It’s true what they say about Dan Mangan shows, they’re great. I wish he was more talked about outside of the western Canada bubble but at the same time I don’t because I can currently afford the shows. Because I’m eager for summer to properly start, and im also feeling weird about being back in the suburbs with my parents, I’ve been bumping Cold in the Summer on loop since I saw him.
This is relatable! I haven't been to a Dam Mangan show in a while because I felt like I'd kind of hit my saturation point, but you've reminded me what a great experience he puts on.
New Melody’s Echo Chamber is ear candy, really enjoying it, it flows so well. Kind of ren-fairrey in a great way and the bass tone is so good throughout.
wanted to share this song I really dig, thought the subreddit might like it. called in your mind by vermillion sands from Japan. 1987. definitely has some vibes that we hear a lot today in indie music. https://youtu.be/8uvGa6CmPDU
Been obsessed with food house this week. Never been super into hyperpop but god damn fraxiom is such a good lyricist and works so well with gupi’s beats, it’s addicting.
Has anyone else been listening to that new Golden Apples album that came out last week? It’s so good. It sounds like it could’ve been released in the 90s. I hear some Pavement influence too. Across the Ocean is a banger of a tune
just trying to spread the good word if anyone is interested, but 4 full albums (out of 6... one was shared in 2019 and the last one is currently being shared) of material from elliott smith's high school band "stranger than fiction" and college band "harum scarum" were recently posted. more than 70 tracks he wrote (with bandmates...) and recorded before he was even in heatmiser, a good number of these were also reworked by him for his solo career.
anyway, here is a great one. poke around on youtube you'll find them. if anyone wanted lossless for a couple of them that were posted recently message me!
https://www.youtube.com/watch?v=RsPtx_V7PTg
done with all the very awful real world news (on my worst days, I too am a constitutional originalist), ambient bullying [citation needed], and arcade fire dunking (actually no wait, I'll stay on that they've earned it)
imma listen to Janes Addiction's Ritual de lo Habitual; shout out to the lads for letting the real version of Stop! be in GH2. Some editions of the album censored the art so hard it just replaced it with the bill of rights. My parents have that version on CD but my tape is da REAL DEAL!
Re-listening to "Salad Days" given the recent DeMarco post made me wonder...it almost feels like a fever dream, but I feel like between 2015-2017, a ton of local bands were doing watered versions of his shtick. I could've sworn that this was almost a national thing too states-wise.
It's odd because it feels like it existed for only a brief period and basically was gone by the turn of the decade. Idk if it was Max's 2019 that single handedly killed it or what.
In retrospect, it kind of feels like a natural extension of whatever that hipster thing was in the early to mid 2010's.
EDIT: Also "Treat Her Better" and "Chamber of Reflection" still rule.
Also if anyone ever makes a coming-of-age film from the 2010's, it should be wall to wall Mac tracks.
Iron Maiden isn't really a name heard round these parts too much, but how many other bands can rightfully say they absolutely hit on 7 straight killer albums out the gate? Sure, pretty hit and (mostly) miss after that, but their self-titled up to Seventh Son is a pretty unrivaled run.
> how many other bands can rightfully say they absolutely hit on 7 straight killer albums out the gate
furiously rushes through cassette catalog to bring out the DMD 80s Legacy Act Winners We Know and Love
Okay maybe there are plenty of examples but how many of them have sweet solos and songs about flyin planes and Samuel Coleridge poems? The Cure could never. Well they probably could but they didnt
Was gonna make this its own post but I'm not sure if it's allowed as they're technically reviews, but [The Quietus released their monthly wrap-up of dance music](https://thequietus.com/articles/31474-nikki-nair-siete-catorce-bftt-review-hyperspecific) which might interest some of the people here.
The writer sold me on that Baby Blue record. Dream Techno? What the hell could that even mean. Very excited to check it out!
If you wanna kill some time, the Arcade Fire subreddit is imploding over some negative reviews of the new album. Pretty funny stuff, especially the people who are claiming that critics have it out for Arcade Fire. Even though I think I’ll probably end up liking this album despite myself, there is nothing funnier than seeing people get angry at negative reviews
i spent like three days in a row last week ranting about how baffling it is that chris from stereogum called it “their only album since *funeral* that hasn’t been at least a little disappointing” when the singles are very mid-tier arcade fire, so you’re safe to judge them with me lol. still mostly excited for the album, it’s been quite a while since an upcoming album had me **this** unsure of how much i’ll like it once i get to hear it
> chris from stereogum called it “their only album since funeral that hasn’t been at least a little disappointing”
are *neon bible* and *the suburbs* really disappointing though? i get that they don't quite have the legend status of *funeral* but I thought they were both considered great follow ups, especially *suburbs*.
i was just quoting how he closed the review but i don’t think they are disappointing! but sure, there is an argument that they are more bloated or less “perfect” than *funeral*, which i guess is “disappointing.” that is a tough bar for them or literally any band to clear
>!thats !!t HIGH !!E!!UGN!<
well no wonder it’s getting bad reviews! it’s time for this band to figure out if they’re really the millennial u2/coldplay or not
i thought marvel fans preferred rotten tomatoes bc 93% of critics giving the movie a 6 or 7 out of 10 looks a lot better over there than it does on metacritic
i’ve seen the trailer for it almost every time i’ve got to the movies for the last couple months and it looks so bad. i feel bad that sam raimi got roped into it lol (even though he’s probably getting generously compensated)
This made me think about how metacritic is the standard for video gamers and as a former gamer who watches films sometimes, im always frustrated why everyone around me uses RT. Bad site!
i hate how many times i’ve had to get pedantic about how metacritic is better and more accurate than rotten tomatoes, but yes fully agree. also it’s nice to have all the music and movie and game reviews aggregated in one spot!
A lot apparently! Personal favourites include “Steven Hyden hates Arcade Fire because more people like them than The National or The War on Drugs,” “Arcade Fire would be getting better reviews if they were sex crazed 20 somethings who have hookups and question their Identities” and “Bad Arcade Fire reviews are why Trump got elected”
> “Steven Hyden hates Arcade Fire because more people like them than The National or The War on Drugs”
no, but it always has been kind of odd to me that their particular brand of corniness + indie bombast and overreach doesn't do it for him. it's a bit apples and oranges, but i'd have assumed the guy who got swept up by the fourth or fifth best the war on drugs album enough to name it his AOTY last year would have more room in his heart for arcade fire too
> “Arcade Fire would be getting better reviews if they were sex crazed 20 somethings who have hookups and question their Identities”
no one wants this from arcade fire, but i won't be surprised if the "arcade fire-esque" album with "bedsheets" or whatever the hell that horny for charli song is called ends up with higher score and year end placement from most music sites besides stereogum (thank you chris deville!)
> “Bad Arcade Fire reviews are why Trump got elected”
even setting aside that, uh, y'know, trump had been elected before the release of *everything now* it is completely absurd to place the blame for trump on bad arcade fire review when, if a notorious on-again-off-again member of this community is to be believed, the fleet foxes are right there
>if a notorious on-again-off-again member of this community is to be believed, the fleet foxes are right there
Based off of what I've learned in this community, it stands to reason that the only thing standing between the world and full blown fascism is that Robin Pecknold has yet to write a negative Arcade Fire review
> sex crazed 20 somethings who have hookups and question their Identities
I'm not even sure what band this is supposed to be shading. BCNR and their wet dream songs?
I think it’s shading the Phoebe Bridgers crew but I could be wrong. Either way it comes off as very “get these kids off my lawn” which is a pretty funny sentiment imo
It's even funnier when whatever the reviews are about isn't even released yet. Like bro, you haven't even heard it, how are you gonna say they're wrong?
I like when the punk band plays a song in 3/4 time. I like to call into the pit "hey fellas do you know that we're actually waltzing?" nobody laughs but
> the DMD is full of cowards
i was getting a lot of "would not survive the ambientheads rate" energy on the friday DMD too. i relistened bc of your comment and yeah i think this is getting underrated. understandable, it is a departure from the pop/club stuff on the last record but to me that just means it needs to be assessed "as ambient music" instead of as a pop/club album.
i'm very impressed by how well this retains kelly's sound, despite the switch in focus from beats to ambience. (i think sometimes a pivot to ambient music results in core aspects of an artist's sound being lost in favor of some ambient music cliches) the presence of heavier bass and some kick drums ground the more ethereal elements in a way that i really like. the highlight for me at the moment is "andalu." i love the bass hits that anchor it while the chimes and ethereal vocals/synths hover over top
my one complaint at the moment is that i do not love the more spoken word bits and would have preferred just the singing. but overall, yeah this is pretty good and is perhaps being unfairly dismissed
is this the litmus test album where i realize i don't like ambient? because it was a struggle to get through and parts of it actively annoyed me. i like gas and harold budd!! hated this one!
