moimoi
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Post by moimoi on Jan 12, 2018 1:28:14 GMT -5
G'DAY Forumites!
It's a new year and here's a new thread devoted to exploring the musical output of another interesting corner of the world. From bonny Scotland we journey to the Southern Hemisphere, where natural splendor inspires a diverse array of artists whose global impact belies their remote surroundings. What better place to start than at the beginning of the alphabet with....AC/DC - Back in BlackBackground: AC/DC are an Australian rock band, formed in Sydney in 1973 by (Scottish-born) brothers Malcolm and Angus Young. AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership subsequently stabilized until bassist Mark Evans was replaced by Cliff Williams in 1977 for the album Powerage. Within months of recording the album Highway to Hell, lead singer and co-songwriter Bon Scott died on February 19, 1980 after a night of heavy alcohol consumption. The group considered disbanding, but buoyed by support from Scott's parents, decided to continue and set about finding a new vocalist. Ex-Geordie singer Brian Johnson was auditioned and selected to replace Scott. Later that year, the band released the new album Back in Black, which was made as a tribute to Bon Scott. The album launched them to new heights of success and became their all-time best-seller. Back in Black has sold an estimated 50 million units worldwide, making it the second-highest-selling album by any artist – and the highest-selling album by any band. Produced by Robert John "Mutt" Lange, the album was recorded in the Bahamas, mixed at Electric Lady Studios in New York City, and released in 1980 by Albert Productions and Atlantic Records. Existing Prejudices: It's a little known fact, but I have a soft spot for accessible 'hard rock' with a strong rhythm section, such as Van Halen, ZZ Top, Motorhead and the bands they inspired, such as my beloved Hives. There's no intellectual reason for this, though I might point out that 'pub rock' bands like Dr. Feelgood were a big influence on early punk. I've got nothing against AC/DC, aside from their misogyny and poor sense of style. Track by track impressions 1. Hell's Bells - It starts with bells, which is appropriate. It's also a pretty cool way to open an album, now that I think about it. The bells segue into a nice groove with strong guitar riffs. It's a bit generic, but capably done, especially if you like Brian Johnson's vocals (I'm surprisingly indifferent to them so far). 2. Shoot to Thrill - This is just a pitch-shifted Bob Seeger song, isn't it? As near as I can tell, this song is about getting a hand job. But hey, it's catchy. 3. What Do You Do For Money Honey - This kind of sounds like all their other songs, but then what did I expect? I believe this is the first track with a guitar solo, which is...okay? Is Angus Young supposed to be an especially good guitarist, or just an iconic one? 4. Give the Dog a Bone - Strong riff on this one. Wait, is he comparing a woman to a dog? Fuck this. 5. Let Me Put My Love Into You - Boy, their songs all sound the same. This one is like a re-constituted "Back In Black". 6. Back In Black - I do believe the reason this was a hit was because of its hip-hop-esque swagger. The staccato beat and syncopation in the verses overshadow the chorus, which seems like a bit of an afterthought. No matter, here we also have an interesting guitar solo. 7. You Shook Me All Night Long - Fun 80s music. Whatever. 8. Have a Drink On Me - Oh yeah, I guess there's more album. This sounds like everything that came before it. 9. Shake a Leg - I like how this one doubles back and picks up in true bluesy fashion. I could see Jack White covering this. 10. Rock and Roll Ain't Noise Pollution - They should have put this slower track somewhere in the middle to break up the monotony - perhaps as track 4, 5, or 8. As a closer, this is just okay. General Impressions: I can't imagine this as anything but background music to some other activity, like drinking at a pub or smoking weed in a van. I listened to some of Highway to Hell to compare Bonn Scott's voice and it's...weird...very stylized like some sort of gremlin baby. I think I prefer their earlier work. How Good Is It? 50 million AC/DC fans can't be wrong? I'm with Robert Christgau: B- Summed up in (poorly translated) Aussie Slang: For the bogans in their flannos knocking back a slab.
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ayatollahcm
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Post by ayatollahcm on Jan 12, 2018 1:55:04 GMT -5
Here for the Wiggles.
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ayatollahcm
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Post by ayatollahcm on Jan 12, 2018 1:55:18 GMT -5
But I also enjoy me some Ace of Dace.
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Dellarigg
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Post by Dellarigg on Jan 12, 2018 4:52:21 GMT -5
I only really listen to AC/DC via my carefully selected and sequenced playlist, 95% of which is from the Bon Scott years. And I have to tune out their wilfully stupid and unwoke lyrics. But they can boogie all right - the last 90 seconds of a load of their songs are up there with the last 90 seconds of the best.
