Instead of posting the new review here, I've decided to use it to move these... writing things to a tumblr.
YOU CAN FIND IT HERE -- http://minusplay.tumblr.com/
That being said, I've wanted to make some changes for a while, and on a whim this week decided to just go all at once.
1) No more links. It's 2013. You know how to find music just as well as I do. It's just redundant at this point. Also, I'm thirty. Time to stop posting that. Sometimes I want to share a link to this blog on twitter, but realize i can't. I don't mind being ignored, but I'm tired of hiding under a rock.
2) This style of blogs is dying. I don't want to be that guy still using a typewriter.
3) I want to break the format a bit. The further I get away from the word "review" the better. Turning it more into a "article" about the surrounding culture and history is more up my alley.
4) I was planning on shutting everything down next year, but shaking things up a bit, on a more modern template, and more out in the open motivates me to continue some more.
It will still be music only I like, and I still don't know how to promote. I don't expect anyone to care. I just feel good doing it.
8/4/13
7/26/13
album of the week: 7.4
Defcon 5…4…3…2…1
(2013)
why you'll love it: Evolved style of a one-of-a-kind rock band
why you'll hate it: no b-movie samples!
A couple years ago, I was sitting at my computer in the middle of the night, lost in a YouTube rabbit hole; as we all find ourselves doing every once and a while. On this particular night, the subject was Man or Astro-Man?; a sci-fi surf rock group from the nineties. I watched lo-fi clips of their incredible DIY stage show, with film projectors, tesla coils, space suits. I sip a glass of Scotch in one hand [RETCON] as I lamented a life regret, never seeing this band live.
Only a month or so later, came a Man or Astro-Man? reunion. That alone is a dream come true, but who could have imagined that would be followed up with their first new LP in over a decade? What I'm getting at is that is going to be a very biased review. MOAM? is a very simple concept, executed with a lot of flair. Either you love it, or just don't see what the big deal is. I fucking love this band. I own two of their records, and don't even own a record player. That's how stupid I am in my adoration.
If Man or Astro-Man? is new to you, Defcon 5…4…3…2…1 isn't exactly such a bad place to start. They're a band most well known for their high-energy instrumentals, but there is an unusual amount of singing on this record. There are a lot of actual songs. At first I was turned off by this, and the slow grunge pace of them; but eventually grew to like it. The content of the lyrics, and theme of the songwriting only makes for a more enjoyable and consistent album, that doesn't get as "samey" as even the most beloved MOAM? releases have. Credit to Steve Albini, for tapping into MOAM?'s themes, and bringing them into this new generation with a gritty/dark edge.
This album isn't perfect. There is filler in some of the "Defcon" tracks (which only serve as atmosphere). The 35 minutes fly by as if they were only 10. I think some of the songs near the end are a little too much like Sonic Youth, and fizzle this album out instead of escalate to a climax.
I don't care.
It's fucking Man or Astro-Man? putting out new material and touring in the 2010's! Just let me have this.
7/19/13
album of the week: 7.3
(2013)
why you'll love it: JA-GU-AR
why you'll hate it: all pop, no crazy
How important is change to you? tsushimamire made their mark for being this bizzaro punk rock antagonist to the cute and cuddly Japanese pop stereotype. This concept ran fresh up until their 4th full length album, Shocking. Not only did I praise Shocking for its ambitious concept album format, but for being a completely different sound for the trio.
Now it seems as if tsushimamire can't return home. This self titled release is devoid of punk, and lets their pop side flourish without irony. The only thing close to a fast pace on this release is the single, "Jaguar". Now, "Jaguar" is a cool song, but I have a real bone to pick with it. I hate when bands release a single that has absolutely no representation of the album. I remember how the Jimmy Eat World single, "Bleed American", tricked me into thinking the band was releasing a heavy and aggressive album, and not their most timid and radio friendly one yet.
"Jaguar" is a decoy. The real album here is filled with the kind of songs you would usually skip on a tsushimamire album, in order to get to the next "Doing Nothing" or "Time Lag". That isn't to say this album is without charm. There are actually quite a few innovative melodies and interesting takes on pop. "in your syrup" has a smooth pace, and great use of cadences. I really like the driving bass on "はじまりのうた". "SNS" has an innovative motif to it, and "No Punk" is a pretty cool no-wave, shoegazey ballad to close the album on.