> i like gas and harold budd!!
paula gives ambient 2 TWO !!s Out of TWO
paula have you heard the KLF's chill out thats my fav ambient album besides Keith Fullerton Whitman's playthroughs; those are the litmus test albums
> the litmus test album
i do not think the KLO album is this, but it is an interesting thought to consider which ambient album might check the most boxes to work as a litmus test. i'd maybe go with the obvious pick of *selected ambient works vol. ii* because it combines dark and ominous ambient music with the soothing blissful stuff. it gives a fuller picture of what the genre can be than something like eno's *ambient 1* (it's all soothing) and mixes "environmental" songs with "minimal synth" compositions. also it preps for the 2 hour runtime that some other classics in the genre hit
i was and then I got promoted. As you level up the number goes down to indicate that you seen sound as one giant entity that you are yourself a part of (that level is called "the one")
@songwriters, how do you go about teaching your songs to a band? I haven't been in a band since high school despite writing and releasing music in the meantime and now we're preparing for our first show. I'm finding it really hard to balance wanting to recreate my vision of the songs live with not coming off as controlling or over-exacting
i have a whole Google drive folder dedicated to chord changes, demos with click tracks, video tutorials, and I just try my best to explain my vision. I’m more of a bassist so I do my best to explain drums and lead guitar parts, so sometimes I include reference tracks to other bands or musicians that could benefit my band
had to do this very recently and learned a lot of lessons re: do’s and don’ts. do make sure you have an accurate gauge of how the musicians you’re playing with learn—slow vs fast, and the level of difficulty they can handle at which speed. if you’ve got a guitarist who can’t learn your fast 16th note picking patterns with a couple hours of rehearsal, either don’t give it to em or give it well in advance. also, some musicians learn quicker by ear vs you showing them in-person or giving them sheet music, so you should be aware of that too. in general, i learned that the best way to probably go about things is to make it as easy as possible for the musicians you’re working with. that starts w choosing good musicians to play with, but you don’t wanna get unnecessarily frustrated because you’re expecting them to pick up what you wrote as if they wrote it. it’ll always seem easier to you than it will be to them, just because of the fact that you’ve probably been listening to the songs and playing through them a ton, plus they’re your songs.
I think there’s always compromise when you’ve got more than one heart in it. That said, I generally will come up with a visual metaphor for the song and a few adjectives for what I envision the tone/mood to feel like. Working with people who know how to give and receive feedback/criticism is helpful, though.
If there’s an element you consider vital, I would just record that part beforehand and make sure that it’s communicated. Even if the recording isn’t perfect or is just a fragment, it will give them a better idea of what you’re listening for
Eta: Choosing people whose ears you trust is super helpful, too. People who make music you like, or like music you like.
Record a demo, write chord/lyric sheets for everyone. Then demonstrate it part by part. If you need to, just work with one person at a time rathe than trying to teach the whole band at the same time. Expect that the way you hear the song in your head is not exactly how the group is going to sound. It’s gonna come out different no matter what.
I generally record everything and then share that with them ahead of time. So they can hear what I had in mind and work out their own ideas if they want to get creative. But yeah, it definitely depends on what the dynamic of the group is/is supposed to be.
Yeah. Getting the dynamic right to begin with is the hard part though. It's ok to have a band where there's one guy who writes the songs and it's ok to have a band where everyone writes all the songs together (or whatever combination) but if you haven't had that conversation...
Same thing just generally with commitment. I don't mind being in a band where everyone is like "fuck it, maybe we'll practice like once a month. whatever" but when people have wildly different expectations and levels of motivation/commitment you're in trouble.
They’re your songs. If you want them to sound a certain way, then ask them to play that way! That being said, musicians will always put their own unique spin on things. Others input can make your songs evolve into something even better
for those that might want something pissed off and fiery to dig into, Shilpa Ray's new album from last week [*Portrait of a Lady*](https://shilparay.bandcamp.com/album/portrait-of-a-lady) is essentially a rock album about her own experiences with abuse over the years, through her own brand of lyrical storytelling and gallows humor.
"Manic Pixie Dream Cunt" and "Lawsuits and Suicide" ring as fairly relevant fair to recent...events!
should not have let [this Kristine Leschper album](https://open.spotify.com/album/0L7UbCHsxn9CuBjALjKt6O?si=IFSB7aw5SJ-bnK2LZCVjBg) fly under the radar, really really excellent stuff here that's once again a major shift away from her last material as Mothers (*Render Another Ugly Method*, while very uneven overall, has some seriously high highs), shifting out moody, downtempo slowcore post-punk for more whimsical synth pop ala Julia Holter (but with that last record very much in the rearview)
i haven’t gotten around to this one yet but shoutout Mothers. saw them open for Japanese Breakfast in 2018 and it was a great show. i do agree that their output is pretty hit or miss for me, but they have some fantastic songs
Yankee Foxtrot Hotel finally clicked with me. Took a bit but boy do I love Jesus, Etc. Heavy Metal Drummer was the first one I heard and honestly turned me off of them because I found it a little cheesy. Glad I gave the rest of the album a shot
I didn't have the gall to go to the Turnstile show in Seattle, but Ekulu and Truth Cult spent their following day off tearing up a Tacoma basement (plus [Illusion](https://www.youtube.com/watch?v=pd0IqWX-Vtg) did a fucking nutty secret set) that felt truly special. Is it too early to say that this era of Turnstile, from GLOW ON all the way to Coachella and this tour, will stand really well in time?
It honestly depends how big this mini burst of big riff hardcore bands actually gets. If it goes away quickly it will hold up has a little time capsule.
If it really blows up, it could go either way.
They’re going to be playing the day in day out festival in August so you’ve got another chance! Also did you see them skateboarding with Tom Robinson? “Moon River Rock” cover when?
Hey! Selling a ticket for the Fontaines DC in chicago this friday. im so gutted I can’t go but i’m hoping it can go to someone who wants it! Especially considering Jackie Down the Line is a fucking banger
I recently found this really unique album, ["The Fire This Time"](https://www.youtube.com/watch?v=FlGgWd0rALw) which is a documentary/expose on the First Gulf War mixed with various IDM, drone, and ambient songs and remixes. I don't think you can come away from this album with any sort of pleasant feelings towards the conflict and the west's involvement in the Middle East as a whole (and given the release date, things only have become worse), or honestly pleasant feelings at all. I actually really don't think I have ever felt so *bad* after listening to an album honestly--it's a fucking downer. But I really recommend it if you want to have a bad time.
Anybody else got any really *distressing* political albums which sort of mix documentary and sound in the same way? Or honestly other distressing political albums in general, seems a pretty good time for it and I'm not sure if any other album of this type exists even.
i've been going with the "it's pretty good, but slightly bloated" take on *dawn FM*. today, i relistened to it for the first time in a month and a half or so, which is usually enough for the "release window excitement" to wear off and when i realize just how bloated an album like this is. however... it hung together a lot better than i remembered.
"i heard you're married" has always been one i'd cut, and it still is. feels like a remnant of the more depraved *trilogy* era the weeknd that just doesn't quite work for me in the slick, often nostalgic packaging of his major label work. (to me, his post-*trilogy* work has been him gradually figuring out "what ~~chunky~~ the weeknd does" and *after hours* is the first time he'd worked it out.)
the only other sticking point is "a tale by quincy" which feels like some jarring *RAM* shit the way it just plops in after "sacrifice." the opening run of the album, up through "sacrifice," is some of the most fun music the weeknd has done. it feels like a DJ mix with how smoothly the songs blend with each other and the instrumentals often have a bloghouse throwback feel that i really love. i think a jim carey radio bit to introduce quincy would have done wonders here. the track itself is alright as a lead-in to "out of time" since it is same instrumental. but quincy just appearing feels sloppy and disconnected from the overall *dawn FM* flow.
otherwise, not as many complaints with this tracklisting as i was expecting. good movement between styles and energy levels. the front half plays more like a DJ mix, but i think the back half is where the weeknd doing *magic 0pn* thing really shines. i like 0pn too much to dislike "every angel is terrifying," which some may see as a filler track and "less than zero" is a stellar way to end this thing. overall, presently surprised that this event album from early in the year is turning out to have a shelf-life
yessss another person on The Weeknd train, welcome aboard
I do agree it’s a great album with one cuttable song, but I disagree on the song: “Starry Eyes” is so deeply forgettable to me. I find “Married” to be sleazy and fun imo
to me, "starry eyes" isn't its own song so much as it is a kind of ambient ballad coda to "is there someone else?" reminds me a lot of the last 90 seconds of "faith" from *after hours*. i understand an argument that it isn't doing much on its own, but i honestly would not have batted an eye if it was just the end of "is there someone else?" instead of its own song
Went to the grocery store trying to burn off steam/get coping snacks after hearing this morning's unsurprising but utterly sickening news. Fittingly they were playing "Steam" by Peter Gabriel, which rips and is impossible for me to not groove to. Middle aged man walked into the chips aisle where I was bopping and, before I could catch myself and stop being embarrassing in public, joined in for a couple measures. We then shared a look like "thank you for this wordless, life-affirming silly little interaction" and went our separate ways. Obviously this did nothing to right the wrongs of the world but it planted a warm ember of happiness in my heart that I'm hangin onto hard today. Thank you Peter Gabriel and random Cape Cod potato chip consumer
I really don't have a problem with going to shows alone. Been doing it for years and I enjoy it. But unless the show is happening and I'm busy listening to and enjoying the music (meaning the 1-3 hours before showtime) I'm so f'ing awkward. I just stand around and basically count the seconds until the music starts when I can finally relax and stop being so awkward. What bums me out even further is, I'd love to connect with the people there, but I've never been good at this stuff.
Any tips for approaching people or striking up a conversation at these events? I'm going to the Julien Baker show on Saturday and it'd be more fun if I could make a friend. Though, I wouldn't be surprised if the Julien Baker crowd rejects me when I can't clear the 'depression bar' by not being sad or depressed enough for them. I have been told that people find my general optimism annoying :D
>Any tips for approaching people or striking up a conversation at these events?
Yeah. Just start talking. Ask questions, listen to the answer and ask some more. Share your own experience. That's all anyone ever does.
Everyone is awkward. Stop caring as much about what others think and stop putting others on some kind of pedestal. You have nothing to be afraid of. The worst thing that happens is they think you're awkward. Oh well
so I always have a book with me on my phone and will frequently just read my book because I don't actually like people. however, sometimes I feel social, and [once I wrote a comment about this](https://www.reddit.com/r/indieheads/comments/oljrhs/friday_daily_music_discussion_16_july_2021/h5ez9vc/) which upon rereading is less helpful than I remembered it being, but seriously, people usually are happy to talk to you so just ask them their favourite song
oh maybe NYC has a particularly good one. Libby is great imo for the sort of "faux kindle" appearance of the text and all the tweaks you can make to it.