Brian Johnson is an actual Geordie, too. You can tell by the flat cap he sports.
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moimoi
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Post by moimoi on Jan 12, 2018 10:12:30 GMT -5
Brian Johnson is an actual Geordie, too. You can tell by the flat cap he sports. I was curious about that. But then, who else would front a band called Geordie. Do Geordies roll their Rs? I have determined that pRopeRly Rolled Rs are the key to an endearing accent (cf. Scottish, Welsh, Indian).
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Dellarigg
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Post by Dellarigg on Jan 12, 2018 10:20:19 GMT -5
Brian Johnson is an actual Geordie, too. You can tell by the flat cap he sports. I was curious about that. But then, who else would front a band called Geordie. Do Geordies roll their Rs? I have determined that pRopeRly Rolled Rs are the key to an endearing accent (cf. Scottish, Welsh, Indian). Sadly, we don't roll our Rs, but it's a fairly endearing accent all the same, I think. We have a flat and honest approach to vowels, for instance.
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moimoi
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Post by moimoi on Jan 12, 2018 10:59:34 GMT -5
I was curious about that. But then, who else would front a band called Geordie. Do Geordies roll their Rs? I have determined that pRopeRly Rolled Rs are the key to an endearing accent (cf. Scottish, Welsh, Indian). Sadly, we don't roll our Rs, but it's a fairly endearing accent all the same, I think. We have a flat and honest approach to vowels, for instance. Oh yeah, I like their take on "o". I like Mancunian vowels too, though they are generally a bit nasal. Really, all Northern English accents are endearing - but Liverpool might be my favorite, since they also roll their Rs :-)
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Post by Lord Lucan on Jan 12, 2018 17:00:28 GMT -5
I wonder at the degree of strain that Scott’s vocal chords have suffered across so many years of shrieking.
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Post by Desert Dweller on Jan 14, 2018 0:41:10 GMT -5
I wonder at the degree of strain that Scott’s vocal chords have suffered across so many years of shrieking. Same.
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repulsionist
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Post by repulsionist on Jan 14, 2018 3:05:41 GMT -5
This is an internet forum wherein I might think there will not be any leeway granted for aspersions cast; however, Hell's Bells do manage to keep the bogan spirit alive and well from a wee Woop Woop called Seattle.
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Post by Roy Batty's Pet Dove on Jan 14, 2018 22:44:25 GMT -5
I wonder at the degree of strain that Scott’s vocal chords have suffered across so many years of shrieking. Well, at least he's had nearly 40 years to rest them at this point.
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Smacks
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Post by Smacks on Jan 15, 2018 13:30:43 GMT -5
I can't stand Brian Johnson era AC/DC. I much prefer Bon Scott's weird but at least interesting style of singing. (Come on now, "Big Balls" is hilarious.) Anyway every song is pretty much the same and Brian Johnson blows. They fall into that same category that KISS does for me. Capable musicians, juvenile boring songwriting (with a few exceptions). For nostalgia or plain ole' mindless rock and roll's sake I won't argue with anyone's choice of listening to either band. But color me unimpressed.
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Post by Roy Batty's Pet Dove on Jan 15, 2018 21:19:42 GMT -5
3. What Do You Do For Money Honey - This kind of sounds like all their other songs, but then what did I expect? I believe this is the first track with a guitar solo, which is...okay? Is Angus Young supposed to be an especially good guitarist, or just an iconic one? I mean, it's definitely the latter, right? And even then, a lot of what makes Young iconic is just ripping off Chuck Berry. Although I do rather like his solo on "Shake a Leg". AC/DC in my opinion is a band that's best enjoyed when one is in middle school. Even with all the truly shitty artists that I enjoyed in high school, by the time I was a freshman in high school I'd already tired of AC/DC's formulaic and simplistic songwriting. Nowadays I'm in the same boat as a lot of the others who've commented here; I've nothing against being exposed to AC/DC as I go about my day, but it's only very rarely that I'll actively seek out their music to listen to on my own time, and I also prefer the Bon Scott era. However, Back in Black is Brian Johnson AC/DC when it's closest to being on par with the Bon Scott era; it's a bit more soulless and plodding than something like Highway to Hell, but ultimately what's probably most impressive about the band's songwriting skills is their ability to write a catchy riff, and there's a number of those on Back in Black. But I agree, while none of the many tracks on here to become classic rock radio staples are bad songs per se, after a while it does all get rather samey when you listen to the album front to back (which, it's not even a long album), with the second half of the album only really engaging my interest on the title track and "Rock and Roll Ain't Noise Pollution".
