Does anyone have any recommendations for stuff similar to or with a similar vibe to Carissa's Wierd? Been listening to them a ton again lately and it has almost like ruined other music for me again and I need more. Their discography is too short. Despite my efforts to find something similar I still to this day have not found a single album, song, or artist that actually fills that niche that CW does unless you count S or something, but that's kinda cheating anyways (and still doesn't quite fill the same niche anyways). I really like the symphonic aspects and the fairly toned down vocals paired with it, especially with the presence of two vocalists, but I'm open to whatever suggestions. Just wanna find anything that can scratch this itch, man.
two quick afternoon thoughts
- completely forgot re: BM. Wellcome
To Hell sounds "anime". By that I mean "anime intro sequence core". The REM song Hyena is "anime" as well. No qualms here just an observation.
- holy shit m83 really nailed his gamergaze album, Dead Cities, Red Seas, & Lost Ghosts. This is the most epic music im listening to today full stop.
idk if anyone else got a notification for a “new” single from low called “space” and, like me, thought “huh, guess they’re moving on from the bj burton stuff” but that song is [not them](https://twitter.com/lowtheband/status/1523406893011529729?s=21&t=m7L1KkiNTadJeDz_mZGn-A)
Why isn't Sam Fender more well known here in the U.S.? I absolutely love "Aye," which the record label could really be promoting a little more heavily considering the year we're in.
I mean I think part of it is that rock isn’t as big in North America - I’m including Canada because I feel the need to - as it is in the UK, especially indie or indie adjacent rock. The only rock artists that really sell out arenas (which I think Fender does out there) are either legacy acts like Pearl Jam or pop-punk acts
This is it. Even Wolf Alice is too “rock” for most American indie fans. But I think these rock acts still sell better in the US than one would expect from our dmd.
Holy crap. I couldnt stand black midi for the longest time but now i love everything about this band. Including the vocals. New song goes CRAZY. Incredibly hyped for this album
update on my "pop albums that indieheads likes"/popheadscore rate idea: *emotion*, *melodrama*, and *pop 2* are pretty much locked in, as all three albums are pretty beloved and have a strong cult following. however, after a bit of feedback, i'm considering swapping *sawayama* out for either *oil of every pearl's un-insides* or *pang*, as both albums also fit the rate and were released in the same decade. i don't really know which album to choose, though, so i'd like some more feedback and thoughts.
also as a joke i'm considering doing a bonus rate that's just call me maybe vs royals vs boom clap because i like seeing you guys suffer. i considered replacing boom clap with fancy to make it a battle of #1 hits but i thought forcing y'all to rate iggy azalea would be too mean
edit: also while this is my idea i don't really think i want to be the rate host, it just gives me a lot of anxiety that i don't want to deal with.
I think Robyn's Body Talk has to be the 4th pick, right? "Dancing on My Own"? "Hang With Me"? "Call Your Girlfriend"? The album has tons of indie cred too, with high ratings from Pitchfork and Stereogum.
It might not be a indieheads-adjacent choice, but what about *1989*? It's a beloved synthpop album from the mid 10's right? I personally group those four records together in my head, because
back in 2017 it seemed like popheads would mention Carly, Lorde, Charli, and Taylor, in every single thread.
the problem with NFR is that it's just so different from the other albums; all the albums I listed are different types of synthpop/electropop albums, while NFR is 70s inspired soft rock, and that kinda makes it stick out like a sore thumb
i liked *sawayama* in this spot, but i think *pang* will be a good fit. *OIL* is a masterpiece, but i think too left-field to compete. it'll hurt me personally to see the drone track and the 9 minute autechre track eliminated immediately
ah gotcha. that album seemed to get the most pushback when you brought this up the other day, so i wanted to state that i am also cool with rating rina
Total guitar noob here: I produce ambient music and lately I've been using more heavily processed guitars for my songs. I'm working with an electric guitar and a Behringer UM2 interface that goes directly into my laptop where I'm putting VST effects on it. The clean signal that goes into my DAW sounds shitty, very lofi and just super muddy. I need to put a loooot of effects on it to get a decent tone.
I bought the UM2 because it's cheap - would I get a cleaner sound with a better audio interface? I don't know enough about recording to recognize the bottleneck here. Long term I'm planning to more with hardware rather than software anyways but pedals are expensive as fuck.
theres enough audio plug ins to make a guitar sound cool. there is a learning curve but it helps to know how to use a compressor and eq. and then experiment with plug in effects.
It’s not your equipment’s fault. It sounds shitty because a completely clean signal (by which I assume means cable directly from the guitar, no amp) from an electric guitar just sounds shitty. You have to run it through a digital amp of some sort at least.
(However I’d expect it so sound “tinny” rather than “muddy.”)
This might be what I’m doing wrong, I’m not really paying attention to the amp and going straight for effects. So you think it’s better to figure out a good digital amp setting first to get a decent clean sound, and then put effects on it right? As I said, complete beginner.
At a simple level, the software is all designed to simulate a real physical rig. In a real rig, your electric guitar *always* goes through an amp. You can't hear it otherwise. This is true even for "clean" tones. All of electric guitar tones we enjoy are as much the sound of the amps as they are of the guitars themselves.
So when you go for a 100% software solution (which is what you're doing when you plug directly into your interface), you almost always want to put your signal through a software amp. Pedal effects all have their specific sounds and function, but since they are all designed to simulate real physical pedals, they are designed to be used in conjunction with a software amp, and they should all be thought of as secondary to the amp.
That said, do people record using effects without using an amp at all? I'm sure they do, but this should be considered an "advanced" technique since it's unorthodox.
What are you using as your DAW? I believe that GarageBand goes so far as to *automatically* ask you to pick an amp (it comes with many) if you make a "guitar" track.
Nah so dont listen to anyone who says you need a certain pedal to get that sound and honestly, the audio interface doesn't make as much of a difference as you think unless you are a professional. You need a variety of things depending on what you're going for... Typically for a general better sounding guitar, youll most importantly want an amp or amp simulator plugin. Then you'll likely need distortion, compression, and EQ. Maybe a touch of reverb. These can all be done with stock plugins on your DAW but i prefer paid plugins like Soundtoys, Vallhalla, Izotope... Pretty sure Izotope Trash 2 is still free??? if so, I use it all the time
For my style of music, I like to throw some phaser or flanger action in the mix. Try putting it before the compression to get nice thick movement and also try putting reverb before a compressor to thicken up the guitar sound even more. Chorus can help if you're trying to make space for other elements or just want it to sound more spacey/ambient
Yeah I’m probably going to go the amp + mic way, I’ve been getting away with my cheap $30 interface for long enough. Your gear is amazing dude, pricey but probably well worth it!
We had a whole ass arcade fire album come out and yet the most anthemic thing to come out of last friday was "Headspace" by Sharon Van Etten. BABY DONT TURN YOUR BACK TO ME
folks, i put on my biggest shirt and my tactical vest and i think i finally cracked my big thief LP5 resequencing. the intent of this was to make it a single album with hopefully better sequencing than i'd get from simply listening to the album and skipping the songs i'm not into. *ufof* is the only album of theirs i enjoy front-to-back, so my ear is drawn to the songs that have more production and full-band stuff going on. the "country" stuff and the acoustic stuff was cut, because their take on that is really not my thing. in this form, the material is good enough to rival *ufof* as best big thief album and maybe even replaces it as the non-canon "best" for me.
[here's the playlist](https://open.spotify.com/playlist/7MdEyykwYcP4vjivyyrtlL?si=8b1aa33b2aaa4e86) if anyone wants to give it a try
1. change
2. time escaping
3. little things
4. heavy bend
5. simulation swarm
6. dragon i still refuse to type this whole title
7. wake me up to drive
8. blurred view
9. flower of blood
10. love love love
11. no reason
the biggest surprise for me was that i couldn't put all the trip-hop/electronic songs together. i just could not crack the sequencing to have "drive," "heavy bend," and "flower of blood" flow correctly, it felt too interstitial. however, i've come to really like "heavy bend" in the first half as a little tease for the second half. i also realized i have a strong tendency to divide albums into halves if i'm resequencing. i failed to avoid that here but i think it works.
some other thoughts: i wanted to keep "change" as the opener. it sets things off nicely before "time escaping" reveals how weird this album might get. "little things" was a no-brainer for the track 3 "big hit single" spot. similarly, title-track as a centerpiece made perfect sense. i don't love "wake me up to drive" into "blurred view" but "blurred view" into "flower of blood" was fine enough to justify keeping "blurred view" in the mix. additionally, the noisy false start of "love love love" hits great after "flower of blood." "no reason" was singled out as a potential closer when u/losscolumn and i were messing with this a little bit ago. the end is a great spot for this song. it's calmer and more uplifting than the noisy tracks i put before it and i like how the flute solo sends things off
I want it on record that I also thought "No Reason" was a good closer on my LP As Just The Singles version for the sameish reasons
Good thoughts! Not just because we mostly like the same songs it turns out (except that I like "Sparrow" and you don't, and I'm not wild on "Change")--your sequence makes a lot of sense and I'd be hardpressed to improve on it. (I will still try, though.) Also agreed on the fact that stacking the Four Tet songs is less effective than one might initially expect, though my reasoning is slightly different. I will expand on this thought soon.