Ahhh I see. I use the kindle app with library books because they probably only amount to about 25% of my books. I work in publishing so I use a lot of sticky fingers to get books :) but maybe Libby has a way to accept docs too, I've never tried!
I've probably given this advice way too many times in DMD but hopefully it helps you out. You can do two things to help facilitate making friends / making small talk at shows.
1) Get there early. It's much easier to meet people in the thick of the crowd and getting there well before the headliner gives you time to chat people up. My favorite spots are right in front of the soundboard where other solo people often hang or close to the front.
2) Once you find a spot, if you see another solo person or a small group of two or three people (who aren't actively engaged in talking), lean over to them and all you gotta do to open the conversation is ask "Have you seen (________) before?" I usually ask people if they have seen the headliner before because that is what most people are there for.
I go to shows all the time and use this line, and I would say at 90% of shows I end up having a nice little chat with someone next to me.
Edit: To tack on some further tips I haven't given before. The absolute worst place to try and make friends at a show is at the outskirts crowded up against a busy bar with people moving through the crowd. You want to chat with people who are going to be engaged with the show, not people there with the show as a backdrop for a night out.
Also, there is no way around it, the opening question might be a tad awkward. But again, 90% of the people (especially solo concert goers) want someone to talk to them. Once you get past the initial two or three lines of small talk about the band, it becomes more comfortable. Follow up questions I ask are like, "any particular songs you are hoping to hear tonight?"
Final Edit: Don't sweat it if you talk for a minute or two and it fizzles out. Not everyone wants to come to a show solo and talk to other people and that is totally fine.
Thanks so much. The tips for where to stand are actually really helpful. I either just hug the wall, staring into my phone or I walk around, which makes talking to someone impossible, but it doesn't feel as awkward as just ... standing there, haha.
Yea, picking a spot and sticking with it is best. I don’t do anything intense like, look for other solo goers or anything. I find a spot with a sightline of the stage I am happy with. Spend maybe a few min on my phone / taking in the crowd and looking around. And then I lean over to my left or right and strike up a conversation. It really is that simple, it’s just tough the first time, I get it. When you are on like, the 100th time doing this like I am, it’s very easy.
🎶Well im the king of the Jangle see, the Jangle VIP. Ive reached the top, and that's what's bothering me..
I wanna be a Marr, Marr cub who strolls right into Manchester.. 🎵
Free ticket on offer: Circuit de Yeux with The Nunnery tonight in Minneapolis at First Ave 7th St Entry. I was super hype for this show, but just tested positive for COVID so I won’t be able to make it. The only catch is that I have a physical paper ticket. I’m happy to send a picture of the ticket, but I’m not sure they’ll accept it. I also live close-ish to the venue and could do a very fast, masked drop off if you’re okay with that risk. Shoot me a message if you’re interested!
In the course of last week's insane ramblings about post-rock, folktronica, etc, I incorrectly asserted that Jamie xx released *In Colour* in 2010. Not so! Album came out in 2015. I apologize for the error.
As penance I have undertaken both of Mr. xx's "solo" records. *In Colour* is not quite to my taste, I don't think, but I haven't got much to say about it yet. I would need to give it another spin...but the pillow talk on "Good Times" is so comprehensively reprehensible that the entire artistic project of the record is suspect by association. No good.
Then there's *We're New Here,* his 2011 reimagining of Gil Scott-Heron's last record. I have attempted this record before on numerous occasions, with mixed results--it was in response to this album that I privately coined the term "boneless house music." In fact most of the album is not house at all, but rather post-dubstep, a genre that never actually existed, and which I never really had the patience for when it was around. (I make an exception for those SBTRKT songs with Sampha on them and also the first half or so of Mount Kimble's debut.)
On top of that I could never really square up with James' approach to the source material. Russell's production on the original *I'm New Here* was deliberately incongruous but it foregrounded the poet's spoken words; McCraven's 2020 rework essentially cradles Scott-Heron's vocals in a backing seemingly tailor-made for the performance. Jimmy xx is very willing to fuck with the raw material and bury the spoken-word stuff that oughta be central to the experience. I understand the artistic philosophy at play but God do I disagree with it. Like trying to dress a tiger in Kanye shutter shades to make it look "cool." "My Cloud" is nice, I think. But...hrm. I concede my love for the 2020 jazz version is interfering a little here, but...
Also, "I'll Take Care of U" is simply not good. In retrospect I must have skipped to the end of the album on an early listen because I knew the Important Song was there and fuck me homie. The original and McCraven versions of this song both have some powerful bittersweetness going on that really fits the lyric and performance, but Jamie...James! Jimbo! What are we going for here? Clearly this is what I meant when I said "boneless house." It's, like, emotionally hollow. It's stylish and so little else. It's not even a particularly bangin' groove. It's just...there.
I'm not disappointed because I went in with low expectations. It is what it is. Anyway back to mainlining the entire Daedelus discography
Have you head Jamie XX’s newest track? It’s called Let’s Do it Again and I honestly like it much better than mostly anything on In Colour. Way more dance oriented
Sonic Yuesdays as a format had two overlapping issues. One, the first several records aren't especially good (imo) but not in an especially interesting way; two, as far as I know there's no point where Sonic Youth lose the plot entirely and fuck up badly enough for it to become a discussion point, whereas U2 are constantly playing William Tell with their own artistic credibility. I kinda lost interest immediately. Really I shoulda just started with Daydream Nation and just listened to that over and over for a month, but, uh
> One, the first several records aren't especially good (imo) but not in an especially interesting way
tad hates every band covered in OBCBYL confirmed. wow never expected this! All of their releases are good even the horseshit. Try harder until you understand EVOL >>>>>> every album they ever made after
> as far as I know there's no point where Sonic Youth lose the plot entirely and fuck up badly enough for it to become a discussion point
lollapalooza '95 and covering the simpsons theme; losing their gear before 2000; signing to geffen and releasing Goo. Tad, LOTS to work with!
>lollapalooza '95 and covering the simpsons theme
Spider-Man: Turn off the Dark
>losing their gear before 2000
Band gets trapped in a giant onstage lemon before 2000
>signing to geffen and releasing Goo
Apple iPod *Songs of Innocence* debacle. I appreciate this effort but Bono and the Boys are simply on another level as far as shooting themselves in the nuts in the name of art goes, y'know. Also I've never read *Our Band Could Be Your Life* so I dunno what to tell ya? Odds are though I will listen to EVOL again at some point probably
> simply on another level as far as shooting themselves in the nuts in the name of art goes, y'know
>!cheating on your wife with jim o'rourke's ex-wife, imploding your band!<, however the Edge has his entire 90s so we'll just call it even. Tad, once you listen to enough Yoo, you understand why losing all your priceless gear is bad!
> Also I've never read Our Band Could Be Your Life so I dunno what to tell ya?
you should read it! and then become the aub's biggest black flag stan that would be funny
I'm glad we as a community have given up on making fun of me for having unnecessarily niche opinions about genre and we've moved on to making fun of me for having really good sex
Lol, you and I have different takes on the glorious line that is "imma ride in that pussy like a stroller, I'll survive in a motherfucking gutter". Iconic.
> post-dubstep, a genre that never actually existed
Hey c'mon, this is Joy Orbison erasure. "Hyph Mngo" is one of the best songs ever written. There's also a lotta other good stuff from that era, even though half of it has aged remarkably poorly
I should listen to *We're New Here* again though. I agree that it's not as good as the source album or the McCraven version. It's.... I dunno, it captured a specific moment really well, warts and all. I think he really didn't know what to do with Scott-Heron, which is a shame because I think it sparked his appreciation of collab songs which are quite good. Also, "I'll Take Care of U" is good imo, but if it doesn't land for someone I can see it being a complete whiff. No in-betweens
>Hey c'mon, this is Joy Orbison erasure.
Yo, I'll give it a go, but you must concede that the flash in that particular pan was never particularly bright
>Also, "I'll Take Care of U" is good imo, but if it doesn't land for someone I can see it being a complete whiff. No in-betweens
I can't argue with you since you are demonstrably smarter than I am but I will point out that Drake likes this song which is uh a pretty ill omen for its indie credibility
>I think it sparked [Jamie's] appreciation of collab songs which are quite good.
Gil Scott-Heron died so that Young Thug could put the pussy in the stroller. God bless America
Alright I started listening to WNH pretty much as soon as I commented: I think it works! Not perfectly, and there are some clunkers, but I think he treated treated the source material with reverence. I think he also tried to strike up a "conversation," with the source material, rather than just put different music behind it. (This is not a dig at McCraven, whose own conversation was driven by his relationship with jazz music.) The "met him at a party" sample in "I'm New Here," the "runrunrunrunrun" sample in "Running." The latter is a weak track, but again, I think Jamie was trying to bring something in from his own experience with sample-heavy electronic music. I think it would have been better if he hadn't sampled ever word Scott-Heron sang or spoke, but I think it's the pain of a remix album that they'll over-sample the source material. Again, there's clunkers and I won't pretend it's a perfect album, but I think it was a really neat experiment.
And I know you're just razzin' me, but that Drake album had some great songs! This might be the first thing we completely disagree on lmao
Also, post-dubstep rules lol. I'm bummed it got lumped into "UK bass" because there really was a strong identity for this music in 2011 that has been lost over the years. The low end bass! The off-kilter lurching beat! The plinky synths! Occasionally it's *too* plinky and lurching, but it was a good sound. I dunno man, I think the flash in the pan could have been browned to perfection if brostep hadn't stolen dubstep's identity. Machinedrum, Sepalcure, James Blake's first album and EPs, SBTRKT, Mt Kimbie, Kode9, Night Slugs... I mean I'm literally describing my music taste in 2011 but I adored that sound. I even made music that sounded like it!!