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dwarfoscar
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Post by dwarfoscar on Jan 16, 2018 4:11:12 GMT -5
I'd like to add my voice (light baritone) to the choir of 'ACDC? Meh..."
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moimoi
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Post by moimoi on Jan 20, 2018 15:09:08 GMT -5
The Chills - Submarine BellsBackground: The Chills are a New Zealand rock band formed in Dunedin in 1980. The band is essentially the continuing project of singer/songwriter Martin Phillipps, who is the group's sole constant member. Submarine Bells, released in 1990 , was the band's first album on a major label. The album reached #1 on the New Zealand album charts and had significant support from American college radio. The album was awarded gold status in New Zealand and represents the peak of the Chills' popularity at home. It is considered to be one of the defining albums of the Dunedin Sound. Existing Prejudices: My only exposure to this band is as part of rotation at the community radio station with which I DJ (CHIRP). One of my fellow DJs is a rather amiable Kiwi who always makes sure the Southern hemisphere gets some much needed cultural exposure. I don't recall being blown away by the odd compilation track I've heard. Track by track impressions 1. Heavenly Pop Hit - The keyboards are very 80s - the kind favored by Elvis Costello, Dire Straits and other non-Kraftwerk-influenced acts. This is perfectly amiable. 2. Tied Up on a Chain - Nice bubbly instrumentation, but again this lacks a hook. 3. The Oncoming Day - Propulsive. And at least this has some semblance of a chorus. 4. Past Part Fiction - Generic. Boring. Nice little guitar solo. 5. Singing in my Sleep - All of these songs sound like Julian Lennon, with a touch of Lightning Seeds or Psychedelic Furs. Inconsequential. 6. I Soar - It didn't start out promising, but I think this is the first track I actively like. The lack of drums and the pan flute counter melody are interesting. The song has a buoyancy fitting its title. 7. Dead Web - This is the first proper chorus I've heard since track 1. Indie poppers please try harder. 8. Familiarity Breeds Contempt - This needs to be much angrier and louder - maybe Kiwis are just too amiable? 9. Don't Be - Memory - This band flirts with being punkish or psychedelic without really committing to either. This one is just kind of plodding. 10. Effloresce and Deflorescence - Again, nice jangle with no chorus. 11. Sweet Times - This starts promising! And then it ends. 12. Submarine Bells - Seriously, do they not have a drummer? That would explain why everything is so sedate. General Impressions: Okay, I realize I'm going to make some enemies here, but...Gen Xers, has it ever occurred to you that the reason your 'left of the dial' 'college rock' remains unappreciated is because a lot of it is mediocre? There's a lot more interesting obscure music to be cultish about. This was the very definition of 'meh' for me. How Good Is It? It's fine. Summed up in a Bad Approximation of Aussie Slang: I gave it a fair shake of the sauce bottle but I was bored shitless and can't be arsed to give it another go.
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Post by Lord Lucan on Jan 26, 2018 20:58:48 GMT -5
Doesn’t have a hook, eh?
I’ll have to relisten. It doesn’t rock very hard, no, but I find it more entertaining than you. I wonder if this may not bode well for The Go-Betweens.
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moimoi
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Post by moimoi on Jan 27, 2018 16:11:58 GMT -5
More to my taste, and having just lost a post-punk icon (RIP Mark E.) the next few posts will cover Nick Cave & Associates, starting with... The Birthday Party - JunkyardBackground: The Birthday Party (originally known as The Boys Next Door) were an Australian post-punk band, active from 1978 to 1983. Despite limited commercial success, The Birthday Party's influence has been far-reaching, and they have been called "one of the darkest and most challenging post-punk groups to emerge in the early '80s." The group's "bleak and noisy soundscapes," which drew irreverently on blues, free jazz, and rockabilly, provided the setting for vocalist Nick Cave's disturbing tales of violence and perversion. The creative core of The Birthday Party – singer and songwriter Nick Cave, multi-instrumentalist and songwriter Mick Harvey, and singer, songwriter and guitarist Rowland S. Howard – later went on to acclaimed careers. In 1980, The Birthday Party moved from Melbourne to London, where they were championed by broadcaster John Peel. Disillusioned by their stay in London, the band's sound and live shows became increasingly violent. They broke up soon after relocating to West Berlin in 1983. Junkyard is their third studio album, released in 1982 by Missing Link Records in Australia and by 4AD in the UK. It was the group's last full-length studio recording, followed by the EPs, Mutiny! and The Bad Seed. Junkyard was inspired by American Southern Gothic imagery, dealing with extreme subjects like an evangelist's murdered daughter. Nick Cave's then-girlfriend Anita Lane co-wrote with him on two songs, "Dead Joe" and "Kiss me Black". The album was a somewhat transitional record for a variety of reasons. On 16 February 1982 in Melbourne, Tracy Pew (the band's bass player) was arrested for drunk driving. For this and several other outstanding offences he served 2.5 months in Pentridge Prison in Australia, and so Barry Adamson of Magazine was drafted in on bass duties for several tracks. Junkyard was listed at No. 17 in the book, 100 Best Australian Albums and also included in the book 1001 Albums You Must Hear Before You Die.Existing Prejudices: As much of a post-punk aficionado as I am, I haven't listened to enough Nick Cave. I've heard some of these songs at various goth/new wave nights around Chicago (former home of Neo, current home of Exit, Late Bar, Berlin, and Delilah's), but I've never sat down with this album. I am looking forward to it. Track by track impressions 1. She's Hit - Starts with a sinister, subliminal bassline and a mesmerizing tune played on a tinny guitar. Nick Cave's vocal may not be for everybody, but it's certainly distinctive and he has remarkable range. I love the way the drums crackle and sputter while metallic scraping and clanging keeps time. Very cool. 2. Dead Joe - This one hits you like a caffeine jolt. I think Trent Reznor, Al Jourgenson, and Kevin Shields were taking notes. Here, the drummer is in charge and the bass is barely tuned. 3. The Dim Locator - It's like Big Country, only really nihilistic. The guitars are fried and Cave's voice in this is pretty ungodly. 4. Hamlet (Pow, Pow, Pow) - A demon has taken full possession of Cave at this point and the rhythm section is gurgling. These riffs are something else. I like the way they punctuate songs, instead of overtaking them (see also P.I.L). 5. Several Sins - I suppose this is the single? Who else would attempt to meld postpunk, rockabilly and cool jazz (except for maybe King Krule?) 6. Big-Jesus-Trash-Can - The jazz influence is more pronounced here. If you're going to do free jazz scronk, might as well stick it in the middle of the album, where it will hold people's interest for the second half. 7. Kiss Me Black - Aw damn, that surf guitar riff is a monster, and Cave is speaking in tongues! 8. 6" Gold Blade - This is a perfect goth single. It tells a murder story with an oppressive bassline, stabbing guitars, and super dramatic vocals. 9. Kewpie Doll - Like Joy Division on bad acid, which is to say, pretty masterful. 10. Junkyard - Now that the band has laid waste to everything, they're stumbling out of the junkyard, surveying the carnage. I bet the live version is fantastic. General Impressions: Goddamn. Where has this album been all my life? It's great to still be discovering music after 20+ years of seeking. Sometimes I listen to a record and just marvel at how good it is. It gives me a deep sense of satisfaction. I think this youtube comment says it all: "I got this album when I was 17...I've been fucked in the head ever since." How Good Is It? It's the best album I've heard in quite a while. Summed up in Aussie Slang: Ace! A real ripsnorter.
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Dellarigg
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Post by Dellarigg on Jan 27, 2018 16:21:08 GMT -5
I'll have to give these characters another listen. I had a Best Of at one point, if such a thing isn't hopelessly incongruous, but it was a little bit ... abrasive, to say the least. Even with the Bad Seeds, I'm happier a couple of albums in, once he's calmed down a little. But I shall revisit.