All in all, his album is not very strong, and doesn't do enough to stand alongside the sound this band is most known for carving out. There is some real effort and care put into it, though; which has had me coming back to it all month out of appreciation. If anything, you'll be able to tell the difference now between when this band wants to do something legitimately cute and fun, and their old bait & switch routine. I can't help but respect a band that is constantly trying to redefine themselves, rather than play it safe in their niche.
7/4/13
album of the week: 7.1
Tales of A Grass Widow
(2013)
why you'll love it: Beautiful and catchy vocals and melodies, and enough depth to justify it
why you'll hate it: Another awful album cover
CocoRosie is the kind of act that is really easy to discredit, or even despise. They're pretty close to the character Vulva, from Spaced. Art beyond the point of saying anything more than "I AM MAKING ART! THIS IS WHAT ART IS, RIGHT? PLEASE FIND ME RELEVANT!" I don't know what any CocoRosie songs are about, or really care. Their message is of no significance to me. It's their delivery that I have so much fun listening to.
Unlike most art-house acts, CocoRosie uses enough soothing melodies and enjoyable vocals to make it on to the radio. "End of Time" has such a catchy beat and smooth delivery. More than Bjork has ever had during her brief flirtations with pop-culture. Most of the songs on Tales of A Grass Widow play with this style in different ways. "Harmless Monster" begins with piano and lyrics sailing off in equally aimless and separate directions; until it's brought together 100 seconds in to create one of the most powerful harmonies on the album.
CocoRosie's astounding vocal abilities play a big role in this album's success as well. "Villain" is a good example of the range they have. The first verse goes from frail and fragile to soaring in only 20 seconds. I love the accent they push on songs like "After The Afterlife". Very similar to The Knife's Karin Dreijer. CocoRosie is similar to The Knife in general, in their balancing act between pop and art. If all the noise and "non-music" parts of The Knife get on your nerves, maybe CocoRosie's devotion to melody will be more up your alley.
6/28/13
album of the week: 6.4
Endless Fantasy
(2013)
why you'll love it: retro NES rave party
why you'll hate it: Too long, too much modern pop, not enough rock
At a quick glance, Anamanaguchi is the kind of band somebody would expect me to love. Fast, glitchy music that sounds like video games. DONE! Not really. Get to know me a little better, and you'll see I'm pretty turned off by hobbies and interests being used to shape a personality. Anamanaguchi is best known for their contribution to the Scott Pilgrim multimedia experience. Lesser known for contributing to the most popular Bit.Trip video game, Runner. Throw in a couple PAX appearances, and you've got a fan base packed to the gills with insufferable affectations, all competing against each other to be the same person.
This is actually why it's a surprise that I kind of dig this band; or at least their 2008 EP, Dawn Metropolis. Now, Dawn Met has two really good things going for it.
1- an infusion of live guitars and drums, and a band focused song structure: A lot of chiptune acts tend to rely on nothing more than "hey, remember NES games?". The songs on Dawn Met stayed relatively focused and tight, like a real live rock band.
2- Less than 30 minutes total: There is only so much of this kind of sound you can take. Dawn Met dips out before you begin to tire of it.
Guess what Endless Fantasy lacks?
Good on Anamanaguchi for trying something new, but insultingly bad club music is not a direction I would have asked for. "Prom Night" is everything I don't want in a pop song. The contradiction of enjoying that song, and using this band to wave your "oh so unique" geek outcast banner is enough to make my head explode.
There are a few good tracks on this album, like "Echobo". "SPF 420" and "Pastel Flags", but they get buried in this massive 20+ song double LP of hardly anything but the same kind of song! So much repetition is what led me to a one minute jazzy interlude "Total Tea Time" being my favorite track on here, because of how much it stands out.
By the way, I'm aware of the irony of decrying an album titled Endless Fantasy for being too long. So don't bother pointing that out.
6/23/13
6/22/13
album of the week: 6.3
Modern Vampires of The City
(2013)
why you'll love it: a unique sound, catchy as hell, lots of neat touches
why you'll hate it: not that many standout tracks, can get too weird or boring in second half
The Vampire Weekend I talk about in this review probably isn't the one you hear on the radio. It's probably also not the band they themselves want to be. Subjectivism is one of the wonders of music, isn't it? Coming from an upbringing of punk rock, and at the same time hating the actual scene, leads to things like enjoying Vampire Weekend. Their wealthy prissiness style is just vague enough to be taken as frivolous or ironic, and catchy enough to never feel pretentious. They're a perfect palette cleanser for when I get sick of genre discussion or general rebellious hypocrisy.