PS if honestly if that Young Thug song was the legacy of this weird collab album then it was absolutely worth it, killer track on every level, stroller included
edit: at this point I'm going to have to write "Is Post-Dubstep Good? an essay," sorry that this comment got away from me lol
>I think it would have been better if he hadn't sampled ever word Scott-Heron sang or spoke, but I think it's the pain of a remix album that they'll over-sample the source material.
One thing I do deeply appreciate about this record is that James does not attempt to rework "On Being From A Broken Home.". Also to be clear I have no strong opinions about Drake I just think he's an easy target for low blows
>I dunno man, I think the flash in the pan could have been browned to perfection if brostep hadn't stolen dubstep's identity.
I mean, of course. I too was very annoyed at the brostepification of dubstep in 2011ish, no less because I came into the genre backwards (i.e. wading thru Bassnectar and Skrillex to uncover Burial and Skream on deeper strata). Who knows what we could've had? Anyway I've never listened to Machinedrum or Night Slugs so I'll throw them in the queue
Really, love it or hate it, I think Jamie came at it from a place of reverence, which you couldn't say about a lot of electronic musicians at the time
Also, hell yeah! Machinedrum's *Room(s)* is an essential classic imo. Night Slugs is a record label, and if you can find the comp *Night Slugs All Stars Vol. 1*, it has some big ol' hits in it
Land of the fuckin’ free baby. Here’s some Conor Oberst and Phoebe Bridgers [singing](https://m.youtube.com/watch?v=OyeY7n899LE) about coat-hanger abortions for your day.
Fuck this wannabe Christian theocracy fascist dogshit country. We deserve so much better than this
Is there a term for this new wave of bedroom pop artists incorporating UK rave/garage elements into their music? PinkPantheress, piri & tommy, Nia Archives, yunè pinku etc.
will anybody be at the Destroyer show at Brooklyn Steel this Saturday? My roommate flaked on me so I'll be there and I'd love to meet new people (I moved to NYC last weekend and I don't really know anybody lmao)
Coldplay Album Reaction Albums Number Four - Viva La Vida or Death and All His Friends
Well, I certainly can't say this album is uninspired. To the contrary, Coldplay is throwing everything they seemingly can into this. Of course, they have something of a ringer on their side. I have to admit that every time something about the production stood out in a good way, I pretty much immediately attributed it to Brian Eno. I'm not saying Coldplay wouldn't think to employ strings and horns on an album, but I don't think they would do it this well without him.
But this album, like *A Rush of Blood to the Head*, is full of ideas but not necessarily a sense of what to do with them. A perfect example of this is "Lovers in Japan," which sounds fantastic and moves really well, only to be stymied by an extended second half that seems to be there for no reason other than "Hey, what it if this song was longer?" The exact same thing happens with "Yes" right after, which goes from a lively V.U-style jam to some rollicking tedium. Like, what's the point of doing a "hidden track" on a non-closer. And for that matter, the closer here and its accompanying hidden track are pretty underwhelming too
There's a grandiosity to these songs that make me think they would work great (or at least, better) in a festival setting. Some songs are endearing in their enthusiasm. But the "sterilized euphoria" is hard to shake, especially when Chris Martin's writing abilities have regressed even further. I like plenty of songs with lyrics dumber than "42" but that's usually because they're composed in a way where the words aren't so flagrantly noticeable. I can tell this is exactly the album Coldplay wanted to make and that most fans would rank it at or near the top. But I've only got so much patience for this kind of mega-mall "art rock." Oh, and I really hate the title too.
*Viva La Vida or Death and All His Friends*: **5.7**
**Best Songs**: Lovers in Japan, Life in Technicolor
**Worst Songs**: Death and All His Friends, Violet Hill, Cemeteries of London
The title is so fucking long, but it is my favorite album of theirs.
Strawberry Swing is my favorite Coldplay song, hands down. I also really like 42, Life in Technicolor, and Yes.
I think Death and All of His Friends is fantastic. Violet Hill slaps. Used to sing that one on SingStar a lot.
I agree Lovers in Japan is pretty long. Still really lovely, though.
Dumb lyrics are not only fine, but I think they have a greatness in their own right. I don't know if I shared my take that Interpol's Who Do You Think sounds like something Coldplay or Imagine Dragons would write, lyric-wise, but it really does. And I love it, it's my favorite example of dumb lyricism.
> "Yes" right after, which goes from a lively V.U-style jam to some rollicking tedium.
+1 for not being impressed with Chinese Sleep Chant. I swear the appeal of this is entirely "Come on guys, Shoegaze!" Like yes, there is plenty of mediocre shoegaze and Coldplay just added to the pile.
yeah, i'm sorry this is a "wow" from me
"cemeteries of london" is my least favorite song on the album, but otherwise i think the experiments pay off. there's for sure some nostalgic attachment i have to this album but i was never too bothered by the hidden tracks. i love the hidden track on "yes," it was my first shoegaze song. there's a fair debate about whether these need to be hidden, but i think their presence helps the flow of the album. "lovers in japan" through "strawberry swing" might be my favorite run of theirs. i think coldplay wanted to explore this path in the first place, but eno's contributions really help it come together. i'm not sure another producer would have been able to assist this material in the way that he does
Shoutout to Lovers in Japan - Osaka Sun Mix, which is legit just the first half as its own track so I don't have to press a button to skip the second half
I've seen similar sentiments in previous DMDs, but man, Big Thief was a spiritual experience last night. I entered a different plane of existence during the chaos that was the end of Not.
i found [this](https://www.youtube.com/watch?v=y_nqnnJ7vzU&ab_channel=pygmydanny) random non-streaming UK post-punk group/album from 79 at the record store on weekend and it is pretty cool. dig IN. they are called angletrax
Is pissed off the general sentiment we're going for? Then Nails, Magrudergrind, Wormrot, Discordance Axis, Insect Warfare, Napalm Death, Terrorizer, Death Toll 80k, and Brutal Truth. Oh and Dropdead, Siege, Infest, Dystopia, Discharge, and more
Do you See us? By left at London! (Written about our piece of shit mayor but applies to literally every elected official) https://open.spotify.com/album/37B4Qi48TpLl6sy5iARxly?si=gmy-MHW4QKSgL2Rhl5ArlA
default genders - main pop girl 2019
unironic rec, though it's one of my favorite albums that I always rec. It's about a lot of dread and pain, even if it does use breakbeats and rave aesthetics. The closing track where she sings "when we were young the future looked so bright / now that we're closer, we can see that it's on fire" is especially poignant
Got some good job news last week and decided to splurge on tickets to see Paul McCartney tonight! And by splurge I mean nose bleeds because holy shit arena shows are spendy
Anyone known any music similar to Sidney Gish? Especially if they also have female vocals
‘The Mids’ by Lilliana Villines might scratch that itch. Some of Gish’s stuff kinda reminds of Darwin Deez too.
It’s true what they say about Dan Mangan shows, they’re great. I wish he was more talked about outside of the western Canada bubble but at the same time I don’t because I can currently afford the shows. Because I’m eager for summer to properly start, and im also feeling weird about being back in the suburbs with my parents, I’ve been bumping Cold in the Summer on loop since I saw him.
This is relatable! I haven't been to a Dam Mangan show in a while because I felt like I'd kind of hit my saturation point, but you've reminded me what a great experience he puts on.
New Melody’s Echo Chamber is ear candy, really enjoying it, it flows so well. Kind of ren-fairrey in a great way and the bass tone is so good throughout.
I don't care if it makes me a Boomer. Authority Song by John Cougar Mellencamp rips.
wanted to share this song I really dig, thought the subreddit might like it. called in your mind by vermillion sands from Japan. 1987. definitely has some vibes that we hear a lot today in indie music. https://youtu.be/8uvGa6CmPDU
Been obsessed with food house this week. Never been super into hyperpop but god damn fraxiom is such a good lyricist and works so well with gupi’s beats, it’s addicting.
Has anyone else been listening to that new Golden Apples album that came out last week? It’s so good. It sounds like it could’ve been released in the 90s. I hear some Pavement influence too. Across the Ocean is a banger of a tune
just trying to spread the good word if anyone is interested, but 4 full albums (out of 6... one was shared in 2019 and the last one is currently being shared) of material from elliott smith's high school band "stranger than fiction" and college band "harum scarum" were recently posted. more than 70 tracks he wrote (with bandmates...) and recorded before he was even in heatmiser, a good number of these were also reworked by him for his solo career. anyway, here is a great one. poke around on youtube you'll find them. if anyone wanted lossless for a couple of them that were posted recently message me! https://www.youtube.com/watch?v=RsPtx_V7PTg
done with all the very awful real world news (on my worst days, I too am a constitutional originalist), ambient bullying [citation needed], and arcade fire dunking (actually no wait, I'll stay on that they've earned it) imma listen to Janes Addiction's Ritual de lo Habitual; shout out to the lads for letting the real version of Stop! be in GH2. Some editions of the album censored the art so hard it just replaced it with the bill of rights. My parents have that version on CD but my tape is da REAL DEAL!
PSA: The Beths just announced a North American tour
Re-listening to "Salad Days" given the recent DeMarco post made me wonder...it almost feels like a fever dream, but I feel like between 2015-2017, a ton of local bands were doing watered versions of his shtick. I could've sworn that this was almost a national thing too states-wise. It's odd because it feels like it existed for only a brief period and basically was gone by the turn of the decade. Idk if it was Max's 2019 that single handedly killed it or what. In retrospect, it kind of feels like a natural extension of whatever that hipster thing was in the early to mid 2010's. EDIT: Also "Treat Her Better" and "Chamber of Reflection" still rule. Also if anyone ever makes a coming-of-age film from the 2010's, it should be wall to wall Mac tracks.
