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Post by nanatod on Aug 16, 2022 6:51:38 GMT -6
I know there are others here more steeped in Mekons lore than I, but I want to take a moment to say how much I love this album. It's probably not the first alt-country album, but it's hard to find a band (outside of the psychobilly scene) who were so entrenched in the avant-punk milieu that took such a bold, successful leap into American roots music. Chivalry, Flitcraft, Last Dance, and Lost Highway are the obvious smashes here. Basically anytime that electric fiddle gets going on top of the Mekons' shambolic beat and Langford's faux-Texan-via-Leeds howl - you're in for a good time. But I also want to highlight the weirder moments on this album. For instance, the spoken word juxtapositions over burnt-out groove in "Darkness and Doubt." The Dirty Projectors forerunning vocal harmonies and barking narration over the near amelodic backing of "Trouble Down South." Or the sax-laden avant-jazz leaning spoken track "Psycho Cupid," which almost feels like a mid-70s era Bowie accompaniment to my ears. I mean, these guys started as a deeply weird, no-folds barred punk band alongside Gang of Four and the Delta 5. Listen to "Not A Bitterman" or "Fight the Cuts" from The Mekons Story. It's easy to skip over the weirdness of this record and band in favor of the more straight-forward country stomp tracks. But I love how hints of their past peak through the holes of their new outfit. A very cool evolution, and a very cool record. updated/added to his list the day this review came out because it had reminded me that I actually owned this album on cassette. I really like "Hard to Be Human Again," have seen the band 4 times over the years, have met a band member in my office, have been in the work space of another, and have seen spinoffs of the band over 10 times. |
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Post by monasterymonochrome on Aug 16, 2022 8:02:12 GMT -6
 I know there are others here more steeped in Mekons lore than I, but I want to take a moment to say how much I love this album. It's probably not the first alt-country album, but it's hard to find a band (outside of the psychobilly scene) who were so entrenched in the avant-punk milieu that took such a bold, successful leap into American roots music. Chivalry, Flitcraft, Last Dance, and Lost Highway are the obvious smashes here. Basically anytime that electric fiddle gets going on top of the Mekons' shambolic beat and Langford's faux-Texan-via-Leeds howl - you're in for a good time. But I also want to highlight the weirder moments on this album. For instance, the spoken word juxtapositions over burnt-out groove in "Darkness and Doubt." The Dirty Projectors forerunning vocal harmonies and barking narration over the near amelodic backing of "Trouble Down South." Or the sax-laden avant-jazz leaning spoken track "Psycho Cupid," which almost feels like a mid-70s era Bowie accompaniment to my ears. I mean, these guys started as a deeply weird, no-folds barred punk band alongside Gang of Four and the Delta 5. Listen to "Not A Bitterman" or "Fight the Cuts" from The Mekons Story. It's easy to skip over the weirdness of this record and band in favor of the more straight-forward country stomp tracks. But I love how hints of their past peak through the holes of their new outfit. A very cool evolution, and a very cool record. updated/added to his list the day this review came out Changing the world - one overlong Board post at a time |
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Post by monasterymonochrome on Aug 16, 2022 8:03:02 GMT -6
My simple review is if kb and I are the only ones with this in our top 40 I'm gonna start yelling at some of you motherfuckers. I've listened to this so much in the last month that I can almost guarantee it'll be that high up for me |
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Post by monasterymonochrome on Aug 16, 2022 8:07:55 GMT -6
 This one is my favorite Echo album, but I'm not like a huuuge fan of theirs relative to their peers. It's such a cool take on the Big Music trend of the early 80s, keeping the dark atmosphere prevalent while reaching for massive moments. Songs like "A Promise" and "Turquoise Days" just work for me in a way that their biggest singles don't, for some reason. Anyways, listened to this on the plane back from Alpine yesterday and again on my commute this morning. Time will tell if it cracks the top 100... |
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Post by monasterymonochrome on Aug 16, 2022 8:21:26 GMT -6