Vampire Weekend's self titled debut had just enough of that style to make me run with it and act like they're the new Pizzicato Five. The 2010 follow up, Contra, sounded more like the "Maui beach house" record, with a lot more pop and reggae. Modern Vampires of The City returns to the Hamptons, and sounds more like Vampire Weekend than I ever pretended Vampire Weekend sounded like. This album is much more restrained, not so concerned with hits. Only "Diane Young" speeds up the pace. It's an obvious single, but does a lot with voice modulation and break-beat; so it doesn't come off as nauseatingly radio friendly as "Holiday"
While the sound may be more gala ball than ever, that doesn't mean they don't experiment. The second half of the album has a few strange decisions. There are high pitched yelps of "Ya-Hey" and … what sounds like a vuvuzela run through a crunchy synth mod in "Worship You". Weird decisions like these won't win over casual fans; but my twisted mind that pretends this band is like some evolved form of Shibuya-kei absolutely loves it.
I gotta say I also enjoy all the subtle references to old testament scripture throughout the album. It doesn't seem to be making any kind of deep criticism or message; but i really love it when an album has a theme to it, even if there is no point to it.
You have to be in the right mindset for it, but I really do feel this is their strongest album yet.
6/12/13
album of the week: 6.2
Analog
(2013)
why you'll love it: Strong vocals, fun riffs, lots of range for a basic rock band
why you'll hate it: Not a lot done to create a standout sound.
Of all the random stuff from Japan I review here, only one has ever been my album of the year. That was GO!GO!7188's 2010 swan song, Go!!GO!GO!Go!!. In the wake of their departure, Yumi Nakashima (guitar) has kicked her side project band into full gear.
As happy I am to hear Yuu's powerful voice sour over guitar rock some more, チリヌルヲワカ has much less character than the surf-punk inspired GO!GO!. The band's sound stays in a nebulous place, never truly planting a firm step into surf, punk, or garage rock. If anything, what shapes the band's personality is a traditional Japanese influence in a few of their riffs, and general aesthetic. Even that aspect isn't leaned into heavily enough to solely define them.
Lack of a truly unique approach is the one thing really holding this band back. As with their other releases, most of the songs on this EP rock. Speedy riff driven songs, like the first two tracks are exciting and fun. Yuu has the kind of range in her voice to bring sincerity and legitimacy to a melody, and switch right along with the beat into a bubbly bouncy chorus. She does her best to carry the 2 or 3 ballad style tracks on here as well, but these songs tend to struggle the most without the kind of swing and swagger her cohorts in GO!GO! had.
チリヌルヲワカ seems like it's here to stay, and I'm ok with that. I just wish they did more to justify my reputation driven praise.
6/5/13
album of the week: 6.1
The Hands That Thieve
(2013)
why you'll love it: music so powerful you'll become a one man army
why you'll hate it: bad pacing, still has the ska-punk stigma
The story of Streetlight Manifesto needs to be written about in great detail years from now. It's the ultimate example of how cruel and stubborn a record label can be. I'd love to recall the whole tumultuous affair, dating all the way back to the mid-90s, but that would take ages. All you need to know now is that Streetlight's back and forth with their record label (who has gone as far as canceling full albums, and removing their own content from the internet in efforts to NOT promote this band), is seemingly over with the release of The Hands That Thieve. It really happened. I'm listening to this album right now as I type this.
I could just write about the endlessly fascinating tales of horror Streetlight Manifesto has had with their label, but maybe I should drop that entirely and actually tough upon the music. Streetlight is big band folk-rock outfit from New Jersey, grandfathered by Tomas Kalonky. He had a taste of success in his formative years, writing a ska-punk album called Keasbey Nights, in a time where ska-punk was a big huuuuuge deal in New Jersey. He abandoned ship suddenly and unexpectedly, to get a real world education, but returned to music about 5 years later. From the ashes of Keasbey Nights came Streetlight Manifesto.