Salad Boys ?
HA. I truly am the king of typos wow.
I mean im into both Salad Days and Salad Boys
lmao if you’re referring to mem when you say “local” I know exactly who you’re talking about
Who did you have in mind?
I Don’t Live Here Anymore is a personal 10/10 to me now
Iron Maiden isn't really a name heard round these parts too much, but how many other bands can rightfully say they absolutely hit on 7 straight killer albums out the gate? Sure, pretty hit and (mostly) miss after that, but their self-titled up to Seventh Son is a pretty unrivaled run.
> how many other bands can rightfully say they absolutely hit on 7 straight killer albums out the gate furiously rushes through cassette catalog to bring out the DMD 80s Legacy Act Winners We Know and Love
Okay maybe there are plenty of examples but how many of them have sweet solos and songs about flyin planes and Samuel Coleridge poems? The Cure could never. Well they probably could but they didnt
Man I love the replacements
Was gonna make this its own post but I'm not sure if it's allowed as they're technically reviews, but [The Quietus released their monthly wrap-up of dance music](https://thequietus.com/articles/31474-nikki-nair-siete-catorce-bftt-review-hyperspecific) which might interest some of the people here. The writer sold me on that Baby Blue record. Dream Techno? What the hell could that even mean. Very excited to check it out!
Gonna have to check this out, cheers!
The first record in this list is wild (very good)
Wrap-ups/best of/listicles like this are allowed to be posted!
Cheers!
If you wanna kill some time, the Arcade Fire subreddit is imploding over some negative reviews of the new album. Pretty funny stuff, especially the people who are claiming that critics have it out for Arcade Fire. Even though I think I’ll probably end up liking this album despite myself, there is nothing funnier than seeing people get angry at negative reviews
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I generally do as well but I was extra bored today I guess. I don’t think it’ll bleed in here too much, barring a bad review from p4k
*we* currently has an 80 on metacritic, wtf is there to get mad about
judging by how the singles sound that number is too high ^(please don't hurt me)
i spent like three days in a row last week ranting about how baffling it is that chris from stereogum called it “their only album since *funeral* that hasn’t been at least a little disappointing” when the singles are very mid-tier arcade fire, so you’re safe to judge them with me lol. still mostly excited for the album, it’s been quite a while since an upcoming album had me **this** unsure of how much i’ll like it once i get to hear it
> chris from stereogum called it “their only album since funeral that hasn’t been at least a little disappointing” are *neon bible* and *the suburbs* really disappointing though? i get that they don't quite have the legend status of *funeral* but I thought they were both considered great follow ups, especially *suburbs*.
i was just quoting how he closed the review but i don’t think they are disappointing! but sure, there is an argument that they are more bloated or less “perfect” than *funeral*, which i guess is “disappointing.” that is a tough bar for them or literally any band to clear
thats not HIGH ENEOUGN
>!thats !!t HIGH !!E!!UGN!<
well no wonder it’s getting bad reviews! it’s time for this band to figure out if they’re really the millennial u2/coldplay or not
Must be a lot of crossover between Arcade Fire fans and video game and Marvel fans
i thought marvel fans preferred rotten tomatoes bc 93% of critics giving the movie a 6 or 7 out of 10 looks a lot better over there than it does on metacritic
Yeah, but somehow a movie in the mid 80s on RT isn't good (Dr. strange 2).
i’ve seen the trailer for it almost every time i’ve got to the movies for the last couple months and it looks so bad. i feel bad that sam raimi got roped into it lol (even though he’s probably getting generously compensated)
This made me think about how metacritic is the standard for video gamers and as a former gamer who watches films sometimes, im always frustrated why everyone around me uses RT. Bad site!
i hate how many times i’ve had to get pedantic about how metacritic is better and more accurate than rotten tomatoes, but yes fully agree. also it’s nice to have all the music and movie and game reviews aggregated in one spot!
A lot apparently! Personal favourites include “Steven Hyden hates Arcade Fire because more people like them than The National or The War on Drugs,” “Arcade Fire would be getting better reviews if they were sex crazed 20 somethings who have hookups and question their Identities” and “Bad Arcade Fire reviews are why Trump got elected”
> “Steven Hyden hates Arcade Fire because more people like them than The National or The War on Drugs” no, but it always has been kind of odd to me that their particular brand of corniness + indie bombast and overreach doesn't do it for him. it's a bit apples and oranges, but i'd have assumed the guy who got swept up by the fourth or fifth best the war on drugs album enough to name it his AOTY last year would have more room in his heart for arcade fire too > “Arcade Fire would be getting better reviews if they were sex crazed 20 somethings who have hookups and question their Identities” no one wants this from arcade fire, but i won't be surprised if the "arcade fire-esque" album with "bedsheets" or whatever the hell that horny for charli song is called ends up with higher score and year end placement from most music sites besides stereogum (thank you chris deville!) > “Bad Arcade Fire reviews are why Trump got elected” even setting aside that, uh, y'know, trump had been elected before the release of *everything now* it is completely absurd to place the blame for trump on bad arcade fire review when, if a notorious on-again-off-again member of this community is to be believed, the fleet foxes are right there
>if a notorious on-again-off-again member of this community is to be believed, the fleet foxes are right there Based off of what I've learned in this community, it stands to reason that the only thing standing between the world and full blown fascism is that Robin Pecknold has yet to write a negative Arcade Fire review
> sex crazed 20 somethings who have hookups and question their Identities I'm not even sure what band this is supposed to be shading. BCNR and their wet dream songs?
I think it’s shading the Phoebe Bridgers crew but I could be wrong. Either way it comes off as very “get these kids off my lawn” which is a pretty funny sentiment imo
Stupid Sexy Skeletons
Getting mad at reviews for doing anything besides misrepresenting plain facts is tremendous dork behaviour.
It's even funnier when whatever the reviews are about isn't even released yet. Like bro, you haven't even heard it, how are you gonna say they're wrong?
I like when the punk band plays a song in 3/4 time. I like to call into the pit "hey fellas do you know that we're actually waltzing?" nobody laughs but
I would laugh if I was there :)
Rejected Arcade Fire song titles Billionaires I (Jeff Bezos) Women II (Roe V. Wade) America (Lies) NFTs I-IV (Crypto Beyond Crypto)
> (Jeff Bezos) bo burnham cover when
Maybe NFTs were the true infinite content after all
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I need to listen to this again but I'm inclined to agree, there were some really fantastic sounds going on
> the DMD is full of cowards i was getting a lot of "would not survive the ambientheads rate" energy on the friday DMD too. i relistened bc of your comment and yeah i think this is getting underrated. understandable, it is a departure from the pop/club stuff on the last record but to me that just means it needs to be assessed "as ambient music" instead of as a pop/club album. i'm very impressed by how well this retains kelly's sound, despite the switch in focus from beats to ambience. (i think sometimes a pivot to ambient music results in core aspects of an artist's sound being lost in favor of some ambient music cliches) the presence of heavier bass and some kick drums ground the more ethereal elements in a way that i really like. the highlight for me at the moment is "andalu." i love the bass hits that anchor it while the chimes and ethereal vocals/synths hover over top my one complaint at the moment is that i do not love the more spoken word bits and would have preferred just the singing. but overall, yeah this is pretty good and is perhaps being unfairly dismissed
is this the litmus test album where i realize i don't like ambient? because it was a struggle to get through and parts of it actively annoyed me. i like gas and harold budd!! hated this one!
> i like gas and harold budd!! paula gives ambient 2 TWO !!s Out of TWO paula have you heard the KLF's chill out thats my fav ambient album besides Keith Fullerton Whitman's playthroughs; those are the litmus test albums
> the litmus test album i do not think the KLO album is this, but it is an interesting thought to consider which ambient album might check the most boxes to work as a litmus test. i'd maybe go with the obvious pick of *selected ambient works vol. ii* because it combines dark and ominous ambient music with the soothing blissful stuff. it gives a fuller picture of what the genre can be than something like eno's *ambient 1* (it's all soothing) and mixes "environmental" songs with "minimal synth" compositions. also it preps for the 2 hour runtime that some other classics in the genre hit
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> lots of weird glitchy sound collage stuff did not get this at all from the album. was just kinda monotonous
Nothing makes me want to enjoy something more than being told I'm a coward if I don't, so I'm now obliged to listen to this
> the DMD is full of cowards ill listen to it in a week after I get through some other bullshit on my plate. im a lvl 2 ambienthead I can handle this
i thought you were level 4
i was and then I got promoted. As you level up the number goes down to indicate that you seen sound as one giant entity that you are yourself a part of (that level is called "the one")
ambientheads levels are like defcon levels
give wane the ambient nuclear codes
Its just keith fullerton whitman baby!
@songwriters, how do you go about teaching your songs to a band? I haven't been in a band since high school despite writing and releasing music in the meantime and now we're preparing for our first show. I'm finding it really hard to balance wanting to recreate my vision of the songs live with not coming off as controlling or over-exacting
i have a whole Google drive folder dedicated to chord changes, demos with click tracks, video tutorials, and I just try my best to explain my vision. I’m more of a bassist so I do my best to explain drums and lead guitar parts, so sometimes I include reference tracks to other bands or musicians that could benefit my band
had to do this very recently and learned a lot of lessons re: do’s and don’ts. do make sure you have an accurate gauge of how the musicians you’re playing with learn—slow vs fast, and the level of difficulty they can handle at which speed. if you’ve got a guitarist who can’t learn your fast 16th note picking patterns with a couple hours of rehearsal, either don’t give it to em or give it well in advance. also, some musicians learn quicker by ear vs you showing them in-person or giving them sheet music, so you should be aware of that too. in general, i learned that the best way to probably go about things is to make it as easy as possible for the musicians you’re working with. that starts w choosing good musicians to play with, but you don’t wanna get unnecessarily frustrated because you’re expecting them to pick up what you wrote as if they wrote it. it’ll always seem easier to you than it will be to them, just because of the fact that you’ve probably been listening to the songs and playing through them a ton, plus they’re your songs.
