Posts

Doc Hopper, “She’s a Cokehead”

Canadian pop punk band Doc Hopper is really following in the footsteps of many other bands, especially Screeching Weasel here. Ask Your Mom is a really solid record, but this one (Zigs, Yaws and Zags) is just fine.

Zoom, “Flunkie”

This record, the 1992 self-titled release from Lawrence, Kansas rock band Zoom, was one of my white whales for a long time. I used to play the album on my radio show pretty often, but never picked up a copy for myself. By the time I realized that I hadn’t gotten around to it, they were almost impossible to find. I just got in the habit of checking the “Z” section of every record store I went in, in the hopes that maybe a copy of this album would show up. Their followup record, Helium Octopede, was not too hard to track down, but this one eluded me. Eventually, Megan finally found a copy of it, and I was reunited. In the intervening years, the stature of the record had built up in my mind. Could it live up to those memories?

Gojira, “The Shooting Star”

Technical death band Gojira took a little bit different approach on 2016’s Magma, where they actually slowed it down a little sometimes and have things approaching melody at times. It’s easily their most accessible album, but they’re good enough that simplifying their sound a little doesn’t spoil the proceedings. That’s not to say it’s not a very loud album, but it’s not the same kind of insanity as some of their earlier stuff.

Scratch Acid, “She Said”

In the mid-80s, Scratch Acid helped for the noise rock scene in America, taking the racket that the Birthday Party was kicking out and taking it another step further. Scratch Acid also provided half of the Jesus Lizard, which is certainly notable enough for any band. All of Scratch Acid’s work (one LP and one EP) are collected on The Greatest Gift, which is a must for any noise rock fan.

Dire Omen, “Malkuth”

I’m not entirely sure where this came from. Discogs says it was a 2018 release, and by then, I’ve been buying virtually all of my music on Bandcamp. But Bandcamp says I don’t own this. So, I dunno? Let’s listen together…pretty murky. Doesn’t particularly grab me. Oh well!

Courtney Barnett, “City Looks Pretty”

Everybody loved Barnett’s first album, your humble host included. Her proper followup, Tell Me How You Really Feel, doesn’t have quite the impact as the first one. It’s certainly still good, but it doesn’t have the same kind of outsider edge as the first album.

Mudhoney, “It Is Us”

If you got off the Mudhoney train back in the early 90s, you’re in good company. But it’s worth taking a look at their later catalog - they’ve got five studio albums after the 90s, and they range from solid to excellent. Under a Billion Suns is one of the very good ones, but not the best (that’s The Lucky Ones). But give it a whirl!

Steely Dan, “Change Of The Guard”

Steely Dan has such an interesting reputation. Unlike so many of their contemporaries, they’ve retained a cachet among music fans, and continue to be talked about in positive terms by so many folks. It’s not that it’s not deserved, it’s just not entirely clear why they haven’t just been thrown away as old fart music like so many other bands.

A Tribe Called Quest, “Electric Relaxation”

One of my forever bands and forever records.

Altar of Plagues, “Feather and Bone”

Altar of Plauges didn’t last very long, producing three albums, but the last two of those are masterpieces of metal. Fusing black metal with post-rock aesthetics, rooted in a willingness to let a song stretch out and breathe, I’d actually recommend the third Altar of Plagues album (Teethed Glory and Injury) to someone who wanted to give uncompromising black metal an honest try. However, I actually think their second record (Mammal, which gives us today’s track) is slightly better. It’s just a lot to take in, with only four tracks, the shortest of which is 8:17. But if you have the patience, and meet it on its terms, it’s brilliant stuff.

Palace Brothers, “You Will Miss Me When I Burn”

A repeat, but remains a lovely tune.

Fuck The Facts, “Shadows Collide”

Long running Canadian grindcore artists Fuck the Facts cranked out Desire Will Rot in 2015, producing an album that is interesting not just because of the stretches of blast fury, but thanks to the interludes in-between. I find grindcore more interesting when it provides those moments of contrast, it helps the crazy tempos stand out even more.

Ulthar, “Through Downward Dynasties”

Periodically, I kind of take a step back and really try and focus on some of the stuff I listen to, and this is utterly ridiculous. Why do I like any death metal? This is bonkers!

The Beautiful South, “You Keep It All In”

The first Beautiful South record is the peak that the band hasn’t ever really approached since. The later records were certainly pleasant enough, and it’s all nice to listen to, but there’s enough of an edge to the songwriting on the first record that it stands out from the rest. That mix of sweet and sour is an important dynamic, and they manage it at times later on, but never as consistently.

The Beatles, “Ob-La-Di, Ob-La-Da”

Ob-la-di, ob-la-da, blog goes on!

The Du-Rites, “Bite It”

A thing that must be a delight about being an instrumental funk band is coming up with song titles. “Bite It”, that’s outstanding!

Eagles of Death Metal, “Secret Plans”

Heart On finds the Eagles of Death Metal not exactly taking things seriously, but taking things more seriously than the previous records. The previous albums sounded totally like tongue-in-cheek satires, albeit well-executed ones. This one feels more like it’s a genuine love letter to glam rock than it is a send-up of it. I’m not sure I like it better, though.