Kalnoky has always had a unique songwriting style. A very sharp and speedy delivery. Noir-esque lyrics seemingly about crime and poverty, but really about philosophy, religion, death, and so on. The core foundation of Streetlight Manifesto's sound are a lot of horns and gang vocals; but tons of world music influences are what sets them apart. Whatever shame triggers that are going off in your brian due to the word "ska", subdue them right now. You're denying yourself the joy of an incredibly talented, eclectic, and inspirational band.
The Hands That Thieve is just as an impressive and powerful piece of work as the band's previous two albums. I'm a little exhausted by the pacing (probably one too many ballads in the second half), but the big "bring the house down" numbers are still giving me goosebumps with each listen. "The Three of Us" is possibly the most thunderous song they've ever made; in both the multiple climaxes in the music, and fascinating metaphors and powerful statements in the lyrics. "Oh Me, Oh My" continues to prove that Kalnoky writes the best songs about life and death.
Every Streetlight album takes forever to happen, and thus never lives up to the hype. It's only after repeated listens over a long time you realize how well crafted and thoughtful each of them are. This album already has its hooks in me much more than Somewhere in The Between (2007), so I'm looking forward to further unraveling it with repeated listens.
I suppose this was more of a review of Streetlight Manifesto than the actual album. Honestly, check any of their albums out. They're probably one of the most under-appreciated bands in the world.
5/31/13
album of the week: 5.5
THR!!!ER
(2013)
why you'll love it: perfect summer album. can be enjoyed almost anywhere
why you'll hate it: Not as cutting-edge as previous albums
Too cool for words. Literally.
!!! has been making indie dance disco punk for over ten years, with varying degrees of success. Their first two albums contain just as much groove as spitfire. "Pardon My Freedom" and "Intensify" are two of my favorite raucous dance songs ever. They're one of the few bands that hasn't lost a step or harbored any ill-will as they gained popularity and drifted away from an agressive lyrical style. 2007's Myth Takes is both their most commercially successful release, and the general fan favorite. Strange Weather, Isn't it? (2010) saw the band at a bit of a creative block, but the album was a grower.
THR!!!ER sees the band falling back on a more traditional dance club groove. There are a lot more in studio effects on this album, and more focus on just letting a rhythm breathe and play out. "One Girl / One Boy" may be !!!'s most cliche disco song, but becoming one of my favorites. If anything, THR!!!ER is proving that !!! doesn't need a creative gimmick, or to do anything in a drastically different way to stand out. Their ability to craft a cool, groovy, and memorable song is seemingly natural.
The DJ mix style of "Slyd" is a standout. "Californiyeah" is sure to be the new live crowd pleaser. "Except Death" is the perfect summer house party / BBQ song. Even songs that don't have some grand hook to them, like "Get That Rhythm Right" and "Careful" are smooth and enjoyable to serve as breathers between big hits. It doesn't really seem to matter that the only song that sounds like their previous high-engery albums if the closer, "Meet Me At The Station".
Nine songs at 40 minutes is a great length for this album. They could have even gotten away with only 8 songs, and this would still be 2013's best summer album, no doubt.
5/20/13
album of the week: 5.4
Wheel
(2013)
why you'll love it: Incredible vocal and songwriting talent, country that isn't kitschy
why you'll hate it: Loss of that naive relatable feeling
Maturity is a term slung around way too often when critically looking at music. A lot of people use it as an excuse to justify change. When a dumb young band finally stops writing sophomoric joke songs, it's heralded as maturity; but usually the songs are hammy and short-sighted. Laura Stevenson has seemed to embody a truer definition of maturity. The tone and confidence of her vocals have strengthened. The songwriting on Wheel has more care for layered melody, and more complicated and evocative wordplay.
No longer referring to her backup band as "The Cans" is a good move, as Wheel feels less like "that cute quirky New Yorker girl obsessed with country" and more like a poised next generation country and blues star. If not for her fish-out-of-water upbringing and obscurity in a record label otherwise known for its DIY punk, Stevenson would be seen in a very different light. She resonates with me more than Neko Case and Cat Power ever have; but since she doesn't come from the scene that turns people like her into a big deal, she's known as punk-rock's lovable outsider.
In case that ever changes, why not start listening to her now, eh? Wheel fluctuates between delicate, powerful, fun, and emotional tones with professional ease. As much as I loved the more cuddly and carefree approach of her first two LPs, hearing something that sounds "all grown up" feels very good as well. Hopefully she gets the attention she deserves soon.