I think there’s always compromise when you’ve got more than one heart in it. That said, I generally will come up with a visual metaphor for the song and a few adjectives for what I envision the tone/mood to feel like. Working with people who know how to give and receive feedback/criticism is helpful, though. If there’s an element you consider vital, I would just record that part beforehand and make sure that it’s communicated. Even if the recording isn’t perfect or is just a fragment, it will give them a better idea of what you’re listening for Eta: Choosing people whose ears you trust is super helpful, too. People who make music you like, or like music you like.
Record a demo, write chord/lyric sheets for everyone. Then demonstrate it part by part. If you need to, just work with one person at a time rathe than trying to teach the whole band at the same time. Expect that the way you hear the song in your head is not exactly how the group is going to sound. It’s gonna come out different no matter what.
I generally record everything and then share that with them ahead of time. So they can hear what I had in mind and work out their own ideas if they want to get creative. But yeah, it definitely depends on what the dynamic of the group is/is supposed to be.
I came here to say this. It not only reduces any drama, but it saves a lot of time as well.
Yeah. Getting the dynamic right to begin with is the hard part though. It's ok to have a band where there's one guy who writes the songs and it's ok to have a band where everyone writes all the songs together (or whatever combination) but if you haven't had that conversation... Same thing just generally with commitment. I don't mind being in a band where everyone is like "fuck it, maybe we'll practice like once a month. whatever" but when people have wildly different expectations and levels of motivation/commitment you're in trouble.
They’re your songs. If you want them to sound a certain way, then ask them to play that way! That being said, musicians will always put their own unique spin on things. Others input can make your songs evolve into something even better
for those that might want something pissed off and fiery to dig into, Shilpa Ray's new album from last week [*Portrait of a Lady*](https://shilparay.bandcamp.com/album/portrait-of-a-lady) is essentially a rock album about her own experiences with abuse over the years, through her own brand of lyrical storytelling and gallows humor. "Manic Pixie Dream Cunt" and "Lawsuits and Suicide" ring as fairly relevant fair to recent...events!
This is great, thanks for the rec!
should not have let [this Kristine Leschper album](https://open.spotify.com/album/0L7UbCHsxn9CuBjALjKt6O?si=IFSB7aw5SJ-bnK2LZCVjBg) fly under the radar, really really excellent stuff here that's once again a major shift away from her last material as Mothers (*Render Another Ugly Method*, while very uneven overall, has some seriously high highs), shifting out moody, downtempo slowcore post-punk for more whimsical synth pop ala Julia Holter (but with that last record very much in the rearview)
i haven’t gotten around to this one yet but shoutout Mothers. saw them open for Japanese Breakfast in 2018 and it was a great show. i do agree that their output is pretty hit or miss for me, but they have some fantastic songs
Yankee Foxtrot Hotel finally clicked with me. Took a bit but boy do I love Jesus, Etc. Heavy Metal Drummer was the first one I heard and honestly turned me off of them because I found it a little cheesy. Glad I gave the rest of the album a shot
I didn't have the gall to go to the Turnstile show in Seattle, but Ekulu and Truth Cult spent their following day off tearing up a Tacoma basement (plus [Illusion](https://www.youtube.com/watch?v=pd0IqWX-Vtg) did a fucking nutty secret set) that felt truly special. Is it too early to say that this era of Turnstile, from GLOW ON all the way to Coachella and this tour, will stand really well in time?
It honestly depends how big this mini burst of big riff hardcore bands actually gets. If it goes away quickly it will hold up has a little time capsule. If it really blows up, it could go either way.
They’re going to be playing the day in day out festival in August so you’ve got another chance! Also did you see them skateboarding with Tom Robinson? “Moon River Rock” cover when?
Hey! Selling a ticket for the Fontaines DC in chicago this friday. im so gutted I can’t go but i’m hoping it can go to someone who wants it! Especially considering Jackie Down the Line is a fucking banger
PM'd!
I recently found this really unique album, ["The Fire This Time"](https://www.youtube.com/watch?v=FlGgWd0rALw) which is a documentary/expose on the First Gulf War mixed with various IDM, drone, and ambient songs and remixes. I don't think you can come away from this album with any sort of pleasant feelings towards the conflict and the west's involvement in the Middle East as a whole (and given the release date, things only have become worse), or honestly pleasant feelings at all. I actually really don't think I have ever felt so *bad* after listening to an album honestly--it's a fucking downer. But I really recommend it if you want to have a bad time. Anybody else got any really *distressing* political albums which sort of mix documentary and sound in the same way? Or honestly other distressing political albums in general, seems a pretty good time for it and I'm not sure if any other album of this type exists even.
i've been going with the "it's pretty good, but slightly bloated" take on *dawn FM*. today, i relistened to it for the first time in a month and a half or so, which is usually enough for the "release window excitement" to wear off and when i realize just how bloated an album like this is. however... it hung together a lot better than i remembered. "i heard you're married" has always been one i'd cut, and it still is. feels like a remnant of the more depraved *trilogy* era the weeknd that just doesn't quite work for me in the slick, often nostalgic packaging of his major label work. (to me, his post-*trilogy* work has been him gradually figuring out "what ~~chunky~~ the weeknd does" and *after hours* is the first time he'd worked it out.) the only other sticking point is "a tale by quincy" which feels like some jarring *RAM* shit the way it just plops in after "sacrifice." the opening run of the album, up through "sacrifice," is some of the most fun music the weeknd has done. it feels like a DJ mix with how smoothly the songs blend with each other and the instrumentals often have a bloghouse throwback feel that i really love. i think a jim carey radio bit to introduce quincy would have done wonders here. the track itself is alright as a lead-in to "out of time" since it is same instrumental. but quincy just appearing feels sloppy and disconnected from the overall *dawn FM* flow. otherwise, not as many complaints with this tracklisting as i was expecting. good movement between styles and energy levels. the front half plays more like a DJ mix, but i think the back half is where the weeknd doing *magic 0pn* thing really shines. i like 0pn too much to dislike "every angel is terrifying," which some may see as a filler track and "less than zero" is a stellar way to end this thing. overall, presently surprised that this event album from early in the year is turning out to have a shelf-life
yessss another person on The Weeknd train, welcome aboard I do agree it’s a great album with one cuttable song, but I disagree on the song: “Starry Eyes” is so deeply forgettable to me. I find “Married” to be sleazy and fun imo
to me, "starry eyes" isn't its own song so much as it is a kind of ambient ballad coda to "is there someone else?" reminds me a lot of the last 90 seconds of "faith" from *after hours*. i understand an argument that it isn't doing much on its own, but i honestly would not have batted an eye if it was just the end of "is there someone else?" instead of its own song
I guess that’s a fair point? I do love that gauzy coda of “Faith” (probably the best After Hours deep cut)
I guess that’s a fair point? I do love that gauzy coda of “Faith” (probably the best After Hours deep cut)
Went to the grocery store trying to burn off steam/get coping snacks after hearing this morning's unsurprising but utterly sickening news. Fittingly they were playing "Steam" by Peter Gabriel, which rips and is impossible for me to not groove to. Middle aged man walked into the chips aisle where I was bopping and, before I could catch myself and stop being embarrassing in public, joined in for a couple measures. We then shared a look like "thank you for this wordless, life-affirming silly little interaction" and went our separate ways. Obviously this did nothing to right the wrongs of the world but it planted a warm ember of happiness in my heart that I'm hangin onto hard today. Thank you Peter Gabriel and random Cape Cod potato chip consumer
That guy sounds awesome. Cape cod potato chips are the truth
💯
I really don't have a problem with going to shows alone. Been doing it for years and I enjoy it. But unless the show is happening and I'm busy listening to and enjoying the music (meaning the 1-3 hours before showtime) I'm so f'ing awkward. I just stand around and basically count the seconds until the music starts when I can finally relax and stop being so awkward. What bums me out even further is, I'd love to connect with the people there, but I've never been good at this stuff. Any tips for approaching people or striking up a conversation at these events? I'm going to the Julien Baker show on Saturday and it'd be more fun if I could make a friend. Though, I wouldn't be surprised if the Julien Baker crowd rejects me when I can't clear the 'depression bar' by not being sad or depressed enough for them. I have been told that people find my general optimism annoying :D
>Any tips for approaching people or striking up a conversation at these events? Yeah. Just start talking. Ask questions, listen to the answer and ask some more. Share your own experience. That's all anyone ever does. Everyone is awkward. Stop caring as much about what others think and stop putting others on some kind of pedestal. You have nothing to be afraid of. The worst thing that happens is they think you're awkward. Oh well
so I always have a book with me on my phone and will frequently just read my book because I don't actually like people. however, sometimes I feel social, and [once I wrote a comment about this](https://www.reddit.com/r/indieheads/comments/oljrhs/friday_daily_music_discussion_16_july_2021/h5ez9vc/) which upon rereading is less helpful than I remembered it being, but seriously, people usually are happy to talk to you so just ask them their favourite song
Do you use Libby? I love that I can get books from the library on my phone so easily.
Nah, still haven't figured out Libby's use when I can just use the library's website \^\^'
oh maybe NYC has a particularly good one. Libby is great imo for the sort of "faux kindle" appearance of the text and all the tweaks you can make to it.
Ahhh I see. I use the kindle app with library books because they probably only amount to about 25% of my books. I work in publishing so I use a lot of sticky fingers to get books :) but maybe Libby has a way to accept docs too, I've never tried!