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moimoi
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Post by moimoi on Jan 27, 2018 16:56:26 GMT -5
I'll have to give these characters another listen. I had a Best Of at one point, if such a thing isn't hopelessly incongruous, but it was a little bit ... abrasive, to say the least. Even with the Bad Seeds, I'm happier a couple of albums in, once he's calmed down a little. But I shall revisit. I too thought this was going to be more along the lines of "Nick the Stripper" - a rough listen - but if you have any taste for Goth, I think you will find this both challenging and rewarding. A caveat on my opinion though: I'm a big fan of both The Fall and Throbbing Gristle. I mean, this is the album cover:
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moimoi
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Post by moimoi on Feb 6, 2018 0:09:00 GMT -5
Nick Cave & the Bad Seeds - The Good Son as suggested by DellariggBackground: The Good Son is the sixth album by Nick Cave and the Bad Seeds, released in 1990. After two dark and harrowing albums with Your Funeral... My Trial (1986) and Tender Prey (1988), The Good Son was a substantial departure with a lighter and generally more uplifting sound. The change of mood was greatly inspired by singer Nick Cave falling in love with Brazilian journalist Viviane Carneiro, and an apparently salutary spell in rehab which purged much of the despair and squalor reflected in the previous two albums. Cave later said, "I guess The Good Son is some kind of reflection of the way I felt early on in Brazil. I was quite happy there. I was in love and the first year or two was good. The problem I found was ... in order to survive you have to adopt their attitudes towards everything, which are kind of blinkered." "Foi Na Cruz" is based partly upon the traditional Brazilian Protestant hymn of the same title. The title translates roughly as "It Happened on the cross". "The Good Son" has an opening chant is based loosely upon the African-American traditional song "Another Man Done Gone". A recording of this traditional song, by Odetta, later appeared on Original Seeds Vol. 1, a compilation of material that influenced Cave. The Biblical story of Cain and Abel is an obvious influence on the song, which describes a "a tiller and he has a tiller's hand" like Cain, a farmer who feuds with and kills his brother. "The Witness Song" is based loosely upon the traditional American gospel song "Who Will be a Witness?". Existing Prejudices: I like Nick Cave; I think he's a fine singer and a compelling front man. I think some of his stuff works better than others, as far listen-ability. Same goes for Mick Harvey and Blixa Bargeld. Track by Track Impressions 1. Foi Na Cruz - Ugh, campfire sing along music. Nick Cave has never sounded more toothless, old, and white. He might as well be wearing a bolo tie. The strings and piano are too much for such a simple tune - this is verging on Mannheim Steamroller. The touch of organ is okay, though. They should have stuck with that. 2. The Good Son - The opening had me worried that this was going to be an embarrassing, gospel-aping sing-along, but no - once it gets going, this is a really solid title track. It's cinematic and stirring, with judicious use of organ! 3. Sorrow's Child - This one continues in the same vein as the last, which makes me wonder if it might sound better toward the end of the album. 4. The Weeping Song - Yup, this would have made a better track three. It's more uptempo, with some flamenco handclaps and thunder-cracking percussion. 5. The Ship Song - This is pleasant and endearing, with a video of Nick Cave harmlessly cavorting with little girls. I would have placed this one toward the end of the album as well. 6. The Hammer Song - This is more like it - reminiscent of Mick Harvey's Serge Gainsbourg covers with a touch of "Red Right Hand". It's slinky and cool. 7. Lament - I like this one. The songwriting is strong and it seems like a plausible Nick Cave take on Leonard Cohen/Roxy Music: smooth and louche, but also menacing. 8. The Witness Song - A good place to bring back the organ. We get some nice theatrics in the gospel breakdown toward the end. 9. Lucy - I like the simplicity of this: a strong tune well-sung without too much embellishment and a lovely coda. General Impressions: Based on their subsequent careers, I get the impression that the Birthday Party broke up because somebody pointed out to Nick Cave that (unlike most postpunk frontmen) he can actually sing. Rowland S. Howard wanted to make dark, wiry postpunk with titles like "I Burned Your Clothes", whereas Cave's singing and songwriting suggested a much brighter future as a crooner. Clearly, Mick Harvey shared this interest, so off they went in a pretty fruitful direction. I mean, there are other artists like Nick Cave in various ways, but he still occupies his singular niche. How Good Is It? Quite good, aside from that first track. I'll blame that on the 'blinkering' of love. Summed up in Aussie Slang: This one's straight to the poolroom.
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Post by Lord Lucan on Feb 6, 2018 19:25:02 GMT -5
No sooner had I posted Seeger performing “Wimoweh” did I read your disparagment of the lead track as unduly white campfire sing-a-long music! And yet the latter evoked in me the same feeling.
Nick Cave’s music has never excercised the power of attraction over me that it seems to for many discerning listeners, unfortunately. I found “Lament” to be one of the best on this as well, though.
I’m listening to Junkyard right now and getting into it more easily.
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moimoi
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Post by moimoi on Feb 6, 2018 23:12:12 GMT -5
Lord Lucan There's nothing wrong with Seeger doing campfire songs - that's mainly what he's known for. It's just hard to imagine the likes of Bad Seed/Einstürzende Neubauten frontman Blixa Bargeld doing stuff like that with a straight face. I am somewhat surprised that you're getting into Junkyard, though, since it's such a dark record. My favorite tracks on that are "Kiss Me Black" "6" Blade" and "Junkyard". On The Good Son, I'd say my favorite tracks are "The Good Son", "The Hammer Song" and "Lucy".