 "Fireworks" is my favorite Siouxsie track, but after listening to both this and Kiss in the Dreamhouse yesterday, I think Juju is my favorite of her albums. This is just a flawless collection of swirling, heart-pounding post-punk. Check out "Monitor," for instance. The band is locked in from the get-go into a genuinely ferocious groove, fore-fronting the rhythm guitar instead of spare basslines, as most other dance-inflected post punk was wont to do. The guitar entrances around 2:35 are genuinely chills-inducing - tearing a hole into the track and leaving a massive footprint on so much guitar music of the next 10-20 years. Siouxsie herself towers over these tracks. "Halloween" especially is the other major highlight here, with "Spellbound" being the big hit of sorts. Her vocals are always arresting and walk that wire between grandeur and dourness that's so crucial to gothic music. This shit rocks - big recommend. |
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Post by monasterymonochrome on Aug 16, 2022 8:27:03 GMT -6
"Fireworks" is my favorite Siouxsie track, but after listening to both this and Kiss in the Dreamhouse yesterday, I think Juju is my favorite of her albums. This is just a flawless collection of swirling, heart-pounding post-punk. Check out "Monitor," for instance. The band is locked in from the get-go into a genuinely ferocious groove, fore-fronting the rhythm guitar instead of spare basslines, as most other dance-inflected post punk was wont to do. The guitar entrances around 2:35 are genuinely chills-inducing - tearing a hole into the track and leaving a massive footprint on so much guitar music of the next 10-20 years. Siouxsie herself towers over these tracks. "Halloween" especially is the other major highlight here, with "Spellbound" being the big hit of sorts. Her vocals are always arresting and walk that wire between grandeur and dourness that's so crucial to gothic music. This shit rocks - big recommend. Was reading the wiki entry for Banshees' guitarist John McGeoch and came across this Steve Albini quote that sums up his playing perfectly, IMO: "Great choral swells, great scratches and buzzes, great dissonant noise and great squealy death noise. What a guy.... anybody can make notes. There's no trick. What is a trick and a good one is to make a guitar do things that don't sound like a guitar at all. The point here is stretching the boundaries" |
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Post by ten15 on Aug 16, 2022 8:37:04 GMT -6
I really like Siouxsie (no surprise, lol) but they were more of a singles band for me. Not sure if any of the albums will make my list.
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Post by monasterymonochrome on Aug 16, 2022 9:38:33 GMT -6
 Very few albums exude cool as thoroughly as Psychocandy. It's harsh but delicate, nonchalant but achingly beautiful. A truly sonically pioneering album... that's also full of 50s rocknroll inspired melodies. Somewhere in the world there's a 19 year old finding out about this at the recommendation of someone older at their college radio station. At least, that's how it worked for me. And I need to believe that that cycle will perpetuate on and on for another 40 years, as it has since 1985. |
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Post by monasterymonochrome on Aug 16, 2022 9:47:00 GMT -6
Very few albums exude cool as thoroughly as Psychocandy. It's harsh but delicate, nonchalant but achingly beautiful. A truly sonically pioneering album... that's also full of 50s rocknroll inspired melodies. Somewhere in the world there's a 19 year old finding out about this at the recommendation of someone older at their college radio station. At least, that's how it worked for me. And I need to believe that that cycle will perpetuate on and on for another 40 years, as it has since 1985. Two other highlights from this relisten: the gnarly tidal wave of feedback sounds like a dish cracking and washes over the back half of "My Little Underground." And - of course - how I always chuckle when they bring back the "Be My Baby" beat again for "Sowing Seeds" |
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Post by monasterymonochrome on Aug 16, 2022 10:40:17 GMT -6
 This evocative cover belongs to The Field Mice's 1989 debut LP Snowball, released on iconic twee pop label Sarah Records. Field Mice are one of my favorite bands from the C86 twee/indie-pop era (see also: The Pastels, Wedding Present, Heavenly, Another Sunny Day etc). The Field Mice were a short-lived Scottish band that churned out single after single of delicately inflected songs of love and heartbreak, in the style that would pave the way for their countrymen Belle & Sebastian a short few years later. I really really liked this album in college, but upon revisiting now I think its lost some of its luster. Maybe the charm of twee pop has worn off in the last few years, or maybe the songs just weren't as strong as I remembered. I still really like the album - and it has it's Great moments (End of the Affair, Everything About You, Kiss and Make Up), but I think I'd be quicker to reach for a singles compilation in the future than the full LP. Huge, huge recommendation to " September's Not So Far Away" from 1991. Maybe my favorite song from the Mice. Check it out! |