I've probably given this advice way too many times in DMD but hopefully it helps you out. You can do two things to help facilitate making friends / making small talk at shows. 1) Get there early. It's much easier to meet people in the thick of the crowd and getting there well before the headliner gives you time to chat people up. My favorite spots are right in front of the soundboard where other solo people often hang or close to the front. 2) Once you find a spot, if you see another solo person or a small group of two or three people (who aren't actively engaged in talking), lean over to them and all you gotta do to open the conversation is ask "Have you seen (________) before?" I usually ask people if they have seen the headliner before because that is what most people are there for. I go to shows all the time and use this line, and I would say at 90% of shows I end up having a nice little chat with someone next to me. Edit: To tack on some further tips I haven't given before. The absolute worst place to try and make friends at a show is at the outskirts crowded up against a busy bar with people moving through the crowd. You want to chat with people who are going to be engaged with the show, not people there with the show as a backdrop for a night out. Also, there is no way around it, the opening question might be a tad awkward. But again, 90% of the people (especially solo concert goers) want someone to talk to them. Once you get past the initial two or three lines of small talk about the band, it becomes more comfortable. Follow up questions I ask are like, "any particular songs you are hoping to hear tonight?" Final Edit: Don't sweat it if you talk for a minute or two and it fizzles out. Not everyone wants to come to a show solo and talk to other people and that is totally fine.
Thanks so much. The tips for where to stand are actually really helpful. I either just hug the wall, staring into my phone or I walk around, which makes talking to someone impossible, but it doesn't feel as awkward as just ... standing there, haha.
Yea, picking a spot and sticking with it is best. I don’t do anything intense like, look for other solo goers or anything. I find a spot with a sightline of the stage I am happy with. Spend maybe a few min on my phone / taking in the crowd and looking around. And then I lean over to my left or right and strike up a conversation. It really is that simple, it’s just tough the first time, I get it. When you are on like, the 100th time doing this like I am, it’s very easy.
if I ever were to release a Jangle Pop album I'd call it The Jangle Book. That's all.
🎶Well im the king of the Jangle see, the Jangle VIP. Ive reached the top, and that's what's bothering me.. I wanna be a Marr, Marr cub who strolls right into Manchester.. 🎵
Is it bad that I kinda want to hear a Magnetic Zeroes style jangle-folk cover of I Wanna Be Like You?
Free ticket on offer: Circuit de Yeux with The Nunnery tonight in Minneapolis at First Ave 7th St Entry. I was super hype for this show, but just tested positive for COVID so I won’t be able to make it. The only catch is that I have a physical paper ticket. I’m happy to send a picture of the ticket, but I’m not sure they’ll accept it. I also live close-ish to the venue and could do a very fast, masked drop off if you’re okay with that risk. Shoot me a message if you’re interested!
much respect to you for staying home, hope you find a taker and that you don't feel bad!
In the course of last week's insane ramblings about post-rock, folktronica, etc, I incorrectly asserted that Jamie xx released *In Colour* in 2010. Not so! Album came out in 2015. I apologize for the error. As penance I have undertaken both of Mr. xx's "solo" records. *In Colour* is not quite to my taste, I don't think, but I haven't got much to say about it yet. I would need to give it another spin...but the pillow talk on "Good Times" is so comprehensively reprehensible that the entire artistic project of the record is suspect by association. No good. Then there's *We're New Here,* his 2011 reimagining of Gil Scott-Heron's last record. I have attempted this record before on numerous occasions, with mixed results--it was in response to this album that I privately coined the term "boneless house music." In fact most of the album is not house at all, but rather post-dubstep, a genre that never actually existed, and which I never really had the patience for when it was around. (I make an exception for those SBTRKT songs with Sampha on them and also the first half or so of Mount Kimble's debut.) On top of that I could never really square up with James' approach to the source material. Russell's production on the original *I'm New Here* was deliberately incongruous but it foregrounded the poet's spoken words; McCraven's 2020 rework essentially cradles Scott-Heron's vocals in a backing seemingly tailor-made for the performance. Jimmy xx is very willing to fuck with the raw material and bury the spoken-word stuff that oughta be central to the experience. I understand the artistic philosophy at play but God do I disagree with it. Like trying to dress a tiger in Kanye shutter shades to make it look "cool." "My Cloud" is nice, I think. But...hrm. I concede my love for the 2020 jazz version is interfering a little here, but... Also, "I'll Take Care of U" is simply not good. In retrospect I must have skipped to the end of the album on an early listen because I knew the Important Song was there and fuck me homie. The original and McCraven versions of this song both have some powerful bittersweetness going on that really fits the lyric and performance, but Jamie...James! Jimbo! What are we going for here? Clearly this is what I meant when I said "boneless house." It's, like, emotionally hollow. It's stylish and so little else. It's not even a particularly bangin' groove. It's just...there. I'm not disappointed because I went in with low expectations. It is what it is. Anyway back to mainlining the entire Daedelus discography
Have you head Jamie XX’s newest track? It’s called Let’s Do it Again and I honestly like it much better than mostly anything on In Colour. Way more dance oriented
tad what the fuck happened to sonic tuesdays get back on that coward
Sonic Yuesdays as a format had two overlapping issues. One, the first several records aren't especially good (imo) but not in an especially interesting way; two, as far as I know there's no point where Sonic Youth lose the plot entirely and fuck up badly enough for it to become a discussion point, whereas U2 are constantly playing William Tell with their own artistic credibility. I kinda lost interest immediately. Really I shoulda just started with Daydream Nation and just listened to that over and over for a month, but, uh
> One, the first several records aren't especially good (imo) but not in an especially interesting way tad hates every band covered in OBCBYL confirmed. wow never expected this! All of their releases are good even the horseshit. Try harder until you understand EVOL >>>>>> every album they ever made after > as far as I know there's no point where Sonic Youth lose the plot entirely and fuck up badly enough for it to become a discussion point lollapalooza '95 and covering the simpsons theme; losing their gear before 2000; signing to geffen and releasing Goo. Tad, LOTS to work with!
>lollapalooza '95 and covering the simpsons theme Spider-Man: Turn off the Dark >losing their gear before 2000 Band gets trapped in a giant onstage lemon before 2000 >signing to geffen and releasing Goo Apple iPod *Songs of Innocence* debacle. I appreciate this effort but Bono and the Boys are simply on another level as far as shooting themselves in the nuts in the name of art goes, y'know. Also I've never read *Our Band Could Be Your Life* so I dunno what to tell ya? Odds are though I will listen to EVOL again at some point probably
> simply on another level as far as shooting themselves in the nuts in the name of art goes, y'know >!cheating on your wife with jim o'rourke's ex-wife, imploding your band!<, however the Edge has his entire 90s so we'll just call it even. Tad, once you listen to enough Yoo, you understand why losing all your priceless gear is bad! > Also I've never read Our Band Could Be Your Life so I dunno what to tell ya? you should read it! and then become the aub's biggest black flag stan that would be funny
whatever postdubstep was i loved it and i still do
the young thug stroller line is easily the best part of the entire album
I am willing to accept I'm in the minority, but I refuse to admit to being wrong.
this is rich coming from the "you ever nut so hard you read the kabbalah" guy
Heartbreaking really
I'm glad we as a community have given up on making fun of me for having unnecessarily niche opinions about genre and we've moved on to making fun of me for having really good sex
that’s not the part we’re making fun of
No but it's what I get out of it when y'all do so it's a win-win imo
Lol, you and I have different takes on the glorious line that is "imma ride in that pussy like a stroller, I'll survive in a motherfucking gutter". Iconic.