5/16/13
album of the week: 5.3
Laugh, Cry, Sing... And Dance!!!
(2013)
why you'lll love it: possibly the most fun album of 2013
why you'll hate it: silly enough to embarrass you in public
Ever take on something ironically, and it eventually becomes part of your everyday life? My friends started overzealously referring to pizza as "za", and over time, that's just what its called now. There is no joke. "za at 8?" "OK" Conversation over.
This is what the telephones has become. What started as "I'm just going to keep these mp3s around to use at the right time, because its ridiculous." has blossomed into legit anticipation for the latest release. And full credit goes to these guys. I didn't just warm over to their Engrish soaked spazzy dance rock, relabeled as disco. They constantly tuned their sound over the years, from album to album. Sometimes crazy, sometimes wholesome, never entirely serious, and always struggling to stay fresh and fun. I was strung along the whole way - rolled my eyes at first, later coming back to see when it will all go wrong; and now I'm fully in the congregation.
I didn't discover any kind of hidden genius about the band. It's more of a revelation that these guys were never accidentally good. They're a talented band, utilizing the tricky art and talent of "dumb". And I mean dumb in a good way. Dumb like a Saints Row trailer. Dumb like flushing a pie down the toilet. Dumb like lampooning cheesy lo-budget 90 Japanese TV.
There are lots of hi-energy rock songs in the first half of the album. The Anamanaguchi like speed metal intro, "Congratulations!!!" is one of my favorites. I also like the more synth heavy dance numbers; which are just as over the top in their own way as the punk songs. "It's Alright To Dance" has such a stupid mid-90's rap-in-a-can bridge, only their "do anything, as long as it's fun" attitude lets them get away with it.
"DE.N.W.A" seems a bit too old to be included in the album, but damn if that isn't one of their best songs. The only complaint I have about this album is the final track, "March For Peace". With all the fun little tweaks they've made to their formula, the final track being this long ballad with a rising drums and crowd vocals is a bit too habitual for them. "Four Guys From Saitama City" would have been a better closer, for its charm and inclusion of the whole band on vocals.
So yeah, I'm just outright saying it now. the telephones is a great band! No excuses. They do dumb right.
5/7/13
album of the week: 5.2
X'ed Out
(2013)
why you'll love it: A little structure and motif for the math-rock formula
why you'll hate it: odd mix of levels bound to give headaches
5/4/13
5/2/13
album of the week: 5.1
Desperate Ground
(2013)
why you'll love it: high energy punk rock anthems done right
why you'll hate it: Terrible production, too short, little variation in tone
And now for something on the opposite side of the spectrum. The Knife's latest release was a complicated piece of work. So as a palette cleanser, we have a traditionally simple band doing their most straightforward album yet. What The Thermals seemingly lack in is what also gives them their charm. Unashamed and honest pop-punk. Only their noisy debut, More Parts Per Million (2003), was a hard to swallow. Each release since then has become cleaner, catchier, and (in my opinion) more clever. Their last three albums have been concept albums, and well written ones at that.
With Desperate Ground, they may have over-simplified even their own standards. Off the bat, the most striking trait is dingy production. If the lo-fi tone of their first two albums was what they were going for, they fucked up, because the whole album has an awfully muddy mix. Kathy Foster usually provides some very memorable bass lines to a Thermals release, but is completely buried in the mix here. Hutch sounds like he's singing underwater, and the drums sound paper thin. The production isn't a deal breaker for me, as I see The Thermals as a DIY "We'll play anywhere on any PA" simple garage band; but it is excuse enough to just drop this album entirely. It really does sound that poor.
As for the content itself; this is the most energized I've heard the Thermals since they were on Sub Pop Records in the early 2000s. A lot of power surges through this cheap recording equipment. The cassette tape like production masks a lot of professionalism, but not their talent to write a fun, fast, and catchy song. The first three tracks are a good running start to this album. Unfortunately, their simplistic nature and paper thin concept leaves them running out of gas, even with the whole affair lasting 26 minutes.
