Tilt

Xenia Rubinos, “Cherry Tree”

A thing that always strikes me about this project is that it seems like past me always had better judgement and taste than present me. It’s very strange living in your own shadow and constantly having your own diminishment displayed so clearly.

Tilt, “Lips Tits Hips”

I mean, sometimes.

Sacred Son, “The Blind and Feral Whiteness”

Well, here’s another one of those records that I remember buying, and even recall listening to, but don’t remember why I picked it up. I actually usually retain some context around albums and why I pick them up, but occasionally, a contextless record bobs along in here. I guess it just arrived on my doorstep one day.

Tilt, “Dental Wreck”

There are certainly things that can be bad about punk. But there’s a floor on how bad it gets - if you keep things energetic and the songs short, it’s always going to hit at least reasonably well.

They Might Be Giants, “Lost My Mind”

Nanobots had a decent number of these kind of big, dramatic songs from TMBG. It’s a bit of a theatrical album, and a solid one from them.

Marvin Gaye, “Can I Get A Witness”

It’s sometimes a little hard to reconcile the early Marvin Gaye with what he would eventually become. This is from 1963, and yeah, sure, it’s an excellent tune. But it’s just so far away from where he would end up. Popular music evolved so fast in this decade, it’s still hard to wrap my mind around it.

The Young Fresh Fellows, “View From Above”

The first Fellows record, The Fabulous Sounds of the Pacific Northwest, was kind of tied together with these little spoken word travelogue snippets, as a theme. The Fellows are light hearted enough that the gimmick comes off as charming, and the music is all just kind of loose, happy rock. While there’s plenty to like, they also didn’t really totally have control of their songwriting yet, so the record is kind of just for fans.

Tilt, “Annie Segall”

This is from the last Tilt album, in 1999, and I’ll be totally honest: I’m not entirely sure why I picked all of them up. It’s not bad, it’s just that it’s not really any different from the other three albums.

SWANS, “Amnesia”

What Is This? is a record of demos that Michael Gira assembled to test out songs prior to cleaning things up for a full release (what would become leaving meaning.). It’s an interesting record, but very much for completists only. Which is good, because it was released in a very limited edition as a crowdfunding project to raise money for the new record. I’m glad I have it, but that’s because I’m a huge SWANS fan.

Tilt, “Partial Birth”

Tilt started their career recording for Lookout Records and then moved to Fat Wreck Chords, which is going to create a picture for you if you know these labels. And that picture is completely correct with one minor detail - the woman singing, Cinder Block, is considerably different from the typical sneering dude. Other than that, this is straight ahead California punk.

Belle and Sebastian, “Slow Graffiti”

I’ve sung the praises of Belle & Sebastian’s early EPs here before, I’m pretty sure, but I’m going to do it again. Between the release of the standard-setting If You’re Feeling Sinister and the below-standard Fold Your Hands Child, You Walk Like A Peasant, the band released five EPs with new material, and they range from excellent to fantastic. Among that set, This Is Just A Modern Rock Song might be the best of them. This is the last song on the record, and is just a sweet little tune.

Pretty experimental today.

Death Grips, “Black Quarterback”

From the double album The Powers That B, as with most things Death Grips, this is pretty singular. It’s really unclear what you’d call this, other than experimental. Maybe Dadaist?

Tilt, “Small Bills”

This comes from Play Cell, a pop-punk album on Lookout distinguishable primarily for the rarity of a female singer in a scene where you didn’t find very many of them. It’s a decent album, but not great, and somehow I ended up with four albums from them.