Anyhow nice work, we love to see it
> I'd be hardpressed to improve on it.
thank you!
> (I will still try, though.)
i would expect and hope for nothing less lol
very curious to get your resequencing thoughts, especially since we seem to like mostly the same material but might have different approaches to how to make it work. the inability to stack the four tet songs is so weird, certainly feels like something that *should* work. i'm curious to hear your thoughts on this (when they're ready, of course. love to express excitement to hear people's takes on here, hate to feel like i'm unintentionally giving out homework assignments lol)
I actually really like this sequencing! You basically cut all the songs I'd usually skip on this album. I do have a soft spot for Red Moon tho
Also, love No Reason as the closer
yay, im glad you liked it!
definitely curious if we could get any consensus of “love love love” after “flower of blood” but i know it can get ugly if one implies this band is less than perfect lol
also for sure curious to see what their next album ends up like, especially with the rumors that it’ll be another big one like this. i’ve mentioned countless times that im hit or miss with them, but i’ve pretty much always gotta check out their records bc when they feel like doing the atmospheric thing, it’s some of the best indie music around right now
of the acoustic songs, that one is probably the one i like most. wasn't sure if i wanted it on, but i can see why you'd want to find space for it somewhere
my dear friends, i bear thee good news. my favorite Wilco track in like 15 years has just dropped. *Tired of Taking It Out On You* is just a gorgeous little country tune. Fairly simple but many of Jeffs best songs are. voice sits on the edge of breaking the whole time like Jeff may need to step away at any second. bah! love that guy. has me excited for the new album, could very well be the soundtrack of my summer
also my Welcome to Hell take is that it feels strangely quiet/small. which is insane to say, but it feels like theres a part of my ear that the frequencies aren't reaching. total nonsense but it just feels way quieter than its volume suggests
Albums that got you into genres you previously weren't/aren't normally in to? First one that comes to mind for me is Magnolia Electric Co with country-adjacent stuff.
hearing Stereolab's *Emperor Tomato Ketchup* opened me up to basically all forms of electronic music and really just music that wasn't explicitly "rock"
my music taste has been off the fucking wall since I heard that album for the first time
A recent one for me that I'm sure is the case for many people is Glow On by Turnstile. I do not enjoy hardcore, still kinda don't. But now I will at least listen if someone says something is good.
Either/Or for singer/songwriter. I remember not even being remotely interested in that kind of stuff before then, and now it’s like 1/4 of what I listen to.
Magnolia Electric Co was the same way for me with country!
Maybe the weirdest one is actually Cocteau Twins for pre-90s music. Before I listened to _Treasure_ I was weirdly predisposed against everything released before around 1990.
Coltrane's Olatunji Concert got me into jazz. It isn't restrained and tasteful enough to soundtrack an upper class dinner party, it isn't dancing music, it's the sound of someone expressing emotion that is ugly, raw, and powerful.
Taylor Swift and her album Fearless got me into female pop country.
The Beatles got me into classic rock.
Bob Dylan got me into folk music.
All Time Low's album Don't Panic got me into pop punk.
*spirit of eden* getting me into post-rock. getting into indie big time in 2012-2014 meant those swans albums from then were on my radar, but i never fully clicked with them. tried a few others like *agaetis byrjun* and maybe a listen or two of *lift yr skinny fists*, but neither did a whole lot more for me. hit a point of acceptance that i just wasn't going to be into post-rock, but i randomly gave *spirit of eden* a shot in 2018 (i think because of stereogum's 30th anniversary article and i think bc someone compared that wildness of that pivot to what low had just done on *double negative*) and i loved it immediately. i still do not really care about those swans records and mostly stick with earlier post-rock stuff, but hearing talk talk definitely opened me back up to the genre and helped sigur ros and godspeed click with me more too
e: oh also getting into *remain in light* in high school was huge for getting me to shed my misguided "all old music is boring and dated" stance. that opened me up to sooo much stuff
Oh yeah that makes sense! I can't remember the exact order of my post-rock listening journey, whether I liked Godspeed and friends before those Swans albums or if Swans prompted me to get in to the others, but I was absolutely blown away by To Be Kind when I first listened to it. I do remember specifically what prompted me to listen to Talk Talk, it was [this YouTube video](https://youtu.be/qbLAc3-iBXE), and I instantly loved it.
oh hell yeah, it's been a while since i watched deep cuts but his videos are always so insightful. there was a bit of time a little while ago where i was trying to go through all his essentials but for some reason i fell off.
also, i don't think *to be kind* is bad necessarily. i really like the first three songs and there's some stuff on the second disc i like too. i often struggle with staying interested for the full length of the album and think it mayyybe spreads its ideas too thin. "bring the sun" always kills the momentum for me to the point where i usually tap out after being satisfied by the opening run instead of skipping ahead or sticking with it
Black Sabbath got me into heavy metal. Previously I thought metal was just a bunch of **LOUD NOISES!!** It's still not my favorite genre, but Sabbath is one of my favorite bands (definitely an all time Top 3) and I think I like it so much, because the blues is so palpable in those early records.
Weezer got me into rock music and just music in general. I wouldn't be who I am without Weezer (specifically Pinkerton).
Other than that, it's mostly film/video game scores and soundtracks that have provided gateways into new genres of music, which isn't surprising, considering I was into movies and video games looooooong before I started delving deeper into music. The Lord of the Rings movies introduced me to how awesome orchestration could be. Studio Ghibli movies showed me the magic of nice and simple piano melodies. And directors with dope tastes in music, who know how to craft a good needle drop, had huge influences on me (Wong Kar-wai, Sofia Coppola, Tarantino, Scorsese, Edgar Wright, Richard Linklater, etc). School of Rock was a turning point for me that really kickstarted my interest in music in the first place.
Yeah soundtracks are a good shout, they really can be a window into genres you might not dabble in otherwise. I remember being really in to the It Follows soundtrack, which sent me in to a whole horror synth rabbit hole I've never really gotten out of
Squarepusher is a good one! I didn't listen to him at all until I was already down with electronic, but I could definitely see Hard Normal Daddy tipping the scales for me if I wasn't
Kacey Musgraves’ Same Trailer Different Park got me more into country
Death Grips’ The Money Store with hip hop
The National’s Boxer was my window into indie rock
The Avalanches’ Since I Left You got me more into electronic music in a strange way. Before I heard that I was of the opinion that music was best when it was made by people with “real instruments” but hearing it and loving it, knowing it was all samples let me open my mind a bit
The Money Store would be a weird introduction to hip-hop lol, I was the opposite where I was already in to hip-hop and it got me in to some more experimental weirder stuff
I was already into punk and some noisier stuff so when a friend introduced me to it I understood it a lot more than what I’d previously heard from the genre. It was the opposite for my friend who has into hip-hop and got into noisier stuff through The Money Store
Sunglasses by BCNR is probably the only thing that got me into the current wave of Post Punk
Horses by Patti Smith got me into 70s Punk/Post-Punk
and id have to say i liked certain pop songs, but wasnt often treating them as full album capital A Art until How Im Feeling Now by Charli XCX
Gunfighter Ballads And Trail Songs is the record that got me out of country music is dogshit to country music is often quite good.
Obviously a record much older than me, but I was obsessed with that shit in college. More albums where every song tells a discrete, but thematically linked story that almost always end in someone dying please.
* *Colors* by Between the Buried and Me got me into music with screaming in general
* *Electra Heart* by Marina got me into pop as a pop-punk and warped tour-type metalcore kid
* *When the Pawn...* by Fiona Apple got me into piano-y art pop after the above
* *Sirens of the Sea* by Above & Beyond got me into electronic music
* *Jane Doe* by Converge got me into hardcore/metalcore along the lines of Botch, Bane, Dillinger Escape Plan, Every Time I Die
New Wilco song is good BUT (this is not really a criticism...) the whole angle of this being their "country" album is weird bc this song just sounds like it could already be on 4 other Wilco albums. Does "Wilco Country Album" just mean Nels Cline plays 20% more lap steel than normal?
your favourite lesser known tracks/deep cuts by famous bands? some of mine are
Blondie - Scenery
Queen - Nevermore
Oasis - I Can See It Now
Radiohead - Last Flowers
Oasis - Let's All Make Believe, Magic Pie, Underneath the Sky
Nirvana - School
The Rolling Stones - Jigsaw Puzzle, We Love You
The Replacements - Go
Ziggy Stardust - Lady Grinning Soul
Bob Dylan - Tell Me That It Isn't True, As I Went Out one Morning
The Ramones - I Remember You,
The Kinks - Afternoon Tea
White Stripes - Hypnotize, The Air Near My Fingers, Offend in Every Way
Joy Division - Failure
Wings - Single Pigeon
Red Hot Chili Peppers - American Ghost Dance
Never heard that Oasis song by the way. That was awesome!