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Post by kb on Aug 16, 2022 10:46:34 GMT -6
My simple review is if kb and I are the only ones with this in our top 40 I'm gonna start yelling at some of you motherfuckers. that would be a damn shame but honestly idk how this thing works so i prob won't even make a list lol |
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Post by monasterymonochrome on Aug 16, 2022 11:20:17 GMT -6
 Do people still care about Beat Happening? It feels like they were a very "big deal" even like 5-6 years ago when I was doing college radio. But I feel like the impact of Calvin Johnson's work with K Records has overshadowed the legacy of his actual (main) band. Maybe that's a product of my environment, but I do feel like BH was a bit more canonical then than now. Anyways, I was expecting to connect with their work less upon this revisit, but I really liked it! They deserve their spot in the canon! And not just because of their pioneering lo-fi, DIY style - but because the songs are really, really good. Imagine the melodic sensibilities (and vocal range) of Stephin Merritt, but with the enthusiasm of Jonathan Richman and the musical virtuosity of - idk - Meg White? When it works, it's an infectious combination. Our Secret, What's Important, Foggy Eyes are all awesome tracks, in particular. I'm gonna listen to Jamboree next - which was the one I played most in college. This album as a whole is really good - but the track listing is confusing (originally 9 songs, 2 singles were appended later - this is the version I am replicating - but there's 27 songs in a different order on Spotify). Maybe just listen to those three songs and see if it's your kind of thing. |
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Post by nanatod on Aug 16, 2022 11:44:29 GMT -6
even tho I've seen echo 2x, siouxsie w/ the creatures, and j and m chain at riot fest, none of their albums are making my list monastery.
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Post by zircona1 on Aug 16, 2022 11:58:04 GMT -6
I like the idea of Beat Happening more than the actual music.
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Post by nanatod on Aug 16, 2022 12:03:29 GMT -6
by the time calvin johnson got around to having dub narcotic sound system do an in-store at reckless on broadway that I attended, he had probably decided that beat happening wasn't ever going to re-unite.
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Post by monasterymonochrome on Aug 16, 2022 12:06:30 GMT -6
I like the idea of Beat Happening more than the actual music. Upon revisiting Jamboree and only really vibing with "Indian Summer" - I'm coming closer to this side. Really really into that debut self-titled record tho. |
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Post by monasterymonochrome on Aug 16, 2022 12:08:06 GMT -6
by the time calvin johnson got around to having dub narcotic sound system do an in-store at reckless on broadway that I attended, he had probably decided that beat happening wasn't ever going to re-unite. I saw him do a show as Selector Dub Narcotic at the SubT in like 2017/18 and it was one of the most genuinely weird concerts I've been to. Creds to the dude tho for rocking out in the crowd to the openers and manning his merch booth in between sets. |
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Post by zircona1 on Aug 16, 2022 12:30:12 GMT -6
I like the idea of Beat Happening more than the actual music. Upon revisiting Jamboree and only really vibing with "Indian Summer" That's the only song by them I like as well. |
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Post by monasterymonochrome on Aug 16, 2022 13:00:00 GMT -6
 This is a weird one - but one that I love nonetheless. Lizzy Mercier Descloux was born in France, moved to NYC and made a name for herself in the city's burgeoning No Wave movement, making two records (one as 'Rosa Yemen') with the seminal ZE record label. This one - Mambo Nassau - was her biggest artistic leap, coming out in 1981, also on ZE. But the cold antagonism of No Wave was discarded for warm, funk-laden basslines and exuberant call-and-response lyrics sung largely in French. Most obviously, Descloux was profoundly influenced by music coming from Soweto, South Africa. When I first heard this album (again - say it with me! At my college radio station!) - these sounds were completely fresh to me, I only knew South African music through the prism of Graceland (which, yes, will also make my list). This record isn't as problematic politically as Simon's 1986 opus. Descloux honored the cultural boycott and recorded in the Bahamas (on Chris Blackwell of Island Records' dime). But - now that I've listened a bit more to the OG genre (especially the famous Indestructible Beat of Soweto compilation that will ALSO be high on my list - it's clear how direct her line of influence is here. Does it cross the line from influence to appropriation? I'm unsure - she does leave her spin on the music with her unique French vocalizations. But it's a lot more obvious to me now where these sounds came from. That said - I love this record. It's incredible fun, bouncy, and rhythmically infectious. But where it would have been a Top 30 or so album for me back in 2018, it's probably gonna fall more in the 60-80 range for me now. |
