This is a pretty straightforward song from Future of the Left, perhaps to kind of match the subject of the song.
There’s another band that this is really reminding me of, and I’m totally unable to put my finger on it. That sensation, of a band or song remaining just outside of your grasp, is one of the most frustrating things for my brain. Super painful, and I don’t know how I can clear this one out.
[Read More]Well, we’re back at Leatherface, and I once again confront my opinion that this basically sounds just like late 80s/early 90s southern California punk, except for the vocals. And I’m not wild about the vocals. We need to get Dave Smalley involved here!
I think it’s easy to be cynical about overnight successes and huge pop hits, especially when your taste sort of runs towards the less popular end of the pool. If you’re not really that much of a fan of popular genres, the simplest take is to just assume that popular songs are all pandering garbage, made by bloodless producers milking the latest fad for all its worth. And sure, there’s plenty of pre-fab trash that gets popular, but that cynical take is really a dead end. Who cares? Where does that cynicism lead you? If you don’t like pop music, you can just ignore it, but that’s true of any genre. The popularity or otherwise of a song does nothing to change its artistic merits, and the only question worth evaluating is what a song does for you or those around you.
[Read More]Five months in a row of a daily updates every single day. I can’t keep this up forever, but I’m hoping the consistency is nice for folks out there. (looks at analytics) Well, a few of you, anyway.
Gauche is a supergroup featuring members of Priests and Downtown Boys, playing new wave music in what sounds like nothing so much as an updated B-52s. I’m not really a huge new wave guy, but it’s hard not to have fun listening to rhythms this infectious.
[Read More]Aww, the computer loves you too, YACHT.
The Band’s Music From The Big Pink seems like a super impressive debut album, but of course, they had been Dylan’s backing band, so they were not rookies. There’s been far too much written on the music of the 60s, and I was nowhere near existing, so I have nothing fresh to say. Good record, though.
[Read More]This is from the 1975 album Remember My Song, a record that became famous due to sampling (especially in Eminem’s “My Name Is”). As with so many of these great old funk records, it’s a delight that it was resurrected by interest in the source material, because it’s absolutely incredible. I mean, yes, the break that Dre flipped is astounding, but listen to this entire thing. The temperature in this room dropped about ten degrees when this kicked on, it’s so cool. And, for real, look at this album cover. Goddamn!
[Read More]Russian Circles usually gets tagged with the post-rock label, which doesn’t really hang together to me. There’s nothing really post- about most of their stuff. To me, this is really just straight up instrumental metal, and it’s faaaantastic at that. They’ve been cranking out fantastic albums for years now, and it seems like it would get tired, but it absolutely does not. This is from the magnificent Guidance, which is as good a place to start as any.
[Read More]We’ve had this Public Enemy cover before, so bonus song today!
You know, I have this band squirreled away in my brain as “extremely twee, not my favorite”, and so I haven’t listened to this album much. I pulled up a little writeup to get a little bit of background, and apparently I needed to pay more attention to the lyrics on these songs. But I do not, I pay very little attention to lyrics, so I missed that apparently some of these twee songs are really filthy. Oh well, they’re staying in that twee bucket.
[Read More]The lead-in to the The Long March EP, this really tells you what to expect on this record. And, honestly, this is an extremely generous EP - 9 tracks, 35 minutes, that’s plenty of material for a full LP.
Aw, hell yeah, hip hop day! This comes to us from Imani, Vol. 1, released in 2015 after a 10 year break between records. Alas, there is no Vol. 2 (yet?). There’s actually some similarity in approach between Blackalicious and Blue Scholars, with both broadly approaching hip hop from a sort of modernized throwback stance, if that makes any sense. [reads what I wrote] It does not make sense.
[Read More]This is one of the three epic (10+ minute) songs on Kentucky, where Panopticon really lets the black metal blast out. But even among the fury, he takes the time to have that interlude in the middle. It’s just a super interesting fusion. Listen to the…flutes? pipes?…on the outro. Just good stuff.
I knew exactly zip about Ezra Furman when his 2018 album Transangelic Exodus showed up on some end of year lists. I know slightly more than zip now, with the thing I’ve learned: this album rips. Listen to this, this is basically a Cars song but with cello, which is bitchin'.
[Read More]We’ve had a couple tracks from this record, which is Crazy, The Demo Sessions. Every time it comes up, I’m reminded how much I like this, and then I go look at his discography, get intimidated, and kind of give up. Not very laudable of me, I suppose.
See, the beginning to this song is the sort of thing that got people dismissive of the third wave. There’s no real point to adding the “rude 69!” bits to the song other than to just have the whole enterprise be all smirky. Other than that, it’s a totally reasonable instrumental. Well, whatever.
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