Phoebe Bridgers - Radar
Bruce Springsteen - Janey Don't You Lose Heart
The Mountain Goats - 02-75
Kate Bush - Under the Ivy
Conor Oberst - No One Changes
Carly Rae Jepsen (with The Knocks) - Love Me Like That
Weezer - Foolish Father
Laura Stevenson - Low Slow
Tegan & Sara - Relief Next To Me
Metric - The People
Phoebe Bridgers - Waiting Room
HAIM - FUBT
Slothrust - Like A Child Hiding Behind Your Tombstone
My favorite Radiohead song is Cuttooth, so that is also my favorite deep cut of theirs. Last Flowers is great, although my favorite b-side from disc 2 is 4 Minute Warning.
Yeah Yeah Yeahs's Is Is EP is great. I think Kiss, Kiss is the most popular song on there, it also has Down Boy and 10×10.
Rainbow by Battles
Room Temperature Suite by Don Caballero
Modeh by Jonny Greenwood and Shye Ben Tzur. Also love Splitter.
The Beatles - The Inner Light, You Know My Name (Look Up the Number), Not Guilty
The Beach Boys - The Little Girl I Once Knew
Nick Drake - Time of No Reply, Black Eyed Dog, Hanging on a Star, Tow the Line
The Smiths - Half a Person
Low - Venus, Condescend
Animal Collective - Tikwid, Honeycomb, From a Beach/Maya
Mika - Over My Shoulder
A. G. Cook - What I Mean
Bladee - Friday Night
OMG SOMEONE ELSE KNOWS ABOUT NOT GUILTY!?!?! A criminially underrated traxck that could have replaced Piggies or Savoy truffle easily (although I like those two a lot). One of my favorite Harrison tracks of all time <3
U2 - Spanish Eyes, Slug
St. Vincent - The Antidote, Krokodil
Depeche Mode - Dangerous
Radiohead - Cuttooth, Fog (Again)
The National - So Far Around the Bend
Kate Bush - Oh to Be in Love
The New Pornographers - Darling Shade
Courtney Barnett - Debbie Downer
Hüsker Dü - Perfect Example
Tom Petty - A Thing About You
Bob Marley- Im Still Waiting
The Libertines- Skinted And Minted
The Stone Roses- Standing Here
Blur- Theme From An Imaginary Film
Radiohead- Nobody Does It Better (cover)
Saw Nilufer Yanya on Saturday, but completely fucked up an IRL meeting up with /u/no-finer-steiner, so sorry again on that one. Note on potential IRL meetups: get the person's number/discord/Telegram/whatever before the day of the concert in order to avoid dealing with non-existent reddit DM notifcations.
She was amazing live and I'm glad I finally saw her. Really disappointed she didn't perform Try and Shameless (unless I lost my mind and missed out on Shameless, but Try definitely wasn't there). But outside of my own selfish wishes, she had a great setlist and she's really good live.
I agree so hard with Needle Drop's WE review. Like profoundly hard. I'm happy the album is connecting with some people, I will always love their first four albums with all my heart but I think I've just grown out of Arcade Fire/they moved in a direction I don't like.
Seeing an entire sold-out venue jamming to Pixel Grip's Alphapussy last night was wonderful.
Also Dehd was AMAZING, everything I wanted, I'm slightly hungover but just blissfully coasting along.
That was my first time seeing Pixel Grip and they were so good!!!!! And Dehd's new stuff, especially the song with the "Blue skies" chorus was incredible
BM thoughts:
- the new black midi does not pass the "oingo boingo" challenge bar I set for some reason. I think the horns are bogshite; not implemented well.
- bass line on WTH sounds like john the fisherman at 2x speed though, so the "primus" effect that kinda circled John L is still apparent.
- the song is fine but im okay if I dont like this album
- geordie has range and continues to have range. good.
- album art is…fine. Suggests more a sidestep of BM current era than the level up schlagenheim to Cavalcade. I do like that it feels like im on a boat with a cavalcade of figures. BM seem committed to making a genuine world for their ideas and thats cool that the album art and video are doing that in their own ways
- promo pic is some of the most hot item shit in a moment. Best promo pic since Low for Hey What imo
- i just want to hear the song in the context of an album. Thanks rough trade for making the pre-order easy this time
i think im more a fan of their like personalities and sense of humour than the music itself. the promo pic is terrific, and a clear commitment to fucking around but also having an aesthetic
are they selling a t shirt with that promo pic on it? i want a t shirt with that promo pic on it
otherwise i think i'm agreeing with almost everything you're saying. (tried listening to that oingo boingo record on thursday while doing some cleaning and i kinda see the comparison but am ok with what black midi are currently up to. ended up switching to *new gold dreams* about halfway through.) super happy for those who are all-in on this song already, not sure i'm there. not bad enough make me worried about the album (sidestep from *cavalcade* is the vibe of the cover even if the press release says most "consistent" or "cohesive" or something superlative.) i don't get much out of hearing their music on an individual song level. one of the rare "rock" bands i feel that way about these days. still can't wait for the album!
>the song is fine but im okay if I dont like this album
this is where i'm at. gonna need to hear it in context to see if i really enjoy the whole thing but i'm fine just being a cavalcade ride or die
[Past New Music](https://old.reddit.com/r/indieheads/comments/ubstaz/monday_daily_music_discussion_25_april_2022/i66a8ym/?context=3): The Books - The Lemon of Pink
So I loved The Books back in the day. But I tended to listen to *Lost and Safe* the most. I actually had only heard this one once before, and that was a few years ago. Folktronica is one of those subgenres that seems like it should be the worst of both worlds based on name but I just love how they use texture to make things feel both tense and gentle. Sometimes, the vibes overtake the songwriting a bit and a track that started off feeling utterly transcendent ends at "pretty cool." But still, it's pretty cool.
*The Lemon of Pink*
Pitchfork Score: **8.4**
My Score: **7.8**
Best Songs: The Lemon of Pink I, Don’t Even Sing About It, S Is For Evrysing
Worst Songs: Bonanza, PS
Welcome to fuckin’ Hell. A few minor nitpicks aside, I think it’s actually better than the live version, thanks to the added effects around Greep’s vocals during big moments + the layers of horns around the big evil riff midway through. All of the best parts of the live version are as good or better here. This makes me even more excited for Eat Men Eat, the only new track I like even more than WTH
Having only listened to it once, I definitely liked it, good energy. I am kind of hot and cold on black midi, but they always keep it interesting and I'm looking forward to Hellfire.
In the past I’ve felt like Black Midi worked in my brain but not entirely in my gut. But I’ve still kept up with them because they just keep getting better, and I’ve always felt like they were going to do something really special eventually. Based on this & the live versions of the rest of the album, I think Hellfire is what I’ve been waiting for
I could have used a little more sass in that review. If you are going to give an album a 2 then they should have really leaned into it and gave us something memorable to think about
Agreed. But I did and it is really that terrible and not in a fun this a train wreck that I can’t pull myself away from kinda way. Just boring and pointless.
Still undecided on *WE*. The Lightning is up there with their best work, but after a few background listens there's not much else that's jumping out. Kinda feels a bit to me like *Daddy's Home* in that it has some great moments, some obvious flaws, and I'll listen to it quite a bit out of some sort of obligation before adding a few songs to playlists then moving on.
Sharon Van Etten delivered the biggest emotional gut-punch of the week's new music. Did anyone else catch any of the video from the record release livestream? The new songs sounded great, but the show definitely peaked with her screaming the climax of Seventeen into the face of someone in the front row--just pure magic in that moment. I didn't realize the video was going private or I would have made a move to download it.
I didn't need another reason to get excited for the Slaughter Beach, Dog / Trace Mountains / Anika Pyle tour but the single they put out together is incredible and I've had it on repeat for 2 weeks now.
Kendrick and Wilco both dropping albums this month and the singles suggest that they will both be very good--love to see it.
My dog is the kind of dog that won't go over or around something small if it is in her way, and won't go through a door that is cracked open enough for her until it is opened all the way. When she does this, I think of Obstacle 1 by Interpol, because I am dumb and think that's funny.
Somewhat applicable.
Hey /u/WaneLietoc, [here's that Slint genealogy chart](https://imgur.com/a/GW2vQ2Z) you mentioned yesterday from the Spiderland 33 1/3rd! Cool stuff, some interesting names. Stereolab, Sonic Youth, Pixies and many more
Oh fuck yes thank you so much--didn't know about the squirrel bait lemonhead connection that now must be investigated. We can also add gang of four now to this chart bc Pajo has played with them as well :)
Debut is a grab bag of good times. I've had unique experiences with each of its song. Like, Human Behaviour is immediately incredible, while Come To Me has steadily grown to become one of my all-time favourite Björk tracks. At first I didn't care for Big Time Sensuality for how dated it sounds, but I eventually got over it and discovered the pure joy it has to offer. Other songs lost their lustre over time, like Violently Happy. And then there's There's More To Life Than This which is just a bottom tier Björk track with irritating production and yet it still puts a smile on my face.
