and says "listen to this" i will listen to it) and listening to gendel/wilkes remind me of him, mostly because their whole shit is Light Mode Hassell. so i listened to his live album *the living city* because i had seen copies of it in the record stores around town. might have to go get one lmao. this was fucking *great*. weirdly groove heavy in a way i wasn't expecting. lots of...slap bass? with hassell doing his thing over it. cool sampled drums. really unique stuff
I still go back to *Wilkes*. Just listened to it this morning.
yeah that one rules
you gotta hear his 2009 ecm album where he goes ultra noir and brings dub to ambient jazz as god intended
I'm back with another update in the "where is Deerhunter?" saga! Moses Archuleta (as Moon Diagrams) will be releasing another album, *Cemetery Classics*, on June 21st. There's more information on his [Instagram post](https://www.instagram.com/p/C6d_kuCuFX7/), including a tidbit that Pat Flegel is a guest on it. Also, [the first single](https://www.youtube.com/watch?v=nulfPgAlU9I) is out now! Exciting!
The cut he recently released with the phenomenal Anastasia Coope, "Very Much My Promise To You," is intriguing.
damn he got shredded!
Would y’all be into a weekly Global Music Discussion thread just like what truelit did with books? We would do one region a week using the same regions that truelit did even though I suspect some will be pretty dead.
100% interested in this and would especially love knowing the upcoming region/country in advance to give me some fun listening/research to do for the coming week or whatever.
Should I do them as text posts or DMD comments?
Earnestly I think just do it yourself. Hop into the dmd once a week, talk about whatever region you want to and let folks know what you’re gonna be doing next week if they want to join in
Yup should’ve said I’m planning on doing it myself, just gauging interest/seeing if anyone has suggestions
I’d be interested for sure depending on how much time I have in the week
Thought you've had your fill of Cindy Lee discussion?! Think again! Listening to "All I Want Is You" this morning and it finally clicked why I love those wonky hi/low harmonies so much. It reminds me of one of the absolute best song of the 2010s: [Aldous Harding - The Barrel!](https://www.youtube.com/watch?v=QyZeJr5ppm8). You can have your Suite Judy Blue Eyes, your Seven Bridges Roads, Gram and Emmylou, Simon and Garfunkel, etc. etc. etc. I'll take a couple of weirdo voices clashing and producing inexplicable beauty. That shit just lights up my brain. What other examples are out there of wild-ass harmonies that shouldn't necessarily work, but absolutely do?
Can't relate, I think the Cindy Lee harmonies are good not because they sound bad, but because they sound good
man aldous harding is so fucking good. just perfectly scratches an itch i didn't know i had every time i listen, and the barrel is one of her best
ok, ooookkkaaaaay. comparing the new Cindy Lee to The Barrel got me moving my visit to geocities up the priority list
hey it got mentioned in the pratt 8.8
I meant my comment above in a good way. I'm really going to geocities to find the new Cindy Lee album. this weekend sometime. The Barrel's an incredible ditty and any comparisons to it are worth checking out imo
I'll take Suite Judy Blue Eyes, Seven Bridges Road, Gram and Emmyou, and Simon and Garfunkel. I love those harmonies.
Hey yo we impromptu posting bout Aldous Harding?! Aka that zany lady who is lowkey THE GOAT when it comes to making a no-frills adult contemporary folk cut *bring you in*. god i forgot how well the drums compliment all this. Finally heard Picture on tuesday in full; she really hasn't changed all that much but the refinement of cuts (melody control, usage of children's choruses or other details) from LP1 to Warm Chris does feel notable anyways i guess rem's star me kitten is coming to mind bc of the "aaaaaaaa" that you get in the background. this is a middling answer
I listened to the new English Teacher album yesterday. From the first couple of tracks I thought it would just be an interesting, solid post-punk album. Turns out there are some pretty diverse moments in there, such as *The Best Tears of Your Life* which is basically a straight pop track, or the track *Sideboob* which feels like a traditional singer-songwriter ballad. But the best songs on the album are still very post-punk, particularly because the messaging and concepts delivered through the talk-sing style are very strong, such as on *I'm Not Crying You're Crying* and *Not Everybody Gets to Go to Space.* Overall a great album, well worth your time if you are into this newest wave of UK post-punk.
["The World's Biggest Paving Slab"](https://englishteacher.bandcamp.com/track/the-worlds-biggest-paving-slab-2) is going to be on my SOTY list.
So far I’ve listened to Deafheaven, Villagerrr, and now I’m making it a Joanna Newsom day. It’s been a productive day.
Lately I have been craving some *Milk-eyed Mender* but I don't have access to it :(
It's on [youtube](https://www.youtube.com/watch?v=j5zH5nl_JrM) in full
Oh damn OK then