Current Events > recommend one album itt and I will listen to it and rate/review it

(+) Yeah! (+)

curious if CE cares, since I've done this on the music boards a few times and found some great releases because of it

warning: this will be a slow topic, but I will try to do at least a few after dinner today if the topic doesn't just die immediately
warning: I may indulge some garbage, but I will probably skip any recs I can already tell you with certainty I don't care for or care to hear again
warning: I'm not allmusic or whatever so don't be upset when I give things I really enjoy 3/5

feel free to post additional recs once I do yours
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Experience Hendrix: The best of Jimi Hendrix

https://en.m.wikipedia.org/wiki/Experience_Hendrix:_The_Best_of_Jimi_Hendrix

This one

My dad loved that when I was a kid
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I would be much kinder to and rather listen through any of his intended studio releases, unless it is really important that I do that comp specifically @awesome999
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Trout Mask Replica
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prettyprincess posted...

I would be much kinder to and rather listen through any of his intended studio releases, unless it is really important that I do that comp specifically awesome999

Ah, ok, I chose that one cause of nostalgia

Here's something very relaxing and zen if you're into it

https://en.m.wikipedia.org/wiki/MCMXC_a.D.

The album art on that used to scare me
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Love and Rockets - Seventh Dream of Teenage Heaven
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Dead Sara - Dead Sara
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Science Fiction by Brand New
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Ashbury - Endless Skies

https://www.youtube.com/watch?v=_rb7d_zque0
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Spilt milk by Jellyfish

https://www.youtube.com/watch?v=cu9xIyZ6ZMg
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Chinese Football - Chinese Football
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Drake and Future - What a Time to Be Alive
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Herbert - Bodily Functions
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https://www.youtube.com/watch?v=rnsG7IKiOOw
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LP- Lost on You
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may do another, but do have to cover some things tomorrow

awesome999 posted...

Here's something very relaxing and zen if you're into it

https://en.m.wikipedia.org/wiki/MCMXC_a.D.

The album art on that used to scare me

Glad to start with something I haven't heard before instead (discounting that I later recognized that this was used during Schmitty's gang ceremony in Always Sunny), since praising Hendrix wouldn't really come as a surprise.

Unfortunately, this album begins with the fairly large hurdle of synth tone and effects that belie the era and technology that birthed ita sound I have never much appreciated. The beats are also fairly simple and largely exist to service the ideas on top. These aspects sadly hinder the album's ability to sell its attempts at seduction.

However, the album does manage to shine when the composition turns toward combining its disparate elements into more active songwriting, and "Back to the Rivers of Belief," one of the stronger pieces here, exemplifies that progressive layering well. The Gregorian chants feel more at home here than they do simply being played for their exotic element elsewhere. The more natural piano excursions within "Callas Went Away" and the closing movement of "Principles of Lust" also stand out. Had these ideas been the focus throughout and the base dance attempts of "Sadeness"/"Mea Culpa" cut then I would think it immeasurably more interesting. I guess that doesn't do much for the meditative aspect though.

2/5

Freddie_Mercury posted...

Trout Mask Replica

Is Don Van Vliet a genius for dementing the blues? It's possible, but even if so then I don't necessarily agree that this is his masterpiece, and there exist interpretations since toward which I find myself more closely attached. I did once fantasize of naming any of my own creative endeavors "Frownland" though.

Detractors of this album likely won't ever trust praise for it, but musical ideas like the psychedelic transitions of "Ella Guru" into the Anthony Braxton-esque improvisations of "Hair Pie: Bake 1" truly excite me. "Sugar 'n Spikes" rediscovers infectious melody amidst the anarchy. "Veteran's Day Poppy" has a lovely sway to it.

The eclectic intent invites moments of misfire as well, unfortunately. Tracks where the chaotic underpinning falls from focus can reveal a lack of real poetics ("The Dust Blows Forward 'n the Dust Blows Back"/"Neon Meate Dream of a Octafish"/"Orange Claw Hammer" all fall flat where tracks like "Well" or "The Blimp (Mousetrapreplica)" instead shine), and though the reduction of the individual abstractions should benefit its ability to continuously experiment, later ideas can instead fall toward redundancy instead. It's definitely bulbous, but not quite tapered.

3.5/5
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Antifar posted...

Love and Rockets - Seventh Dream of Teenage Heaven

Seven longform psych-tinged and beat driven hymnsthe gothic elements of Bauhaus prior are largely set aside here for a more hopeful shimmer. It's easy to hear how this plays as the precursor to later dream pop bands.

"If There's a Heaven Above" opens the album playfully, but with the intent of putting its fuzz on full display. It plays like the acid interpretation of Carl Orff's "Gassenhauer". Yet, the albums biggest strength is its percussive element, and the "The Dog-End of a Day Gone By" has perhaps the most deeply hypnotic drumming. "Haunted When the Minutes Drag" hammers alongside their most composed bassline to drive the song's brilliant transitions. It's the rightful centerpiece.