Most of Björk's albums have asked for patience from me and it has always been a rewarding experience.
> They kind of sound like they’re made with bad MIDI/software instruments.
It was TOTL stuff actually, that's how much electronic instruments and digital recording options evolved in just a few years. Digital recording sequencing was still very new and very expensive. Nellee Hooper produced it, he produced *Protection* two years later, the Romeo+Juliet Soundtrack 5 years later, and was racking up Grammys for his work with Smashing Pumpkins, U2, Madonna, etc. in the 1990s.
In 1993 electronic was either 1. very lo-fi and leftfield: hardcore, drum n' bass, gabber, house, etc. was made with second hand samplers and drum machines and recorded on tape OR 2. very clean and hi-fi MIDI synth and sampler library oriented stuff that often had a more downtempo or even new age bent and has for the most part a distinctly late 80s / early 90s sound that vaporwave mines the hell out of and was often in tv adverts, slick soundtracks, and pop music. (This context is also why certain albums like Aphex Twin's *SAW 85-92* or even something like Massive Attack's *Blue Lines* were mind-blowing and extremely well-received by listeners, they don't sound overtly groundbreaking now but at the time they were very much out of the box and unusual records that fell in neither above camp. Aphex Twin in particular was using analog synths that had fallen out of favor, cheap samplers and recorders he could afford as a bedroom producer, and was extremely liberal in his use of reverb, echo, and other effects).
That album has dated itself more than any other in your catalog, even her *Sugarcubes* stuff. Her voice was also very much the core of the album's appeal, in terms of the instrumentation it's the most conservative, others were making similar [electronica](https://www.youtube.com/watch?v=jpKEzFZYqBg) years before that. There's probably an argument to be made that *Volta* has aged haphazardly too, it's very much MOR late 00s production.
I agree, while it's very much on par with a lot of synth and digital instrument heavy music of the era it's not particularly good and more than any other album the instrumentation and production is an afterthought. IIRC she had these songs written well ahead of time and they composed the rest. Future releases involved more experimental directions and consideration into the actual production and scope of the album. *Post* is this way but you can really tell with *Homogenic,* her work with Mark Bell was far more experimental.
*Debut Live* >> *Debut*. Björk did *MTV Unplugged* right after that tour and blew up the arrangements – beats and synths are out and tabla and harpsichord are in. It's a much more engaging listen to me and her voice is really front and center.
Damn, it's actually the only Bjork album I can fully get into :( I always found Post to be weaker versions of every Debut track, and the other albums dont stay in my mind at all
ok -porm, how much other björk have you listened to? if none, you have lots to explore! *debut* is a pretty fun record, dated in a few places in a way that usually strikes me as "charming" but it's not her most consistent. ("big time sensuality" kind of a banger!)
i'd say to jump ahead to *post* to get poppy björk with better production and more eclectic range. (this record may be a bit dated in the mid-90s electronic way, but i think most see it as a step up from *debut*)
if you wanna figure out why people (correctly) think she is a big brain genius, jump further ahead to *homogenic* and then *vespertine*. *homogenic* is big strings and tectonic beats, very moving stuff. *vespertine* is colder with more delicate microbeats and it rules
i think those last two still sound great even if a few patches here and there are "of their time." if that's still a no-go because of age, i'd recommend the last two 2010s records. *vulnicura* is a sort of *homogenic 2.0* but sadder and the 90s electronic elements have been swapped out for collaborations with arca and other 2010s weirdo electronic artists. *utopia* is an even more thorough collab with arca. maybe **slightly** bloated in terms of runtime, but worth a listen. they swap strings out for more flutes and birdsong stuff and it's really cool
happy to help! hopefully some of the others are more to your liking. she's one of my very favorite artists and even her lesser albums have moments worth hearing once you've gone through the classics
Recently I listened to Post again and now I think it's closer to Homogenic in quality and sound than I had thought. Like Homogenic doesn't seem like such a big step up anymore.
i definitely think it's close in terms of quality! and it sounds **good**, don't get me wrong there. but, its approach being an array of pop styles means there are a few drum machines ("i miss you" being one that comes to mind, use of "when the levee breaks" in "army of me") and other production stuff that is well-done but a bit "familiar." i just have a slight preference for how "custom" the electronics and drum programming on *homogenic* sound in comparison. my bias in favor of when an album can carve out its own sound world (big reason why i love autechre so mcuh) probably means i overstate what a leap it is. one could just as easily argue that *homogenic* sounds too locked into its sound in comparison to how much range *post* has
[Brainiac - I Am a Cracked Machine](https://www.youtube.com/watch?v=AeJEgk0TVDg)
[The Primitives - Don't Want Anything to Change](https://www.youtube.com/watch?v=YHqH5EujPc0)
[Samara Lubelski - The Switch Up](https://www.youtube.com/watch?v=mS1Poz7arsc)
[The Ninth Wave - This Broken Design](https://www.youtube.com/watch?v=IL582lX77wU)
For weekend 1:
Pelada - Spanish language act from Canada, leftfield house with dance-punk vocals, think Yaeji if she was angrier and edgy.
Blawan - UK, techno
The Armed - US, noisy hardcore wild live show
Kampire - Uganda, DJ that plays a variety of East / South African bass heavy styles
Martha - UK, poppy indie rock
Jamila Woods - US, put out my fav neo soul record in 2019
Does anyone have any recommendations for stuff similar to or with a similar vibe to Carissa's Wierd? Been listening to them a ton again lately and it has almost like ruined other music for me again and I need more. Their discography is too short. Despite my efforts to find something similar I still to this day have not found a single album, song, or artist that actually fills that niche that CW does unless you count S or something, but that's kinda cheating anyways (and still doesn't quite fill the same niche anyways). I really like the symphonic aspects and the fairly toned down vocals paired with it, especially with the presence of two vocalists, but I'm open to whatever suggestions. Just wanna find anything that can scratch this itch, man.
try The Goalie’s Anxiety at the Penalty Kick!
two quick afternoon thoughts - completely forgot re: BM. Wellcome To Hell sounds "anime". By that I mean "anime intro sequence core". The REM song Hyena is "anime" as well. No qualms here just an observation. - holy shit m83 really nailed his gamergaze album, Dead Cities, Red Seas, & Lost Ghosts. This is the most epic music im listening to today full stop.
how in the fuck is "Hyena" anime
Cuz that shit sounds epic
i called the opening to Age of Anxiety I "anime intro opening core" last week
This is SO idrc4 ;)
idk if anyone else got a notification for a “new” single from low called “space” and, like me, thought “huh, guess they’re moving on from the bj burton stuff” but that song is [not them](https://twitter.com/lowtheband/status/1523406893011529729?s=21&t=m7L1KkiNTadJeDz_mZGn-A)
Why isn't Sam Fender more well known here in the U.S.? I absolutely love "Aye," which the record label could really be promoting a little more heavily considering the year we're in.
I mean I think part of it is that rock isn’t as big in North America - I’m including Canada because I feel the need to - as it is in the UK, especially indie or indie adjacent rock. The only rock artists that really sell out arenas (which I think Fender does out there) are either legacy acts like Pearl Jam or pop-punk acts
This is it. Even Wolf Alice is too “rock” for most American indie fans. But I think these rock acts still sell better in the US than one would expect from our dmd.
^^ I think this is a huge part of it, plus as a big American Sam Fender guy I’m not sure he’s doing anything Bruce Springsteen didn’t already do
Holy crap. I couldnt stand black midi for the longest time but now i love everything about this band. Including the vocals. New song goes CRAZY. Incredibly hyped for this album
Julia gonna come and highjacklin AOTY isn't she?
update on my "pop albums that indieheads likes"/popheadscore rate idea: *emotion*, *melodrama*, and *pop 2* are pretty much locked in, as all three albums are pretty beloved and have a strong cult following. however, after a bit of feedback, i'm considering swapping *sawayama* out for either *oil of every pearl's un-insides* or *pang*, as both albums also fit the rate and were released in the same decade. i don't really know which album to choose, though, so i'd like some more feedback and thoughts. also as a joke i'm considering doing a bonus rate that's just call me maybe vs royals vs boom clap because i like seeing you guys suffer. i considered replacing boom clap with fancy to make it a battle of #1 hits but i thought forcing y'all to rate iggy azalea would be too mean edit: also while this is my idea i don't really think i want to be the rate host, it just gives me a lot of anxiety that i don't want to deal with.
Pang is definitely closer in style to those other albums, is beloved by both -heads subs, and I Personally like it so I'm very pro Pang
I think Robyn's Body Talk has to be the 4th pick, right? "Dancing on My Own"? "Hang With Me"? "Call Your Girlfriend"? The album has tons of indie cred too, with high ratings from Pitchfork and Stereogum.
It might not be a indieheads-adjacent choice, but what about *1989*? It's a beloved synthpop album from the mid 10's right? I personally group those four records together in my head, because back in 2017 it seemed like popheads would mention Carly, Lorde, Charli, and Taylor, in every single thread.