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Post by monasterymonochrome on Aug 16, 2022 13:38:57 GMT -6
 I've been putting off writing about this one for a while, because summing it up is very difficult. Historically, it's a landmark album. One of the first widely available collections of non-ex-pat contemporary South African music to be released. There are nine different artists represented on its 12 songs, with a wide range of styles. Some of the artists are relatively famous these days in their own right (Ladysmith Black Mambazo, Mahlathini), and others have downright stunning entries on this comp but barely have stubs on Wikipedia, if that (see: Moses Mchunu, Amaswazi Emvelo). The album was released to great critical acclaim, moderate commercial success, and primed the public for Graceland, to be released the following year. Sonically - as alluded to earlier - it's all over the place. But it's fucking quality through and through. Listen to the gorgeous, delicate guitar leads of Mahlathini's "Emthonjeni Womculo;" Moses Mchunu's richly felt, interlocking vocals themselves interlock with a fiddle accompaniment in "Qhwahilahle;" the trademark chippy, chiming guitars and energy of Amaswazi Emvelo's two tracks (especially "Indoda Yejazi Elimnyama" with its ska-like adlibs); the spitfire vocals on "Sini Lindile" so cool they'd make Geordie Greep jealous, Udokotela Shange Namajaha's raspy vocal leads on the album's opening track; and - especially Nelcy Sedibe, whose track "Holotelani" is arguably the album's best. Her voice practically dances above an irresistible syncopated groove. Indestructible. Irresistible. Both those words aptly describe this record. Give it your attention and you won't regret it. It's honestly perfect. |
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Post by ten15 on Aug 16, 2022 13:43:59 GMT -6
Young Fatboy Slim's band. Love this record:  |
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Post by monasterymonochrome on Aug 16, 2022 14:47:29 GMT -6
 Not a record I come back to all the time - it's atmosphere is just so heavy and frantic. But I'll be damned if it isn't one of the best albums of the 80s and one of the coolest, heaviest records of all time. I mean, just listen to the guitar tone on "Double Dare" (taken from a BBC Peel Session). That shit would give Jonathan Dwyer nightmares. I also love how deeply dramatic this album is - the title track's climax is a great example of this. And then, of course, there's "Nerves," which features one of the best endings to a song maybe ever. A mammoth record - essential listening if you're up for it. |
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Post by doso on Aug 16, 2022 21:10:31 GMT -6
I really like Siouxsie (no surprise, lol) but they were more of a singles band for me. Not sure if any of the albums will make my list. I’m finding this to be the case with a lot of artists I’m considering from the ‘80s. Probably gonna throw a few bad albums toward the back end of my list just because the three or four good songs are SO good. |
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Post by doso on Aug 16, 2022 21:11:30 GMT -6
Young Fatboy Slim's band. Love this record: Nice - I thought I was gonna be the only one even considering a Housemartins record (they’re probably not going to make my list). |
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Post by monasterymonochrome on Aug 17, 2022 8:34:08 GMT -6
 This is the best guitar album of the 80s. Not exactly a hot take, but not exactly a cool one either. Idk how many times I've heard this over the years, but certain solos and fills here feel ingrained in my music psyche. "The Lung" in particular. My old roommate and I used to jam as a duo in our school's music center, just riffing on The Lung for like 10-20 minutes straight. One times I ended up bursting a blister in my right hand and bleeding all over the school's drumset lmaooo Still need to see Dino Jr in concert tho! Probably one of my biggest live music faux pas. Thinking I'll rectify that buy grabbing a ticket today to their tour w/ GBV. |
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Post by monasterymonochrome on Aug 17, 2022 10:26:57 GMT -6