The title track itself says everything the album has to say. "Born To Kill". Desperate Ground is a look into the mind of a mentally unhinged solider. Programmed from childhood, indoctrinated by his country, or in a maddening state of PTSD? I'm not sure, but the concept is so simple and nebulous, that the following nine tracks only serve to describe the same exact character. They only concoct more synonyms, rather than build on the character or tell a story with him. Then again, the ambiguity, and absence of a hammy political message somehow makes the atmosphere feel natural and pure.
It's cool that The Thermals are so committed to concept albums, but this one feels unfinished, on just about every factor. It's a shame, because some of these songs do kick ass. This is a Bad Boys 2 sized action movie on the budget of The Toxic Avenger. All of it's bright points are quickly undercut by poor production, and a concept that overstays its welcome. I'm still really excited to see them live later this month, including these songs. It's just, as an album, this is poorly produced, light on ideas, and fairly unremarkable.
album of the week: 4.4
Shaking The Habitual
(2013)
why you'll love it: progressive and stimulating art from a truly weird place
why you'll hate it: Lots of "not music" tracks.
This is the hardest album of the year for me to review for a few reasons.
A) it's an insanely hyped overdue release. I didn't start listening to The Knife until after the bloom of their last album (the "AOTY OMG Saviors of music!" 2006 release, Silent Shout) had subsided. Since 2007, I've ingested all of the sweet and tangy synths of The Knife. All of Karin Dreijer's alluring strange accent, and all the studio magic her and her brother provide to create a musical experience that exists out of time and space. The kind of music just too weird to be boxed in as from a certain era or culture. The Knife is awesome, and 7 years builds up a lot of expectation. During that time, I had also taken in Karin's solo effort, Fever Ray; and the siblings' previous band, Honey is Cool. I am ready for the next Knife release, and ready for it to take over the world. That kind of thinking can only set you up for disappointment…
B) The Knife has slowly developed a political agenda over the years, which is just fine, until it gets to the point that it seems more like "radicalism as a fashion" more than a fair and logical solution to society's problems. I've seen a lot of bands fall off my radar, because after a while, it felt like politics were just becoming a hook, or gimmick. That, or it turns out they were a bunch of knucleheads clinging to a pointless sensational fantasy of revolution. I don't want The Knife to become that kind of a band, so I won't be digging into lyrics all that much here. Also I'm not privy to many of the modern hot button issues in Sweden.
C) Art. Even more than Silent Shout, Shaking The Habitual feels like an art exhibit rather than a collection of songs. Again, I'm cool with this to a point. Part of what draws me to this band are just how weird the songs can get. And the first half of this double LP is tasty-weird. "Full of Fire" drills into your brain, and continues to twist until the very end, right when its about to get flat-out scary. Amazing vocal effects on "Without You My Life Would Be Boring" makes that probably my favorite song on the album.
Being a double-LP gives them a lot of room; and my standard remains "30 mins of good music is all I ask from an album." Shaking The Habitual gives you your 30 minutes, but does what it wants for the other 60, and what it does for those 60 may straight up aggravate many listeners. We're talking about multiple 10 -20 minutes tracks that are NOTHING but synthesized echoes and whooshes. Again, no big deal to me, I got what I paid for already; but ambient tracks this seemingly devoid of anything interesting or thought provoking could make The Knife into the next Mars Volta, if they happen to catch the wrong kind of attention.
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So, forgiving all of that, what is left? A few really good songs, and a lot of fluff. Even with the ambient tracks thrown out, some of that style goops itself onto songs like "A Cherry on Top" and "Raging Lung" and really drags them down. Sad to say, this isn't the insanity revolution i was expecting from The Knife, but they certainly meet their own personal goals. It's an original and challenging sound. Even the songiest of songs will freak out a casual listener. They manage to set themselves apart from who they previously were yet again. While Shaking The Habitual seems like the next logical step for the duo, it is not simply Silent Shout: part 2. The electronics are sharper, more grating, and searing than they've ever been. The percussion is amazing. The drums and other outside percussion & woodwind sounds give the album a natural "from the earth" feel, at times; which is quite a feat for a production that is (for all I know) completely synthesized.
Listen to this album. Maybe it's what you've always been looking for. Maybe you'll enjoy getting lost in it, like I did with WIXIW. Maybe you'll just pick apart the 6-8 songs on it you like, and toss the rest. Maybe you'll scream "pretentious!" and hate it. No matter what, The Knife doesn't make your every day kind of music, and you gotta hear it for yourself to get a real grasp of it.