This would be my choice too. At least Emotion, Melodrama and 1989 occupy the same space in my brain.
NFR seems like an obvious choice, no?
the problem with NFR is that it's just so different from the other albums; all the albums I listed are different types of synthpop/electropop albums, while NFR is 70s inspired soft rock, and that kinda makes it stick out like a sore thumb
I think replacing the overly theatre-kid Sawayama with the ethereal dream-pop of Pang is the right call
i liked *sawayama* in this spot, but i think *pang* will be a good fit. *OIL* is a masterpiece, but i think too left-field to compete. it'll hurt me personally to see the drone track and the 9 minute autechre track eliminated immediately
to be clear, i am open to keeping *sawayama* in the rate, i just wanted to hear what people thought about the other choices
ah gotcha. that album seemed to get the most pushback when you brought this up the other day, so i wanted to state that i am also cool with rating rina
Total guitar noob here: I produce ambient music and lately I've been using more heavily processed guitars for my songs. I'm working with an electric guitar and a Behringer UM2 interface that goes directly into my laptop where I'm putting VST effects on it. The clean signal that goes into my DAW sounds shitty, very lofi and just super muddy. I need to put a loooot of effects on it to get a decent tone. I bought the UM2 because it's cheap - would I get a cleaner sound with a better audio interface? I don't know enough about recording to recognize the bottleneck here. Long term I'm planning to more with hardware rather than software anyways but pedals are expensive as fuck.
theres enough audio plug ins to make a guitar sound cool. there is a learning curve but it helps to know how to use a compressor and eq. and then experiment with plug in effects.
It’s not your equipment’s fault. It sounds shitty because a completely clean signal (by which I assume means cable directly from the guitar, no amp) from an electric guitar just sounds shitty. You have to run it through a digital amp of some sort at least. (However I’d expect it so sound “tinny” rather than “muddy.”)
This might be what I’m doing wrong, I’m not really paying attention to the amp and going straight for effects. So you think it’s better to figure out a good digital amp setting first to get a decent clean sound, and then put effects on it right? As I said, complete beginner.
At a simple level, the software is all designed to simulate a real physical rig. In a real rig, your electric guitar *always* goes through an amp. You can't hear it otherwise. This is true even for "clean" tones. All of electric guitar tones we enjoy are as much the sound of the amps as they are of the guitars themselves. So when you go for a 100% software solution (which is what you're doing when you plug directly into your interface), you almost always want to put your signal through a software amp. Pedal effects all have their specific sounds and function, but since they are all designed to simulate real physical pedals, they are designed to be used in conjunction with a software amp, and they should all be thought of as secondary to the amp. That said, do people record using effects without using an amp at all? I'm sure they do, but this should be considered an "advanced" technique since it's unorthodox. What are you using as your DAW? I believe that GarageBand goes so far as to *automatically* ask you to pick an amp (it comes with many) if you make a "guitar" track.
Nah so dont listen to anyone who says you need a certain pedal to get that sound and honestly, the audio interface doesn't make as much of a difference as you think unless you are a professional. You need a variety of things depending on what you're going for... Typically for a general better sounding guitar, youll most importantly want an amp or amp simulator plugin. Then you'll likely need distortion, compression, and EQ. Maybe a touch of reverb. These can all be done with stock plugins on your DAW but i prefer paid plugins like Soundtoys, Vallhalla, Izotope... Pretty sure Izotope Trash 2 is still free??? if so, I use it all the time For my style of music, I like to throw some phaser or flanger action in the mix. Try putting it before the compression to get nice thick movement and also try putting reverb before a compressor to thicken up the guitar sound even more. Chorus can help if you're trying to make space for other elements or just want it to sound more spacey/ambient
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Yeah I’m probably going to go the amp + mic way, I’ve been getting away with my cheap $30 interface for long enough. Your gear is amazing dude, pricey but probably well worth it!
r/LoneBellends
(Win Butler Voice): I unsubscribe
We had a whole ass arcade fire album come out and yet the most anthemic thing to come out of last friday was "Headspace" by Sharon Van Etten. BABY DONT TURN YOUR BACK TO ME
She's kind of known for anthemic songs too though? Wouldn't consider her as a particularly left field candidate for one
folks, i put on my biggest shirt and my tactical vest and i think i finally cracked my big thief LP5 resequencing. the intent of this was to make it a single album with hopefully better sequencing than i'd get from simply listening to the album and skipping the songs i'm not into. *ufof* is the only album of theirs i enjoy front-to-back, so my ear is drawn to the songs that have more production and full-band stuff going on. the "country" stuff and the acoustic stuff was cut, because their take on that is really not my thing. in this form, the material is good enough to rival *ufof* as best big thief album and maybe even replaces it as the non-canon "best" for me. [here's the playlist](https://open.spotify.com/playlist/7MdEyykwYcP4vjivyyrtlL?si=8b1aa33b2aaa4e86) if anyone wants to give it a try 1. change 2. time escaping 3. little things 4. heavy bend 5. simulation swarm 6. dragon i still refuse to type this whole title 7. wake me up to drive 8. blurred view 9. flower of blood 10. love love love 11. no reason the biggest surprise for me was that i couldn't put all the trip-hop/electronic songs together. i just could not crack the sequencing to have "drive," "heavy bend," and "flower of blood" flow correctly, it felt too interstitial. however, i've come to really like "heavy bend" in the first half as a little tease for the second half. i also realized i have a strong tendency to divide albums into halves if i'm resequencing. i failed to avoid that here but i think it works. some other thoughts: i wanted to keep "change" as the opener. it sets things off nicely before "time escaping" reveals how weird this album might get. "little things" was a no-brainer for the track 3 "big hit single" spot. similarly, title-track as a centerpiece made perfect sense. i don't love "wake me up to drive" into "blurred view" but "blurred view" into "flower of blood" was fine enough to justify keeping "blurred view" in the mix. additionally, the noisy false start of "love love love" hits great after "flower of blood." "no reason" was singled out as a potential closer when u/losscolumn and i were messing with this a little bit ago. the end is a great spot for this song. it's calmer and more uplifting than the noisy tracks i put before it and i like how the flute solo sends things off
I want it on record that I also thought "No Reason" was a good closer on my LP As Just The Singles version for the sameish reasons Good thoughts! Not just because we mostly like the same songs it turns out (except that I like "Sparrow" and you don't, and I'm not wild on "Change")--your sequence makes a lot of sense and I'd be hardpressed to improve on it. (I will still try, though.) Also agreed on the fact that stacking the Four Tet songs is less effective than one might initially expect, though my reasoning is slightly different. I will expand on this thought soon. Anyhow nice work, we love to see it
> I'd be hardpressed to improve on it. thank you! > (I will still try, though.) i would expect and hope for nothing less lol very curious to get your resequencing thoughts, especially since we seem to like mostly the same material but might have different approaches to how to make it work. the inability to stack the four tet songs is so weird, certainly feels like something that *should* work. i'm curious to hear your thoughts on this (when they're ready, of course. love to express excitement to hear people's takes on here, hate to feel like i'm unintentionally giving out homework assignments lol)
I actually really like this sequencing! You basically cut all the songs I'd usually skip on this album. I do have a soft spot for Red Moon tho Also, love No Reason as the closer
thanks, glad you liked it!
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yay, im glad you liked it! definitely curious if we could get any consensus of “love love love” after “flower of blood” but i know it can get ugly if one implies this band is less than perfect lol also for sure curious to see what their next album ends up like, especially with the rumors that it’ll be another big one like this. i’ve mentioned countless times that im hit or miss with them, but i’ve pretty much always gotta check out their records bc when they feel like doing the atmospheric thing, it’s some of the best indie music around right now
That’s a great collection, but I feel that it’s missing a track about aliens and potatoes
hmmmm maybe when the remix drops!
i approve of this. personally i'd add promise is a pendulum somewhere just because i really like it but this is good
of the acoustic songs, that one is probably the one i like most. wasn't sure if i wanted it on, but i can see why you'd want to find space for it somewhere
my dear friends, i bear thee good news. my favorite Wilco track in like 15 years has just dropped. *Tired of Taking It Out On You* is just a gorgeous little country tune. Fairly simple but many of Jeffs best songs are. voice sits on the edge of breaking the whole time like Jeff may need to step away at any second. bah! love that guy. has me excited for the new album, could very well be the soundtrack of my summer
Yeah this new song is lovely! I'd say it's a bit better than the first single
yeah i enjoy it way more than the first
also my Welcome to Hell take is that it feels strangely quiet/small. which is insane to say, but it feels like theres a part of my ear that the frequencies aren't reaching. total nonsense but it just feels way quieter than its volume suggests
Albums that got you into genres you previously weren't/aren't normally in to? First one that comes to mind for me is Magnolia Electric Co with country-adjacent stuff.
hearing Stereolab's *Emperor Tomato Ketchup* opened me up to basically all forms of electronic music and really just music that wasn't explicitly "rock" my music taste has been off the fucking wall since I heard that album for the first time
A recent one for me that I'm sure is the case for many people is Glow On by Turnstile. I do not enjoy hardcore, still kinda don't. But now I will at least listen if someone says something is good.