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repulsionist
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Post by repulsionist on Feb 18, 2018 17:47:00 GMT -5
It may be too late to mention these less-heard yobbos. They showed up via my perusing The Chats output. The Cosmic Psychos appear as an early swell of the grungy alterna-wave. I knew of them, but had forgotten, from Amphetamine Reptile's Dope, Guns... series. Maybe a side trip that stands as the proverbial chalk to Nick Cave's cheese? I dunno.
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moimoi
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Post by moimoi on Feb 19, 2018 0:21:19 GMT -5
The Avalanches - Wildflower Background: The Avalanches are an Australian electronic music group, formed in Melbourne in 1997. They are known for their two studio albums, Since I Left You (2000) and Wildflower (2016), as well as their live and recorded DJ sets. Three future Avalanches members started as a noise punk outfit inspired by Drive Like Jehu, The Fall, and Ultra Bide . Their current lineup consists of just Robbie Chater and Tony Di Blasi with most of the original line-up leaving under acrimonious circumstances. Since I Left You was a critical and commercial success, receiving multiple awards, and has been considered both one of the best Australian albums of all time and best albums of the 2000s. After its release, the Avalanches toured and continued to produce music. For over a decade, the group worked on a wide variety of projects, producing new tracks while also collaborating with multiple artists for their next album. The album was described in 2005 as "ambient world music", and by early 2007, the band was considering over 40 tracks. The record's production was stalled due to Chater being ill for three years, and the group had also become more involved in separate projects which pulled them away from the album. Some of their most time-consuming work included the score to a musical, King Kong (2013), and an animated musical film described as a "hip hop version of Yellow Submarine" which lost funding and was never completed. Wildflower features many remnants from these projects and was compiled using these tracks in a similar fashion of making a mixtape. Wildflower features extensive sampling, especially from 1960s psychedelic music, and relates to the era through themes of counterculture and anti-establishment. Chater described the album's structure as a road trip from a hyperrealistic urban environment to somewhere remote and far away while on LSD. Existing Prejudices: I first heard the Avalanches on the in-store mix when I moonlighted at the Express. My $24k annual salary as a youth counselor couldn't cover my credit card bill and studio rent in Lincoln Park, so I had to hustle. " Since I Left You" (which has one of the greatest music videos of its era), along with " Flawless, " Take Me Home", and " In Praise of the Sun" were the highlight of my shift. At the time, I was much more of a post-collegiate party gal, so I listened to lots of club music: Basement Jaxx, Daft Punk, Felix Da Housecat etc. Since I Left You is one of my all-time favorite albums - a kaleidoscopic masterpiece that still holds up to the point that I can't even do track-by-track impressions. I really wish they hadn't cancelled at Pitchfork last year because Spank Rock (their touring MC) had a family emergency. Track by Track Impressions 1. The Leaves Were Falling - This is just a :15 intro. 2. Because I'm Me - I believe this samples the best part of "The Want Ads" by the Honeycomb - not too obscure, but not too popular - exactly the kind of soul sample you want to hear more. This will uplift your whole day. And Camp Lo is so underrated. 3. Frankie Sinatra - I did not like this when it came out and I still don't. It's like wannabe Gorillaz, instead of wannabe "Frontier Psychiatrist", which it also resembles. I'd go so far as to call this disappointing. Why they put this out as the first single is beyond me. The rest of this album is so much better. The only part I like is the swirly bit of "My Favorite Things" - that could have made a less "Clint Eastwood" derivative base for the song. But MF Doom, you say? Danny Brown? Not even MF Doom could save this. 4. Subways - Smooth and funky. Reminds me of French house with its funky bass. 5. Going Home - Blends into the previous track... 6. If I Was a Folkstar - Chilled out, as befitting Toro Y Moi's involvement. This reminds me of their countrymen Cut Copy in that it never drags. It's an easy groove to ride. 7. Colours - Unsurprising that this one shares some DNA with the Chemical Brothers "Private Psychedelic Reel" - specifically, the involvement of Jonathan Donahue of Mercury Rev/Flaming Lips. It's not the strongest single they could have released, but I dig it. 8. Zap! - Dubby wonkery. This might make a nice album intro, but it's not needed here. 9. The Noisy Eater - I fear we have another outtake from the Gorillaz' first album. Though Biz Markie is always welcome. 10. Wildflower - A breather, a throwaway. I rather expected more from the title track! 11. Harmony - Ah, that Association sample! The Avalanches and I have very similar tastes, I must say. 12. Live a Lifetime Love - This is more like it: a slower-paced hip hop number that doesn't sound like Gorillaz. This still properly sounds like the Avalanches: dense and psychedelic, but also melodic. 13. Park Music - This sounds like Cornelius. Very...organic. 