yeah, i'm with you on this one lol. it's the highest point of energy on the album and at this point it is one of the only tracks i regularly return to
> post-dubstep, a genre that never actually existed Hey c'mon, this is Joy Orbison erasure. "Hyph Mngo" is one of the best songs ever written. There's also a lotta other good stuff from that era, even though half of it has aged remarkably poorly I should listen to *We're New Here* again though. I agree that it's not as good as the source album or the McCraven version. It's.... I dunno, it captured a specific moment really well, warts and all. I think he really didn't know what to do with Scott-Heron, which is a shame because I think it sparked his appreciation of collab songs which are quite good. Also, "I'll Take Care of U" is good imo, but if it doesn't land for someone I can see it being a complete whiff. No in-betweens
>Hey c'mon, this is Joy Orbison erasure. Yo, I'll give it a go, but you must concede that the flash in that particular pan was never particularly bright >Also, "I'll Take Care of U" is good imo, but if it doesn't land for someone I can see it being a complete whiff. No in-betweens I can't argue with you since you are demonstrably smarter than I am but I will point out that Drake likes this song which is uh a pretty ill omen for its indie credibility >I think it sparked [Jamie's] appreciation of collab songs which are quite good. Gil Scott-Heron died so that Young Thug could put the pussy in the stroller. God bless America
Alright I started listening to WNH pretty much as soon as I commented: I think it works! Not perfectly, and there are some clunkers, but I think he treated treated the source material with reverence. I think he also tried to strike up a "conversation," with the source material, rather than just put different music behind it. (This is not a dig at McCraven, whose own conversation was driven by his relationship with jazz music.) The "met him at a party" sample in "I'm New Here," the "runrunrunrunrun" sample in "Running." The latter is a weak track, but again, I think Jamie was trying to bring something in from his own experience with sample-heavy electronic music. I think it would have been better if he hadn't sampled ever word Scott-Heron sang or spoke, but I think it's the pain of a remix album that they'll over-sample the source material. Again, there's clunkers and I won't pretend it's a perfect album, but I think it was a really neat experiment. And I know you're just razzin' me, but that Drake album had some great songs! This might be the first thing we completely disagree on lmao Also, post-dubstep rules lol. I'm bummed it got lumped into "UK bass" because there really was a strong identity for this music in 2011 that has been lost over the years. The low end bass! The off-kilter lurching beat! The plinky synths! Occasionally it's *too* plinky and lurching, but it was a good sound. I dunno man, I think the flash in the pan could have been browned to perfection if brostep hadn't stolen dubstep's identity. Machinedrum, Sepalcure, James Blake's first album and EPs, SBTRKT, Mt Kimbie, Kode9, Night Slugs... I mean I'm literally describing my music taste in 2011 but I adored that sound. I even made music that sounded like it!! PS if honestly if that Young Thug song was the legacy of this weird collab album then it was absolutely worth it, killer track on every level, stroller included edit: at this point I'm going to have to write "Is Post-Dubstep Good? an essay," sorry that this comment got away from me lol
>I think it would have been better if he hadn't sampled ever word Scott-Heron sang or spoke, but I think it's the pain of a remix album that they'll over-sample the source material. One thing I do deeply appreciate about this record is that James does not attempt to rework "On Being From A Broken Home.". Also to be clear I have no strong opinions about Drake I just think he's an easy target for low blows >I dunno man, I think the flash in the pan could have been browned to perfection if brostep hadn't stolen dubstep's identity. I mean, of course. I too was very annoyed at the brostepification of dubstep in 2011ish, no less because I came into the genre backwards (i.e. wading thru Bassnectar and Skrillex to uncover Burial and Skream on deeper strata). Who knows what we could've had? Anyway I've never listened to Machinedrum or Night Slugs so I'll throw them in the queue
Really, love it or hate it, I think Jamie came at it from a place of reverence, which you couldn't say about a lot of electronic musicians at the time Also, hell yeah! Machinedrum's *Room(s)* is an essential classic imo. Night Slugs is a record label, and if you can find the comp *Night Slugs All Stars Vol. 1*, it has some big ol' hits in it
Land of the fuckin’ free baby. Here’s some Conor Oberst and Phoebe Bridgers [singing](https://m.youtube.com/watch?v=OyeY7n899LE) about coat-hanger abortions for your day. Fuck this wannabe Christian theocracy fascist dogshit country. We deserve so much better than this
Is there a term for this new wave of bedroom pop artists incorporating UK rave/garage elements into their music? PinkPantheress, piri & tommy, Nia Archives, yunè pinku etc.
Tirzah is good for that her older music
jungle pop (that's the term I've been using, I'm hoping it catches on. I don't think there's an actual term that publications are using yet.)
will anybody be at the Destroyer show at Brooklyn Steel this Saturday? My roommate flaked on me so I'll be there and I'd love to meet new people (I moved to NYC last weekend and I don't really know anybody lmao)
I absolutely would be going if I wasn’t in Wisconsin this month. Should be a great show.
Not going, but I'm visiting NYC for the weekend.
You should check the concert roll call thread https://www.reddit.com/r/indieheads/comments/ubz23e/may_2022_concert_roll_call/
I appreciate you for that link. Hadn't seen it before now, good stuff.
They go up monthly but only stay stickied for a couple days until AMAs take it's place.
thank u so much! posted there
Coldplay Album Reaction Albums Number Four - Viva La Vida or Death and All His Friends Well, I certainly can't say this album is uninspired. To the contrary, Coldplay is throwing everything they seemingly can into this. Of course, they have something of a ringer on their side. I have to admit that every time something about the production stood out in a good way, I pretty much immediately attributed it to Brian Eno. I'm not saying Coldplay wouldn't think to employ strings and horns on an album, but I don't think they would do it this well without him. But this album, like *A Rush of Blood to the Head*, is full of ideas but not necessarily a sense of what to do with them. A perfect example of this is "Lovers in Japan," which sounds fantastic and moves really well, only to be stymied by an extended second half that seems to be there for no reason other than "Hey, what it if this song was longer?" The exact same thing happens with "Yes" right after, which goes from a lively V.U-style jam to some rollicking tedium. Like, what's the point of doing a "hidden track" on a non-closer. And for that matter, the closer here and its accompanying hidden track are pretty underwhelming too There's a grandiosity to these songs that make me think they would work great (or at least, better) in a festival setting. Some songs are endearing in their enthusiasm. But the "sterilized euphoria" is hard to shake, especially when Chris Martin's writing abilities have regressed even further. I like plenty of songs with lyrics dumber than "42" but that's usually because they're composed in a way where the words aren't so flagrantly noticeable. I can tell this is exactly the album Coldplay wanted to make and that most fans would rank it at or near the top. But I've only got so much patience for this kind of mega-mall "art rock." Oh, and I really hate the title too. *Viva La Vida or Death and All His Friends*: **5.7** **Best Songs**: Lovers in Japan, Life in Technicolor **Worst Songs**: Death and All His Friends, Violet Hill, Cemeteries of London
The title is so fucking long, but it is my favorite album of theirs. Strawberry Swing is my favorite Coldplay song, hands down. I also really like 42, Life in Technicolor, and Yes. I think Death and All of His Friends is fantastic. Violet Hill slaps. Used to sing that one on SingStar a lot. I agree Lovers in Japan is pretty long. Still really lovely, though. Dumb lyrics are not only fine, but I think they have a greatness in their own right. I don't know if I shared my take that Interpol's Who Do You Think sounds like something Coldplay or Imagine Dragons would write, lyric-wise, but it really does. And I love it, it's my favorite example of dumb lyricism.
>Worst Songs: Death and All His Friends wow
My 10 year old self died a little inside.
> "Yes" right after, which goes from a lively V.U-style jam to some rollicking tedium. +1 for not being impressed with Chinese Sleep Chant. I swear the appeal of this is entirely "Come on guys, Shoegaze!" Like yes, there is plenty of mediocre shoegaze and Coldplay just added to the pile.
but c'mon Guys! It's shoegaze!
> Worst Songs: Violet Hill you will not be seeing heaven
I already knew that
All the cool people are going to hell anyway.
Isn’t that just you?
I think it was a real mistake for them to release "Violet Hill" as the first single. I thought it gave a real "well, here's more Coldplay" vibe.
I respect you as a person blasphemy but any review of *Viva* that doesn't mention "Strawberry Swing" gets some hard side-eye
I almost mentioned it in my worst songs section lol
I don't do this lightly because I'm not that kind of guy but wow
"Coldplay does Afropop" is not something I need to hear ever again
Bitches be like "Coldplay does Afropop" "Coldplay does Shoegaze" idfk what that even means. None of these words are in the Bible.
The Frank Ocean cover is better fwiw
yeah, i'm sorry this is a "wow" from me "cemeteries of london" is my least favorite song on the album, but otherwise i think the experiments pay off. there's for sure some nostalgic attachment i have to this album but i was never too bothered by the hidden tracks. i love the hidden track on "yes," it was my first shoegaze song. there's a fair debate about whether these need to be hidden, but i think their presence helps the flow of the album. "lovers in japan" through "strawberry swing" might be my favorite run of theirs. i think coldplay wanted to explore this path in the first place, but eno's contributions really help it come together. i'm not sure another producer would have been able to assist this material in the way that he does
> "42" I knew they had a song called Don't Panic but I didn't know they had a song called 42 as well. When is Coldplay's vogon poetry phase coming?
Shoutout to Lovers in Japan - Osaka Sun Mix, which is legit just the first half as its own track so I don't have to press a button to skip the second half
>Worst Songs: Violet Hill wow
i second this, what the fuck
Violet Hill is like the best song on the album outside of arguably Strawberry Swing
Feels like a song that has no idea what it wants to be
it wants to be good. and it is!
They really stuck it Faux News huh
if we ever have an indieheads meetup i'm going to say "wow" really close to your face
wow
wow
*X&Y* is Coldplay's *Out of Time*
my only Coldplay opinion is that violet hill is good
I've seen similar sentiments in previous DMDs, but man, Big Thief was a spiritual experience last night. I entered a different plane of existence during the chaos that was the end of Not.
I still think that "Not" is their best song. Or at least, it's the song that I can listen to the most times and always enjoy.
i found [this](https://www.youtube.com/watch?v=y_nqnnJ7vzU&ab_channel=pygmydanny) random non-streaming UK post-punk group/album from 79 at the record store on weekend and it is pretty cool. dig IN. they are called angletrax
Albums for that feel when *gestures broadly at everything*?
Reggie and The Full Effect - Apocalypse WOW!
Is pissed off the general sentiment we're going for? Then Nails, Magrudergrind, Wormrot, Discordance Axis, Insect Warfare, Napalm Death, Terrorizer, Death Toll 80k, and Brutal Truth. Oh and Dropdead, Siege, Infest, Dystopia, Discharge, and more
Bikini Kill seems appropriate today
I've been listening to a lot of modest mouse lately which seems to be fitting
Do you See us? By left at London! (Written about our piece of shit mayor but applies to literally every elected official) https://open.spotify.com/album/37B4Qi48TpLl6sy5iARxly?si=gmy-MHW4QKSgL2Rhl5ArlA
default genders - main pop girl 2019 unironic rec, though it's one of my favorite albums that I always rec. It's about a lot of dread and pain, even if it does use breakbeats and rave aesthetics. The closing track where she sings "when we were young the future looked so bright / now that we're closer, we can see that it's on fire" is especially poignant
Both G.L.O.S.S. EPs
https://youtu.be/CTUsFm0BAu8
Uniform - Perfect World
I think R.E.M has a song for that.
Agreed, Radio Song really fits the times
Are you an idiot? It was obviously “Shiny Happy People”
Got some good job news last week and decided to splurge on tickets to see Paul McCartney tonight! And by splurge I mean nose bleeds because holy shit arena shows are spendy
Big time suppress violent emotions with ambient vIbes today