The opening segment of "The Game" is a more middling return to the gothic, though it improves in its carnival finale. It and the title track show the lyrical ability to be at times too unsubtle and cloying, which disappoints within the more adventurous musical passages. But having listened to this twice already, I am certainly curious enough to hear how the group continued.

3/5

Gamer99z posted...

Dead Sara - Dead Sara

Despite some intriguing guitar sheen on "Whispers & Ashes," this album makes it clear from the beginning that the music largely exists as a vehicle for Emily Armstrong's vocal acrobatics. However, they often fail to feel at home above the hard rock efforts, and her lyrical repetitions are too pointed to grant any real emotion to her warbling. "Face to Face" tries to play as the emotional core, but fails to generate much real feeling in the recognizable formula.

"Weatherman" is one of the more enticing cuts for its bluesy swirl and shouted indulgence of angst, and "Monumental Holiday" has an appreciable fury. The energy of these is unfortunately sapped by the poorly thought out transition of "Dear Love" between them, a song that begins as a ballad before alternating into its attempt at anthem. It feels ripped directly from Kings of Leon. "Test On My Patience," their best effort, morphs the disparate influences into something that sounds uniquely their own.

I'll take Aly Spaltro's poetics when I want similar vocal exercises, and the electrifying blues rock element has no limit to more exciting innovators.

2/5
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Septic Mind -
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the gal and I are binging Stranger Things s2, but I hope to listen to things tonight
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literal_garbage posted...

Science Fiction by Brand New

I began listening to this with the girlfriend the day that it dropped. Like many, the Devil and God Are Raging Inside Me played an important part in my musically formative years, and she was apparently a fan as well. Yet, it was midway through the third song that I stopped the album so we could do something else. Perhaps we had unfairly maligned it, but there had been a shift somewhere and I was unsure if it was more with us or the music. For a band that so consistently exhibited growth in their career, "Can't Get It Out" seemed to revel in how obviously it played. It could believably slot in as bonus track to TDaG.

"I thought I was a creator / I'm here just hanging around
Got my messiah impression / I think I got it nailed down"

While these lyrics are candid, they come across more juvenile than I have come to expect of a band that had expanded themselves on Daisy. Even though the risks there occasionally failed, they fit an audience that was growing with them. The commentary here upon itself fails to exonerate the simplicity of its design.

"137" and "Out of Mana" do display a maturation in Accardi's songwriting ability, showcasing emotionally powerful guitar leads. Still, the former's chorus of "Let's all go play Nagasaki" doesn't much impress as a a lyrical stand-in for man's self-destruction, and the base wordplay behind album closer "Batter Up" lacks any real wit, undermining the tone needed to sell its emotional pull.

The album does have more serious successes. "Same Logic/Teeth" sees the band adopt Modest Mouse for today much better than Modest Mouse appears able to do. "In the Water" introduces a fun folk element to a band that has never really portrayed themselves as pastoral, despite the small town moralizing their career has largely built upon. "Desert" follows that idea and inhabits religious intolerance in order to dismantle it. More interesting though is how the hymnal background relays that perspective musically. "451" is maybe the overall strongest cut here, an intriguing blues shuffle with more cryptic poetics to it, blending the band's best elements into something that feels unique to the album.

2.5/5
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halloween party tonight, so it's unlikely I can listen to the next album unless it sucks and I leave (not impossible!) and even then I may just finish stranger things s2 since that is pretty cool so far
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I lied I had just enough time between work and heading out

therin_lews_kin posted...

Ashbury - Endless Skies

https://www.youtube.com/watch?v=_rb7d_zque0

This album exists at an interesting crossroads of style. It very much follows classic hard rock tradition at it's core, but the group also incorporates a sort of folk mysticism, Molly Hatchet's Southern charm, and Yes-esque prog excursions at various points throughout the runtime. In some ways this impresses, but it tends too close to scattershot for the band to ever truly craft an identity for themselves.

The album's biggest flaw and the most major detriment to the group is that Davis brothers fail to command any attention as vocalists. There is an underwhelming energy that fails to ever connect voice with either lyrics or music. Album opener "The Warning" is a mystic tale sung without a hint of real wonder, coming across more like a Tenacious D style parody of themselves than an ageless tale. "Vengeance" is instead one of the stronger cuts here and this is largely due to how powerfully the music overtakes the song.

"Madman" is at its best when it descends into its Blue Oyster Cult styled chorus and bridging. The electric-acoustic guitar counterpoint of the instrumental "No Mourning" is brilliantly written. "Twilight" is a similarly pretty acoustic number. The closing title track sees the band finally indulge themselves in the all-encompassing transitional jam that the album should have subsisted on from the beginning. It could have perhaps used another movement to close itself.

These moments all explain the album's current cult fandom, but the failings provide ample enough explanation for how this faded into obscurity compared to innovators or someone like obvious influence Wishbone Ash.

2.5/5
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Gene Clark - No Other
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Carla Bley - Social Studies
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coachwhips - bangers vs fuckers
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