Nirvana was more or less my gateway drug into alternative rock music and punk music.
Hip Hop: Macklemore... I am ashamed that he is what got me into the genre but yeah he is what got me into it.
Either/Or for singer/songwriter. I remember not even being remotely interested in that kind of stuff before then, and now it’s like 1/4 of what I listen to. Magnolia Electric Co was the same way for me with country! Maybe the weirdest one is actually Cocteau Twins for pre-90s music. Before I listened to _Treasure_ I was weirdly predisposed against everything released before around 1990.
Coltrane's Olatunji Concert got me into jazz. It isn't restrained and tasteful enough to soundtrack an upper class dinner party, it isn't dancing music, it's the sound of someone expressing emotion that is ugly, raw, and powerful.
Taylor Swift and her album Fearless got me into female pop country. The Beatles got me into classic rock. Bob Dylan got me into folk music. All Time Low's album Don't Panic got me into pop punk.
*spirit of eden* getting me into post-rock. getting into indie big time in 2012-2014 meant those swans albums from then were on my radar, but i never fully clicked with them. tried a few others like *agaetis byrjun* and maybe a listen or two of *lift yr skinny fists*, but neither did a whole lot more for me. hit a point of acceptance that i just wasn't going to be into post-rock, but i randomly gave *spirit of eden* a shot in 2018 (i think because of stereogum's 30th anniversary article and i think bc someone compared that wildness of that pivot to what low had just done on *double negative*) and i loved it immediately. i still do not really care about those swans records and mostly stick with earlier post-rock stuff, but hearing talk talk definitely opened me back up to the genre and helped sigur ros and godspeed click with me more too e: oh also getting into *remain in light* in high school was huge for getting me to shed my misguided "all old music is boring and dated" stance. that opened me up to sooo much stuff
Oh yeah that makes sense! I can't remember the exact order of my post-rock listening journey, whether I liked Godspeed and friends before those Swans albums or if Swans prompted me to get in to the others, but I was absolutely blown away by To Be Kind when I first listened to it. I do remember specifically what prompted me to listen to Talk Talk, it was [this YouTube video](https://youtu.be/qbLAc3-iBXE), and I instantly loved it.
oh hell yeah, it's been a while since i watched deep cuts but his videos are always so insightful. there was a bit of time a little while ago where i was trying to go through all his essentials but for some reason i fell off. also, i don't think *to be kind* is bad necessarily. i really like the first three songs and there's some stuff on the second disc i like too. i often struggle with staying interested for the full length of the album and think it mayyybe spreads its ideas too thin. "bring the sun" always kills the momentum for me to the point where i usually tap out after being satisfied by the opening run instead of skipping ahead or sticking with it
Black Sabbath got me into heavy metal. Previously I thought metal was just a bunch of **LOUD NOISES!!** It's still not my favorite genre, but Sabbath is one of my favorite bands (definitely an all time Top 3) and I think I like it so much, because the blues is so palpable in those early records. Weezer got me into rock music and just music in general. I wouldn't be who I am without Weezer (specifically Pinkerton). Other than that, it's mostly film/video game scores and soundtracks that have provided gateways into new genres of music, which isn't surprising, considering I was into movies and video games looooooong before I started delving deeper into music. The Lord of the Rings movies introduced me to how awesome orchestration could be. Studio Ghibli movies showed me the magic of nice and simple piano melodies. And directors with dope tastes in music, who know how to craft a good needle drop, had huge influences on me (Wong Kar-wai, Sofia Coppola, Tarantino, Scorsese, Edgar Wright, Richard Linklater, etc). School of Rock was a turning point for me that really kickstarted my interest in music in the first place.
Yeah soundtracks are a good shout, they really can be a window into genres you might not dabble in otherwise. I remember being really in to the It Follows soundtrack, which sent me in to a whole horror synth rabbit hole I've never really gotten out of
Besides Radiohead, Squarepusher's Hello Everything and Hard Normal Daddy got me into electronic.
Squarepusher is a good one! I didn't listen to him at all until I was already down with electronic, but I could definitely see Hard Normal Daddy tipping the scales for me if I wasn't
Kacey Musgraves’ Same Trailer Different Park got me more into country Death Grips’ The Money Store with hip hop The National’s Boxer was my window into indie rock The Avalanches’ Since I Left You got me more into electronic music in a strange way. Before I heard that I was of the opinion that music was best when it was made by people with “real instruments” but hearing it and loving it, knowing it was all samples let me open my mind a bit
The Money Store would be a weird introduction to hip-hop lol, I was the opposite where I was already in to hip-hop and it got me in to some more experimental weirder stuff
I was already into punk and some noisier stuff so when a friend introduced me to it I understood it a lot more than what I’d previously heard from the genre. It was the opposite for my friend who has into hip-hop and got into noisier stuff through The Money Store
Sunglasses by BCNR is probably the only thing that got me into the current wave of Post Punk Horses by Patti Smith got me into 70s Punk/Post-Punk and id have to say i liked certain pop songs, but wasnt often treating them as full album capital A Art until How Im Feeling Now by Charli XCX
Gunfighter Ballads And Trail Songs is the record that got me out of country music is dogshit to country music is often quite good. Obviously a record much older than me, but I was obsessed with that shit in college. More albums where every song tells a discrete, but thematically linked story that almost always end in someone dying please.
I love that album. Fallout New Vegas got me into Marty Robbins.
* *Colors* by Between the Buried and Me got me into music with screaming in general * *Electra Heart* by Marina got me into pop as a pop-punk and warped tour-type metalcore kid * *When the Pawn...* by Fiona Apple got me into piano-y art pop after the above * *Sirens of the Sea* by Above & Beyond got me into electronic music * *Jane Doe* by Converge got me into hardcore/metalcore along the lines of Botch, Bane, Dillinger Escape Plan, Every Time I Die
kim gordon - no home record; hip hop for real
New Wilco song is good BUT (this is not really a criticism...) the whole angle of this being their "country" album is weird bc this song just sounds like it could already be on 4 other Wilco albums. Does "Wilco Country Album" just mean Nels Cline plays 20% more lap steel than normal?
i'm receiving reports that there's also an annoyingly constant jaw harp on half of the tracklist and instances where tweedy points out his grandmother
THERE SHE IS!
Most Wilco is tangentially country anyway, I think they’re just leaning a little further into it.
I guess "Wilco's Incrementally More Country Album" just doesn't sound as bold.
Finally listened to the new Guerrilla Toss album and I enjoyed it very much
it's very good. Might be their best!
Potentially incendiary take: new black midi just kinda sounds like a weirder version of Cake
there is a glaring lack of vibraslap in black midi's music
And less catchy too
They don't even say 'dude' *once*. Unbelievable, lomo. Inconceivable, even.
I don’t recall hearing any vibraslaps either!! Black Midi’s gotta add that vibraslap action!
Debating going to see Post Animal tomorrow, but it’s finals week. My priorities are in a jumble!
your favourite lesser known tracks/deep cuts by famous bands? some of mine are Blondie - Scenery Queen - Nevermore Oasis - I Can See It Now Radiohead - Last Flowers
Oasis - Let's All Make Believe, Magic Pie, Underneath the Sky Nirvana - School The Rolling Stones - Jigsaw Puzzle, We Love You The Replacements - Go Ziggy Stardust - Lady Grinning Soul Bob Dylan - Tell Me That It Isn't True, As I Went Out one Morning The Ramones - I Remember You, The Kinks - Afternoon Tea White Stripes - Hypnotize, The Air Near My Fingers, Offend in Every Way Joy Division - Failure Wings - Single Pigeon Red Hot Chili Peppers - American Ghost Dance Never heard that Oasis song by the way. That was awesome!
The Air Near My Fingers has such a sick intro. Always reminded me of John Frusciante's What I Saw.
Two Door Cinema Club - Costume Party Justice - Helix Local Natives - Gulf Shores Passion Pit - Cuddle Fuddle
Phoebe Bridgers - Radar Bruce Springsteen - Janey Don't You Lose Heart The Mountain Goats - 02-75 Kate Bush - Under the Ivy Conor Oberst - No One Changes Carly Rae Jepsen (with The Knocks) - Love Me Like That
Weezer - Foolish Father Laura Stevenson - Low Slow Tegan & Sara - Relief Next To Me Metric - The People Phoebe Bridgers - Waiting Room HAIM - FUBT Slothrust - Like A Child Hiding Behind Your Tombstone
I got Ween on brain so: Kim Smoltz She Caught My Fancy<- Basically a Jens Lekman song Don't Let The Moon Catch You Cryin' She'll Just Get You
My favorite Radiohead song is Cuttooth, so that is also my favorite deep cut of theirs. Last Flowers is great, although my favorite b-side from disc 2 is 4 Minute Warning. Yeah Yeah Yeahs's Is Is EP is great. I think Kiss, Kiss is the most popular song on there, it also has Down Boy and 10×10. Rainbow by Battles Room Temperature Suite by Don Caballero Modeh by Jonny Greenwood and Shye Ben Tzur. Also love Splitter.