 Another stone cold classic. 1990's Heaven or Las Vegas is their most popular LP by far, but it's only the Cocteau Twins' best by (IMO) a very slim margin. In close second would be this one - Treasure - from 1984. This was the record they solidified their trio lineup and perfected their dreamy, ice-palace-esque soundscapes. I'm a big fan of "Wtf is Elizabeth Fraser saying" memes, but her singing is so much more. The heartache palpable in tracks like "Aloysius" is enough to stop you in your tracks. The layering on "Ivo" is downright perfect, especially when paired with the gentle sway and proto-shoegaze guitar work. Pandora (for Cindy) is the highlight here for me though. Fraser's voice is unfathomable beautiful here, and the song itself is a pretty easy contender for Best Waltz of the 80s. It cracks me up that the band thinks this was their worst album. But I think that just speaks to their inimitable quality more than anything else. |
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Post by monasterymonochrome on Aug 17, 2022 11:35:04 GMT -6
 One of the best SY albums, for sure. I love this album for how streamlined it is. 37 minutes, great hooky riffs, ample noise, no bullshit. "Schizophrenia" is in the shortlist for their best (non-Teenage Riot) song, but I really found myself drawn to Pacific Coast Highway on this listen. Sonic Youth were undoubtedly a "New York" band, but they sure wrote about California better than nearly anyone else. Or, at least, California as a sex and death obsessed hell - not exactly the Beach Boys' paradise. Also, s/o to that Crime cover - absolutely love that song and listening to Sister always gets me to revisit their singles again. |
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Post by monasterymonochrome on Aug 17, 2022 11:57:05 GMT -6
 Real Emo" only consists of the dc Emotional Hardcore scene and the late 90's Screamo scene. What is known by "Midwest Emo" is nothing but Alternative Rock with questionable real emo influence. When people try to argue that bands like My Chemical Romance are not real emo, while saying that Sunny Day Real Estate is, I can't help not to cringe because they are just as fake emo as My Chemical Romance (plus the pretentiousness). Real emo sounds ENERGETIC, POWERFUL and somewhat HATEFUL. Fake emo is weak, self pity and a failed attempt to direct energy and emotion into music. Some examples of REAL EMO are Pg 99, Rites of Spring, Cap n Jazz (the only real emo band from the midwest scene) and Loma Prieta. Some examples of FAKE EMO are American Football, My Chemical Romance and Mineral EMO BELONGS TO HARDCORE NOT TO INDIE, POP PUNK, ALT ROCK OR ANY OTHER MAINSTREAM GENREI'm not usually a post-hardcore guy or a classic emo guy, but I have a huge soft spot for this album. Everything about it rules. Personally, I'm most obsessed with the bass playing here. Played by Mike Fellows (who'd later be part of Endless Boogie, apparently) - it fuckin' elevates so many songs. I don't know enough music theory to describe it, but I feel like it takes almost a melodic lead in songs like Deeper Than Inside, For Want Of, and (especially) Theme. Of course, Guy Picciotto is the big star of this album. I don't know how he didn't permanently blow out his voice recording/performing something like "All There Is." Like, holy shit. I feel like I can practically here his lungs waving the white flag by the time it wraps up. A lot of ink has been spilled on the Importance of this album - how it birthed a genre and led to Fugazi, etc - but it remains absolutely vital and thrilling on a musical level, even 35+ years after its release. |
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Post by monasterymonochrome on Aug 17, 2022 12:59:02 GMT -6
 Relistened to this one in full and re-confirmed that my taste in Fugazi is super basic. I love the first half of this one (their self-titled debut EP) and always struggle to connect with the second half (Margin Walker EP). Not sure whether I'll include it on my list as 13 Songs or as the Fugazi EP... to be honest the latter would place quite a bit higher than the full album, but idk if that's cheating in my own little head-canon. That said, I do think it's the single greatest EP ever released, so maybe I'll allow myself to rank it that way. Favorite musical moment of this particular listen - as I need to talk about something musical here - was all the different ways that Guy pronounces "my eyes" in Burning. Maybe one day I'll make a little supercut of that lmao |
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Post by zircona1 on Aug 17, 2022 14:13:41 GMT -6
 I initially only liked a few songs on here when I listened to it years ago, but now I think the entire album is really good. I like it more than Fear and Whiskey. |
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