14. Livin' Underwater - I wish this one were longer. I think they could have done more with this than just lead into... 15. The Wozard of Iz - Again, this is a better integration of hip hop into the Avalanches' sound than aping (heh heh) the Gorillaz. This would have made a better single than Frankie Sinatra or Colours (edited of course). 16. Over the Turnstiles - Um, :42 of handclappy goodvibes. Moving on... 17. Sunshine - Damn, that's a sweet sample, though it does remind me of their first album. This gets lovelier as it unfolds. If you pull from a bunch of different time periods, the effect is timeless...unless you're Fatboy Slim? The jury is still out, I think. 18. Light Up - This should probably be the outro. This album is going on too long now. 19. Kalaidoscopic Lovers - This sounds a bit dated. A little too High Llamas. Or Baths, I suppose, but Baths would do this better. 20. Stepkids - Okay, this is weird in the contemporary fashion. But again, is it necessary? 21. Saturday Night Inside Out - Nice blown-out groove. Wonky in the right ways, kind of haunting. A nice closer. Overall Impressions: Wikipedia calls the Avalanches' style "plunderphonics", though I have to admit that I have never heard anyone use this term. I prefer "sampledelic", the term popularized by Deee-Lite, because it captures the sense of fun and the soul that electronic artists put into music like this. To me, 'sampledelic' sound collages and hypnogogic pop (Simon Reynold's term for stuff like Ariel Pink) are for people who really love sound in all forms. It really is like painting with sound, producing a somewhat abstract and impressionistic take on modern urban life. It is not, as some would charge, glorified party DJing - that's Girl Talk. Not every track has recognizable crowd-pleasing samples - in fact some of the most recognizable source material like the Beatles is almost completely obscured. Overall, I am glad they released another album - though dare I say, they needed to do some editing: specifically tracks 8, 16, 19, and 20. How Good Is it? Well worth your time. Summed up in Aussie Slang: Going off with bonzer tunes up the wazoo.
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Post by Roy Batty's Pet Dove on Feb 22, 2018 3:08:59 GMT -5
3. Frankie Sinatra - I did not like this when it came out and I still don't. It's like wannabe Gorillaz, instead of wannabe "Frontier Psychiatrist", which it also resembles. I'd go so far as to call this disappointing. Why they put this out as the first single is beyond me. The rest of this album is so much better. The only part I like is the swirly bit of "My Favorite Things" - that could have made a less "Clint Eastwood" derivative base for the song. But MF Doom, you say? Danny Brown? Not even MF Doom could save this. I didn't believe for one moment that that guy who kept saying that he was Frank Sinatra was telling the truth about his identity. Not a very convincing song.
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repulsionist
TI Forumite
actively disinterested
Posts: 3,556
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Post by repulsionist on Mar 2, 2018 20:01:28 GMT -5
RE. The Chills. Lesser-known ladies of the Dunedin Sound: Look Blue Go Purple. Check'em out. I hear whispers of Black Tambourine.
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moimoi
AV Clubber
Posts: 5,002
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Post by moimoi on Mar 11, 2018 14:10:05 GMT -5
Tame Impala - Innerspeaker
Background: Tame Impala is the name of the psychedelic rock act by Australian multi-instrumentalist Kevin Parker. The act began as a home recording project for Parker, who writes, records, performs, and produces the music. As a touring act, Parker (guitar, vocals) plays alongside the members of Australian psychedelic rock band Pond: Jay Watson (synthesiser, vocals, guitar), Dominic Simper (guitar, synthesiser), Cam Avery (bass guitar, vocals), and Julien Barbagallo (drums, vocals). Innerspeaker is Parker's debut studio album, released in 2010 by Modular Recordings. The album was recorded almost entirely at Wave House, Injidup, a beach shack about four hours south of Perth with 180 degree views of the Indian Ocean, with no internet, no phone reception and no TVs. Mixing began in November 2009 and was undertaken by acclaimed Flaming Lips producer Dave Fridmann at Tarbox Road Studios in Cassadaga, New York. Tim Holmes from the band Death in Vegas also came along during the recording of Innerspeaker to handle engineering duties.
On 12 May 2010, iTunes accidentally made Innerspeaker available to buy immediately (not pre-order) and therefore it was leaked before the official release date. It was also leaked on the internet in poor quality a month earlier. Parker commented on this poor quality leak by saying "That was a real bummer. It was kind of bittersweet because I was glad that people could finally hear it, I wasn’t that pissed off about the sales or release or whatever, it was just that it was in bad quality from how it actually sounded." Originally, Parker intended for Innerspeaker to be a double album, but eventually lacked the motivation to make it. Many of the songs demos intended for the double album were later leaked onto YouTube in unmixed form. Innerspeaker won Rolling Stone's Album of the Year in 2011 and the album was recognized as one of The 100 Best Albums of the Decade So Far by Pitchfork in August 2014.