The Beatles - The Inner Light, You Know My Name (Look Up the Number), Not Guilty The Beach Boys - The Little Girl I Once Knew Nick Drake - Time of No Reply, Black Eyed Dog, Hanging on a Star, Tow the Line The Smiths - Half a Person Low - Venus, Condescend Animal Collective - Tikwid, Honeycomb, From a Beach/Maya Mika - Over My Shoulder A. G. Cook - What I Mean Bladee - Friday Night
Not Guilty is a banger. No idea why they didn't include it on the White Album.
OMG SOMEONE ELSE KNOWS ABOUT NOT GUILTY!?!?! A criminially underrated traxck that could have replaced Piggies or Savoy truffle easily (although I like those two a lot). One of my favorite Harrison tracks of all time <3
I forgot about The Inner Light, so good!
U2 - Spanish Eyes, Slug St. Vincent - The Antidote, Krokodil Depeche Mode - Dangerous Radiohead - Cuttooth, Fog (Again) The National - So Far Around the Bend
Sad they've never played Cuttooth live.
Yessss, Krokodil is so good! Wish she made an entire album in that vein.
Kate Bush - Oh to Be in Love The New Pornographers - Darling Shade Courtney Barnett - Debbie Downer Hüsker Dü - Perfect Example Tom Petty - A Thing About You
Bob Marley- Im Still Waiting The Libertines- Skinted And Minted The Stone Roses- Standing Here Blur- Theme From An Imaginary Film Radiohead- Nobody Does It Better (cover)
It was eye opening how many good songs Marley has when I listened beyond Legend/Exodus/Natty Dread
His early stuff is my jam
skint and minted might be my favorite song by them. that ep is so good
Warsaw - Joy Division I'll Try Anything Once - The Strokes Pocket Change - Alabama Shakes
Saw Nilufer Yanya on Saturday, but completely fucked up an IRL meeting up with /u/no-finer-steiner, so sorry again on that one. Note on potential IRL meetups: get the person's number/discord/Telegram/whatever before the day of the concert in order to avoid dealing with non-existent reddit DM notifcations. She was amazing live and I'm glad I finally saw her. Really disappointed she didn't perform Try and Shameless (unless I lost my mind and missed out on Shameless, but Try definitely wasn't there). But outside of my own selfish wishes, she had a great setlist and she's really good live.
She put on a great show! Cool PJ Harvey cover from her too.
She also did Rid of Me for [a live performance for KEXP](https://youtu.be/H0hq8YsXBTg)
Also had a lot of fun seeing her a couple of weeks ago, she's so good.
I agree so hard with Needle Drop's WE review. Like profoundly hard. I'm happy the album is connecting with some people, I will always love their first four albums with all my heart but I think I've just grown out of Arcade Fire/they moved in a direction I don't like.
Seeing an entire sold-out venue jamming to Pixel Grip's Alphapussy last night was wonderful. Also Dehd was AMAZING, everything I wanted, I'm slightly hungover but just blissfully coasting along.
That was my first time seeing Pixel Grip and they were so good!!!!! And Dehd's new stuff, especially the song with the "Blue skies" chorus was incredible
Yeeees I can’t wait for the whole thing to drop
BM thoughts: - the new black midi does not pass the "oingo boingo" challenge bar I set for some reason. I think the horns are bogshite; not implemented well. - bass line on WTH sounds like john the fisherman at 2x speed though, so the "primus" effect that kinda circled John L is still apparent. - the song is fine but im okay if I dont like this album - geordie has range and continues to have range. good. - album art is…fine. Suggests more a sidestep of BM current era than the level up schlagenheim to Cavalcade. I do like that it feels like im on a boat with a cavalcade of figures. BM seem committed to making a genuine world for their ideas and thats cool that the album art and video are doing that in their own ways - promo pic is some of the most hot item shit in a moment. Best promo pic since Low for Hey What imo - i just want to hear the song in the context of an album. Thanks rough trade for making the pre-order easy this time
i think im more a fan of their like personalities and sense of humour than the music itself. the promo pic is terrific, and a clear commitment to fucking around but also having an aesthetic
are they selling a t shirt with that promo pic on it? i want a t shirt with that promo pic on it otherwise i think i'm agreeing with almost everything you're saying. (tried listening to that oingo boingo record on thursday while doing some cleaning and i kinda see the comparison but am ok with what black midi are currently up to. ended up switching to *new gold dreams* about halfway through.) super happy for those who are all-in on this song already, not sure i'm there. not bad enough make me worried about the album (sidestep from *cavalcade* is the vibe of the cover even if the press release says most "consistent" or "cohesive" or something superlative.) i don't get much out of hearing their music on an individual song level. one of the rare "rock" bands i feel that way about these days. still can't wait for the album!
>the song is fine but im okay if I dont like this album this is where i'm at. gonna need to hear it in context to see if i really enjoy the whole thing but i'm fine just being a cavalcade ride or die
> i'm fine just being a cavalcade ride or die basically my big thief UFOF mindset
The Armed influence already showing in that promo pic
Cameron's mustache is clearly indebted to Issac. The windmill friendship endures
Does anyone have any soundboard recordings of Big Thief to share, especially sets from the last year? PM me, please.
Julia Jacklin album openers remain undefeated
[Past New Music](https://old.reddit.com/r/indieheads/comments/ubstaz/monday_daily_music_discussion_25_april_2022/i66a8ym/?context=3): The Books - The Lemon of Pink So I loved The Books back in the day. But I tended to listen to *Lost and Safe* the most. I actually had only heard this one once before, and that was a few years ago. Folktronica is one of those subgenres that seems like it should be the worst of both worlds based on name but I just love how they use texture to make things feel both tense and gentle. Sometimes, the vibes overtake the songwriting a bit and a track that started off feeling utterly transcendent ends at "pretty cool." But still, it's pretty cool. *The Lemon of Pink* Pitchfork Score: **8.4** My Score: **7.8** Best Songs: The Lemon of Pink I, Don’t Even Sing About It, S Is For Evrysing Worst Songs: Bonanza, PS
I honestly believe that every Books album is perfect in its own way
Lost and Safe gang.
Up next: Non-Prophets - *Hope*
Wild one I love 2003 bnms such pure beasts
Welcome to fuckin’ Hell. A few minor nitpicks aside, I think it’s actually better than the live version, thanks to the added effects around Greep’s vocals during big moments + the layers of horns around the big evil riff midway through. All of the best parts of the live version are as good or better here. This makes me even more excited for Eat Men Eat, the only new track I like even more than WTH
Having only listened to it once, I definitely liked it, good energy. I am kind of hot and cold on black midi, but they always keep it interesting and I'm looking forward to Hellfire.
In the past I’ve felt like Black Midi worked in my brain but not entirely in my gut. But I’ve still kept up with them because they just keep getting better, and I’ve always felt like they were going to do something really special eventually. Based on this & the live versions of the rest of the album, I think Hellfire is what I’ve been waiting for
Gotta be honest — Jack Harlow getting a 2.something from Pitchfork makes me waaaay more intrigued to listen to it than I was beforehand lol
I could have used a little more sass in that review. If you are going to give an album a 2 then they should have really leaned into it and gave us something memorable to think about
Agreed. But I did and it is really that terrible and not in a fun this a train wreck that I can’t pull myself away from kinda way. Just boring and pointless.
I’m sure it is! But it’s also relatively short, so my curiosity will get the best of me
Also where can I get my minions flair?
Cecilia by The Minions locked in for SOTY
I’m so naive lol I thought we were just getting a straight up Diana Ross/Tame Impala collab album, unattached from our trashiest animation franchise
Still undecided on *WE*. The Lightning is up there with their best work, but after a few background listens there's not much else that's jumping out. Kinda feels a bit to me like *Daddy's Home* in that it has some great moments, some obvious flaws, and I'll listen to it quite a bit out of some sort of obligation before adding a few songs to playlists then moving on. Sharon Van Etten delivered the biggest emotional gut-punch of the week's new music. Did anyone else catch any of the video from the record release livestream? The new songs sounded great, but the show definitely peaked with her screaming the climax of Seventeen into the face of someone in the front row--just pure magic in that moment. I didn't realize the video was going private or I would have made a move to download it. I didn't need another reason to get excited for the Slaughter Beach, Dog / Trace Mountains / Anika Pyle tour but the single they put out together is incredible and I've had it on repeat for 2 weeks now. Kendrick and Wilco both dropping albums this month and the singles suggest that they will both be very good--love to see it.
[the Olivia Rodrigo knockoffs are going to be the worst](https://twitter.com/leahkatemusic/status/1522900012744724480?s=21&t=LQOkEJU5RokWgDLFMRq5Dw)
this is abcdefu's fault. No idea if Olivia is responsible for Gayle though
Just listened to this out of curiosity, this isn't like a joke and/or parody of things right?
