Yautja

竹村延和 (Takemura Nobukazu), “Meteor”

This is from his 2000 release, Sign, and is the outro piece after the 35-minute “Souvenir in Chicago”. A thing I really like about this is the texture of the sounds, a lot of them are stretched, torn, distorted, and otherwise manipulated in surprising little ways. A track that rewards a close listen.

Slayer, “War Ensemble”

After slowing down a bit from Reign in Blood to South of Heaven, Slayer came back roaring with Seasons in the Abyss. This is yet another classic thrash record, the final Slayer record featuring Dave Lombardo during the initial run, so it was kind of the capstone for that era of the band. While I think I still like Reign in Blood a bit more, this record is a very close second from them, and is absolutely one of the critical texts of thrash and all of metal.

Yautja, “The Spectacle”

Yautja are chameleons with different styles coming to the fore in their albums, but this song is also kind of a chameleon. There’s some heavy noise rock here, some grind-y bits, but with those sections kind of distinct here, shifting between them easily.

Elbow, “Leaders of the Free World”

A rock song like this really needs to justify six minutes.

9353, “Famous Last Words”

I do think it’s pretty funny when American punk bands have accents like this. It seems particularly odd when it’s this far removed from the original punk scene.

The Mooney Suzuki, “Oh Sweet Susanna”

Sometimes, we get a band on here that I just want to describe as “rock”. Just rock. This is a rock band, playing a rock song. Rock. You want rock? Have rock.

Yautja, “A Killing Joke”

Yautja is most frequently described as a combination of sludge and grindcore, which are two genres that don’t sit very naturally together in my head. There’s a monomaniacal relentlessness to grindcore, a commitment to aggression above all else, that doesn’t marry to sludge’s necessity for timing being key and the flexibility to stretch or compress things. But Yautja makes it work, and it’s a unique sound they’ve assembled. This is from last year’s The Lurch, and I recommend it.

Thundercat, “Daylight”

Thundercat is very hard to describe. Jazzy, yeah, but with some R&B, some fusion, some soft rock, some soft jazz? This is from his first album, and he doesn’t get any easier to categorize down the road.

Upsilon Acrux, “Death Before Disharmonic”

Upsilon Acrux is very hard to describe too. Math rock, prog, little bit of krautrock here and there, maybe even the occasional jazzy excursion? In the end, I’ve got to be in a mood to listen to this sort of thing, but in the right frame of mind, nothing else will do.

Belle and Sebastian, “I Want The World To Stop”

I’ve written before about how I don’t love Write About Love, so I won’t rehash that here. It’s fine, but it’s just a little too slick and it just doesn’t resonate with me. I think this song is probably a good example of what I think. All the moves are there for this to be an excellent song, some horns, some handclaps, sweet backing vocals - but it just doesn’t quite land. Stuart just doesn’t sound like he’s really throwing himself into it, there’s a little too much repetition in the lyrics, and it just doesn’t seem too inspired.

Hot Chip, “One Pure Thought”

Hot Chip is dance music, basically, with some nice melodies. But while this is perfectly nice, it’s never really clicked with me very much, and I just have the one album from them. I guess the closest thing I listen to regularly is LCD Soundsystem, and it’s not totally clear why I prefer one over the other.

Pond, “Perfect Four”

As always, a quick clarification that this is the rock band from Portland in the mid-90s, not the Australian band in the 2010s. Pond more-or-less arrived fully formed with their first, eponymous album. While their songwriting would get sharper, this album is still chock full of excellent rock. That they should be claimed by the anti-grunge vortex is one of the shames of the 90s.

Nice one today!

Yautja, “for naught”

Kind of math-rock, kind of death metal, this kind of hybrid makes me happy. Which it probably shouldn’t! This comes from the EP Songs of Lament, the followup to their excellent Songs of Descent. Both are worth looking into.

Bathory, “Shores in Flames”

Bathory were black metal pioneers, with the singer Quorthon’s strangled croak setting the template for black metal vocalists that persists today. The primitive recording and washes of guitar noise also formed one of the pillars of the genre. But, not content to provide some of the building blocks for one type of metal, Bathory re-invented themselves. The album prior to this one started experimenting with breaking out of the template, but Hammerheart showed that the template was gone. This song is the opener of that album, featuring Quorthon actually singing, and the songwriting now was focused on the epic rather than the squalid. And, indeed, Bathory had now invented the subgenre of Viking metal which, yes, is a thing. Bottom line: there aren’t very many bands that have ever been as metal as Bathory, and there aren’t very many bands more influential on the genre.

Back to the usual thing around here, with our usual random playlist.

Johnny Cash, “Darlin’ Companion”

I engaged in my self-flagellation about my Johnny Cash collection last time, so I’ll spare you all. This is from Live at San Quentin, and is a lovely duet with June Carter Cash.

Discordance Axis, “The Inalienable Dreamless (Complete)”

I have a friend who says The Inalienable Dreamless is one of his favorite albums (maybe his favorite), so I ended up giving the band a try. It’s very extreme and virtuosic grindcore, which means it’s incredibly fast and the changes come at whiplash speed. Just to make things more confusing, this song is NOT from that album, it’s from Our Last Day, which was a compilation of odds and ends of related projects. And just to make things even MORE confusing, this is a cover of the entire The Inaliable Dreamless album by Merzbow. So, you know, buckle in for sixteen minutes of total noise freakout! I, um, understand if people skip this.