Kongos - Lunatic
Kongos - Lunatic
"Tell Us About..."
collaborated on an Art Project / EP.
http://thewildep.tumblr.com | http://soundcloud.com/sydneyintheory/sets/the-wild-ep/
art by me, music by Personal ( http://youtube.com/itspersonalmusic )
gliding through ft spaceghostpurrp & robb bank$ http://www.youtube.com/watch?v=w_ZTn3qgZ2k
I don't feel like finding the 2011 thread. Thought Van Hunt was really good opening for The Afghan Whigs, so I'm listening to What Were You Hoping For? right now. Equally impressed, good stuff. It is soulful and funky, yet still rockin'. Recommend listening if you haven't heard it.
Van hunt's older albums kick ass too. Pick them up I'd say.
Finally listening to the new Cult Of Youth album, Youth Will Prevail, which I think is significantly better than his debut, which I enjoyed quite a bit. It's slightly gothic acoustic folk punk with a vaguely Celtic feel, but this time around, it's a lot more fleshed out with stronger songwriting and more interesting arrangements and textures, including some sinister horns that remind me of early Death In June (which isn't a bad reference point in general).
After seeing them live recently, I'm really digging the new Generationals EP "Lucky Numbers". It's only three songs, but it's a nice laid back kind of listen. They're playing new material this tour, with hopes of a new full length next year. Here's "Hazel House" from their EP.
From Amazon reviews, people are pissed! Hopefully they won't fuck up Mono version!
from Temp Residence...
Amazon reviews: http://www.amazon.com/The-Beatles-St...owViewpoints=0Note to record labels: NEVER boast the painstaking attention to detail you endured in the mastering and manufacturing process of a very expensive vinyl box set - you're just asking for enraged customers to throw shade until they're blue in the face.
Regardless of where they pressed these, they're playing with fire to manufacture 50,000 copies of something that is meant to be a super deluxe, boutique item. The quality control is a total crap shoot after about 5,000 copies of something like this. Not to mention they pressed these at two different plants simultaneously, so the quality isn't even consistent from record-to-record within the set.
After doing much catching up and revisiting on this year's releases, I've decided that Japandroids actively annoy me and Wild Nothing bores the living pisschrist out me, so I'm saying fuck indie rock in 2012. (Although METZ and Ty Segall are mighty fine, but they're more noise and garage rock anyway).
finally checked out Autre Ne Veut. REALLY like the single out for the new album, really hoping this album delivers.
11/21 - Pearl Jam - Viejas Arena
Check out his old records. They are like super fucked-up Prince songs. That dude rules.
Wild Nothing are fucking horrible.Japanoids though they have four or maybe tracks I like the rest sounds like indie rock verison of taking back sunday.
Prostitutes, Black Hat @ f8 10/10/14
Treasure Island @ Treasure Island 10/18 & 10/19/14
Roman Flugel @ f8 10/22/14
Moodymann @ PW 10/25/14
Death From Above 1979 @ The Independent 11/17/14
The Drive by Truckers, Sturgill Simpson @ The Fillmore 11/20/14
Caribou @The Fillmore 03/01/14
Autotune/vocoder/pitchshifting/whatever ruins it, and it really plods along at 8 fucking minutes. I loved Night Drive so much, I though there could never be too much Chromatics, but a lot of those tracks on KFL cross the line from moodpieces into tedium.
I don't know if the search function on the board is fucked up but it appears I'm going to be the first person who discusses the new Emeralds album? That seems unthinkable, given that it's been out for two weeks now.
I could see people hating this, but I think Just To Feel Anything fucking rules. Given the early reports of drum machine usage, I had feared it to be Common Era Part II, but it's definitely not that. A lot of the bigger, more "cinematic" pieces feel like the good version of M83 (Em83?), and the propulsive tracks (namely "Adenochrome" and the title song) work in a way that I would never have expected I'd respond to, executing a rare shift into unambiguously commercial, dance-friendly territory that feels genuinely organic and not in the least bit calculated. To me, at least. It reminds me of the way people described Factory Floor at ATP 2011. I hope people start listening to this and start liking it.
Jesus Holy fuck I love it
School of Seven Bells' Put Your Sad Down ep is fucking great. i think i might even like it more than the Ghostory full length from earlier this year, which i really loved too. It's a long ep at over 30 minutes, with the help of the absolutely gorgeous 12:46 long title track. The band has all but abandoned all shoegazer-influences at this point and have fully embraced a huge-sounding, super lavishly produced, very dramatic synth-pop sound, and it works so well. I can't find a video of the song "Put Your Sad Down," but "Faded Hearts is really great too.
I saw Patrick's review of the new Scott Walker somewhere. I listened to it on my drive up to my parents' place for Thanksgiving today. First off, it's musically less dense than either Tilt or The Drift. That's not a bad thing, as the musical cues he uses have more room to really jar the listener without as much going on. It creates a more live, thriving sound to the music, making it more dynamic and active with the lyrics. I noticed he's got quite a bit more prominent guitar on this one: at points things get almost metal or Swans-ish.
The album also seems, even more than the last two, to be focused on lyrics/storytelling. On first listen it was hard to really decipher all the ins and outs of that, but suffice to say Walker has more variance in his presentation lyrically and vocally this time around. He makes fart jokes, and has a line, "If shit were music, you'd be a brass band," and also has the single most terrifying moment I've heard on an album in ages (if you can't pick out what I'm talking about, you didn't listen to the album.) Also, surprisingly, there are at least two songs (Phrasing and Dimple) that are almost catchy, and that I would have played on my radio show back in the day. And finally, the end of the last song is so demented and bizarre that it's almost inexplicable.
It's a difficult, brutally austere record, a great statement from a great artist, and the most immediately engaging (for me anyway) of Walker's three hell music albums.
Also, the only thing that I can really compare it to this year is The Seer, but whereas that one is a culmination of the Swans aesthetic, this is a paring back instrumentally combined with an expansion of musical styles.
I can't wait to hear what other people think of the album, and theories on how all the disparate tropical musical styles fit into the record.
i think it'll take me a couple months to fully parse it. it's even more terrifying and even funnier than The Drift... which is kind of hard to believe. i agree that it is less dense generally in any given moment... but structurally and stylistically it is more complicated and difficult i think. songs bounce between calculated ideas in an almost frustratingly rapid manner. i can imagine some of the songs being stretched out 3 or 4 times their length to fully investigate the musical concepts. at the same time, the jarring, frantic approach seems a pretty crucial aspect of the album. i'm not about to try and dig into the thematic and lyrical materials at this point... suffice it to say, the album has not disappointed in my first few listens.
oh, and I think The Seer is incredibly bloated and mediocre. i agree that it is the culmination of their aesthetic, but to be honest, the execution is a mess. i can see a really great album in there somewhere, but it just doesn't come together in its current state. i want to love it, but so far that hasn't been the case.
Yeah, I agree with you in terms of structure and style. I was trying to come up with a good way to say that it's a less dense, sonically, album, but it's probably more dense in terms of structure and ideas.
I could understand the feeling that the Seer is bloated. Obviously I disagree that it's mediocre, but I think the bloat is part of what sold me on it. Plus, every experience I've had with that material has been incredibly intense in one way or another.
yeah. most of it worked incredibly live... maybe the intensity of those experiences is washing out the album for me...