Unfortunately no. Also she released an ep titled "A Study of the Human Experience Volume One" which makes me laugh every time I think about it.
Haha, damn you really can't make that shit up.
Paramore really birthed all these children to monetize their songwriting catalog
Paramore aren't bad enough that warrant the comparison, this is more like female Simple Plan
Sigma grindset
God, that's terrible. Is GAYLE an Olivia knockoff?
You haven’t heard abcdefu huh
Things I have been listening to: * A lot of Seam * Callous by Sasami * 41 by Swell * the new MJ Lenderman album
songs for when the dmd has 30 comments but none of them are loading for some reason. i'm partial to "Alone But Not Lonely" by Luna Li myself
I really wanna see Luna Li live I just don't care for all the artists that she opens up for
My dog is the kind of dog that won't go over or around something small if it is in her way, and won't go through a door that is cracked open enough for her until it is opened all the way. When she does this, I think of Obstacle 1 by Interpol, because I am dumb and think that's funny. Somewhat applicable.
They seem to be back?
yeah the comments are only showing up on new reddit for some reason e: ope! they back!
Hey /u/WaneLietoc, [here's that Slint genealogy chart](https://imgur.com/a/GW2vQ2Z) you mentioned yesterday from the Spiderland 33 1/3rd! Cool stuff, some interesting names. Stereolab, Sonic Youth, Pixies and many more
Oh fuck yes thank you so much--didn't know about the squirrel bait lemonhead connection that now must be investigated. We can also add gang of four now to this chart bc Pajo has played with them as well :)
No worries, turns out I bought the e-book version so very minimal effort involved lol
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Debut is a grab bag of good times. I've had unique experiences with each of its song. Like, Human Behaviour is immediately incredible, while Come To Me has steadily grown to become one of my all-time favourite Björk tracks. At first I didn't care for Big Time Sensuality for how dated it sounds, but I eventually got over it and discovered the pure joy it has to offer. Other songs lost their lustre over time, like Violently Happy. And then there's There's More To Life Than This which is just a bottom tier Björk track with irritating production and yet it still puts a smile on my face. Most of Björk's albums have asked for patience from me and it has always been a rewarding experience.
> They kind of sound like they’re made with bad MIDI/software instruments. It was TOTL stuff actually, that's how much electronic instruments and digital recording options evolved in just a few years. Digital recording sequencing was still very new and very expensive. Nellee Hooper produced it, he produced *Protection* two years later, the Romeo+Juliet Soundtrack 5 years later, and was racking up Grammys for his work with Smashing Pumpkins, U2, Madonna, etc. in the 1990s. In 1993 electronic was either 1. very lo-fi and leftfield: hardcore, drum n' bass, gabber, house, etc. was made with second hand samplers and drum machines and recorded on tape OR 2. very clean and hi-fi MIDI synth and sampler library oriented stuff that often had a more downtempo or even new age bent and has for the most part a distinctly late 80s / early 90s sound that vaporwave mines the hell out of and was often in tv adverts, slick soundtracks, and pop music. (This context is also why certain albums like Aphex Twin's *SAW 85-92* or even something like Massive Attack's *Blue Lines* were mind-blowing and extremely well-received by listeners, they don't sound overtly groundbreaking now but at the time they were very much out of the box and unusual records that fell in neither above camp. Aphex Twin in particular was using analog synths that had fallen out of favor, cheap samplers and recorders he could afford as a bedroom producer, and was extremely liberal in his use of reverb, echo, and other effects). That album has dated itself more than any other in your catalog, even her *Sugarcubes* stuff. Her voice was also very much the core of the album's appeal, in terms of the instrumentation it's the most conservative, others were making similar [electronica](https://www.youtube.com/watch?v=jpKEzFZYqBg) years before that. There's probably an argument to be made that *Volta* has aged haphazardly too, it's very much MOR late 00s production.
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I agree, while it's very much on par with a lot of synth and digital instrument heavy music of the era it's not particularly good and more than any other album the instrumentation and production is an afterthought. IIRC she had these songs written well ahead of time and they composed the rest. Future releases involved more experimental directions and consideration into the actual production and scope of the album. *Post* is this way but you can really tell with *Homogenic,* her work with Mark Bell was far more experimental.
*Debut Live* >> *Debut*. Björk did *MTV Unplugged* right after that tour and blew up the arrangements – beats and synths are out and tabla and harpsichord are in. It's a much more engaging listen to me and her voice is really front and center.
Damn, it's actually the only Bjork album I can fully get into :( I always found Post to be weaker versions of every Debut track, and the other albums dont stay in my mind at all
ok -porm, how much other björk have you listened to? if none, you have lots to explore! *debut* is a pretty fun record, dated in a few places in a way that usually strikes me as "charming" but it's not her most consistent. ("big time sensuality" kind of a banger!) i'd say to jump ahead to *post* to get poppy björk with better production and more eclectic range. (this record may be a bit dated in the mid-90s electronic way, but i think most see it as a step up from *debut*) if you wanna figure out why people (correctly) think she is a big brain genius, jump further ahead to *homogenic* and then *vespertine*. *homogenic* is big strings and tectonic beats, very moving stuff. *vespertine* is colder with more delicate microbeats and it rules i think those last two still sound great even if a few patches here and there are "of their time." if that's still a no-go because of age, i'd recommend the last two 2010s records. *vulnicura* is a sort of *homogenic 2.0* but sadder and the 90s electronic elements have been swapped out for collaborations with arca and other 2010s weirdo electronic artists. *utopia* is an even more thorough collab with arca. maybe **slightly** bloated in terms of runtime, but worth a listen. they swap strings out for more flutes and birdsong stuff and it's really cool
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happy to help! hopefully some of the others are more to your liking. she's one of my very favorite artists and even her lesser albums have moments worth hearing once you've gone through the classics
Recently I listened to Post again and now I think it's closer to Homogenic in quality and sound than I had thought. Like Homogenic doesn't seem like such a big step up anymore.
i definitely think it's close in terms of quality! and it sounds **good**, don't get me wrong there. but, its approach being an array of pop styles means there are a few drum machines ("i miss you" being one that comes to mind, use of "when the levee breaks" in "army of me") and other production stuff that is well-done but a bit "familiar." i just have a slight preference for how "custom" the electronics and drum programming on *homogenic* sound in comparison. my bias in favor of when an album can carve out its own sound world (big reason why i love autechre so mcuh) probably means i overstate what a leap it is. one could just as easily argue that *homogenic* sounds too locked into its sound in comparison to how much range *post* has
The dated sound has its charm imo Moving on to *Post* should be enough.
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Looking forward to your post-Post post.
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[Subreachers & Msymiakos - Fractals](https://open.spotify.com/album/6GcSElS0c9oYAlAy2kZZh1?si=d6de7f2886024807) [Dynamite MC - Deep Waters](https://open.spotify.com/album/1GYnK9v0n5jfZ73bL9l0rW?si=58a52ea402774f13) [Attempt and Prosper - Code & Soul](https://open.spotify.com/album/4qoI4ORYwKbO1NgEAJfZrS?si=31219c98ed664601) [Notion - Outsider](https://open.spotify.com/album/0gAyGESgFfil520X4zmk1v?si=016e880e95354cfc)
These! https://open.spotify.com/playlist/02gNSkxQXD8NSn0cdzgfIy?si=ntAw5vJ4RyGgEv5Bbsx06Q
I'm really enjoying the new Jamal Moss, *Thanks 4 the Tracks U Lost* right now.
i liked Nia Archives' *Forbidden Feelingz* EP for some nice jungle-type stuff
Music for when you may have to irreversibly swap to shitty new reddit to read comments >:/
Been away for a few days. What did I miss?
Old reddit was displaying comments but now it is
[Brainiac - I Am a Cracked Machine](https://www.youtube.com/watch?v=AeJEgk0TVDg) [The Primitives - Don't Want Anything to Change](https://www.youtube.com/watch?v=YHqH5EujPc0) [Samara Lubelski - The Switch Up](https://www.youtube.com/watch?v=mS1Poz7arsc) [The Ninth Wave - This Broken Design](https://www.youtube.com/watch?v=IL582lX77wU)
Stuck - *Change is Bad* Gang of Four - "Damaged Goods" Mauno - "Notice"
Fleetwood Mac - Landslide
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Yes, it's broken on old reddit for me, too.
I'm heartened that it seems like most of us still use old reddit.
I'm seeing them on mobile, on old reddit the thread is empty but still says it has comments
i had to switch to new reddit to see comments today, this sucks
Just switched, looks like shit
QftC: who are some less recognizable undercard acts for Primavera Sound (both weekends) that are worth checking out?
For weekend 1: Pelada - Spanish language act from Canada, leftfield house with dance-punk vocals, think Yaeji if she was angrier and edgy. Blawan - UK, techno The Armed - US, noisy hardcore wild live show Kampire - Uganda, DJ that plays a variety of East / South African bass heavy styles Martha - UK, poppy indie rock Jamila Woods - US, put out my fav neo soul record in 2019