Existing Prejudices: I can't pinpoint when I became aware of Tame Impala. It was probably something I heard on a Stereogum mix, back when Stereogum used to do convenient streaming mixes of all the new music coming out. They are, in my opinion, a remarkably consistent band, so it was hard to pick which album to cover here. I chose Innerspeaker because it's still probably my favorite and the one people are probably less familiar with. Looking forward to seeing them at Pitchfork this year.
Track by Track Impression
1. It Is Not Meant To Be - Why does this sound fresh? I mean, all the elements are familiar: funky drumming, warped psychedelic effects, a lead singer who sounds like Lennon and other retro affectations. I think it's the song structure. These aren't repetitive, extended jam sessions. There's solid songs under all the layers of instrumentation and effects.
2. Desire Be Desire Go - You could probably pass this off to an older relative as an unreleased, late period Beatles bootleg of some sort. (In fact, my brother just walked by and asked if I was listening to the Beatles...by his own admission he's a bit of a rube, though.)
3. Alter Ego - Sometimes Tame Impala reminds me of St. Etienne in its nods to rhythms and melodies of Burt Bacharach. In fact, I think that might have been the hook for me. There are a staggering amount of psych rock bands these days - particularly coming out of Australia and New Zealand - but not many are this confident composing songs of conventional length without gimmicks.
4. Lucidity - This has more of a seventies stomp to it, which comes at a good point in the album. The chorus isn't the strongest, but it has a satisfying crunch.
5. Why Won't You Make Up Your Mind? - I find this one hypnotic, thought there isn't much to it beyond the chorus. Even the guitar solo just kind of circles back on itself.
6. Solitude is Bliss - This is probably the closest to a radio single that I've heard so far. Unsurprisingly, it was the first single from the album.
7. Island Walking - Okay, he's doing a bit of Hendrix/Clapton/Jeff Beck homage. Good for him. Sounds alright.
8. Jeremy's Storm - This is getting into postrock. Again, I must commend the album's pacing.
9. Expectation - In my opinion, this is the highlight of the album - the best showcase of Tame Impala's special sound. The bizarro time signatures and fluttery verses build up to a bombastic chorus that actually amplifies the subject matter of the song. Plus the warped and fried production keeps the whole thing from getting too precious. Every time I listen to this I hear something new and this time, I'm appreciating the delayed reverb on the vocals in the last chorus. I don't know what they did to the drums to make them alternately punchy and muted, but it's really cool.
10. The Bold Arrow of Time - Nice heavy rock intro. These tracks with clear inspirations (Here we get a bit of "Sunshine of Your Love" crossed with I wanna say Iron Butterfly?) aren't essential, but they fill the album out well and highlight Fridmann's production skills.
11. Runway Houses City Clouds - I bet this one actually sounds better live. The bassline gets completely buried in the first part, though the rest of the suite is better served by all the production tricks.
12. I Don't Really Mind - I guess this is a fine closer - kind of bubbly and light, though a bit repetitive.
General Impressions: Why doesn't it bother me that this is so retro and Beatles-esque, whereas a band like Ought sounding like The Fall drives me nuts? Perhaps because it's not trying to be edgy. Tame Impala ain't trying to change the world or freak anybody out. They just want to play pretty, fuzzed-out jams to enjoy under the sun. Good for them.
How Good Is It? Really solid.
Summed up in Aussie Slang: Sweet as sounds for an arvo in your bathers round the esky watching grommets.
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Post by ganews on Mar 11, 2018 21:04:33 GMT -5
On a scale of one to Lennon, how Lennon is it? Alternatively: how much more Lennon could this be?
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moimoi
AV Clubber
Posts: 5,002
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Post by moimoi on Mar 11, 2018 22:06:32 GMT -5
On a scale of one to Lennon, how Lennon is it? Alternatively: how much more Lennon could this be? To be honest, I will be very interested to hear at Pitchfork if that is the voice that comes out of Kevin Parker's mouth. On this album, he's definitely be-scarved Lennon, minus Yoko. Compare:
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Post by Desert Dweller on Mar 17, 2018 1:07:56 GMT -5
Excellent review of that one. I'm pretty sure I've also been listening to Tame Impala and had someone ask me if I was listening to The Beatles.
I really like the vibe of Tame Impala. I am interested in hearing your review of the concert from Pitchfork.
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