4/21/13
album of the week: 4.3
Other
(2013)
why you'll love it - cool glitchy music, enchanting vocals
why you'll hate it - a cold and shallow genere
Here is a cool recent album I didn't know anything about before fate led me to it a couple weeks ago. The individual parts of Data Romance are nothing new. There is a kinship with modern indie craze - The XX, just a dash of Bjork, and thick coating of Portishead. Something all three of those bands share in common is how they hardly ever seem to meet my personal expectations. The XX's intimate and minimalist approach seems cool in concept, but usually is too synthetic to hold my attention. Portishead has a well deserved reputation in the trip-hop genre, but to call myself a big fan of theirs would be an overstatement. And well… I love Bjork, but her art takes precedence over her talent far too often.
Data Romance hits that sweet spot between all of these artists. They've got an impressive knack for electronics, and seldom offer up a surprisingly heavy beat. I don't want to spoil which songs do it, because the surprise was very fun. "Oh really, were going there, Data? Alright." Nothing to break out dancing too, but definitely tripper than most of these kind of emotional pop songs get. I'm already spinning this more than any Portishead album.
Amy Kirkpatrick's voice is quite impressive. They are not afraid to tone down the synths, and make her the centerpiece of a song. Her ability to carry a song caked in glistening and glitching synthetics makes me think of Bjork. Obviously much tamer, but still impressive. She can sing with strength and authority in a songs like "They" and "Others", but it's her delicate and fragile delivery on "Cargo" that really struck me. Especially how interesting the juxtaposition is with the lyrics "Let me hold, some of the weight for you."
I sure hope Other catches fire like The XX had. I feel they appeal to a very similar crowd, but Data Romance seems to have a whole lot more tools to keep creating fresh music. I'm not totally nuts about this album, but like it a lot more than I thought I would; and yet I still feel there is a lot more to explore on this LP and let it grow on me. Amiss everything I'm hyped for between March and May, a surprise like this is like a cherry on top.
4/12/13
album of the week: 4.2
The Black Box
(2013)
why you'll love it: A more original and classy take on chiptune. Also, "Lonely Rolling Star"
why you'll hate it: Trapped in a stagnant genere
It's been too long for my liking since the last YMCK album. The jazzy-pop chiptune group seems to have blinked out of existence over the last 3 years. It feels like a real stroke of good fortune that I stumbled across The Black Box while ruminating over that very thought. aivi & surasshu are a chiptune duo, with lounge, jazz, and some pop influences. At face value, they fill the very space I was looking to have filled.
To end just there wouldn't do justice to aivi & surasshu though. They aren't just another chiptune band. The use of classical piano really helps bring some grace and higher sense of quality to a genre that is usually shallow and niche, even at its best. The decision not to have vocals is common for this genre, but at least is another thing that sets them apart from YMCK, and makes them not sound as detrimentally "cutsey".
While the album as a whole is a smooth, enjoyable listen, the clear highlight is a cover of "Lonely Rolling Star", a song from the (honest to god - SO GOOD - not just a video game that I like) soundtrack to Katamari Damacy. Boy, do I ever love the Katamari soundtracks. As much of a stereotypical light it casts me in, I have to admit; my heart warmed when I heard that cover. As far as music that doesn't make me sound like a mindless fanboy, the next best track on here is probably the swing number "Here's How!"
I can't blame you for rolling your eyes at the first mention of chiptune; even if (or maybe especially) you play a lot of video games.. It has over-saturated the scene, and is mostly co-opted by insufferable empty headed video game geeks. If you give The Black Box a chance, maybe you'll conclude that the duo brings a bit more to the table than most of their peers. The album is freely distributed on their bandcamp site. Check it out. Maybe it will leave an impression on you.
4/5/13
4/3/13
album of the week: 4.1
Waking Up is Hard To Do
(2013)
why you'll love it: Smart, snarky songwriting, fun tunes to go with bummer content
why you'll hate it: Lacks the punch of the debut, a couple corny songs. Bittersweet ending to an under-appreciated band
The weird thing about Annie Hardy is that what makes her so hard to figure out is also what makes her songwriting so good, and personality so interesting. I can't tell if her 2005 critically praised shoegaze rock album (as Giant Drag), Hearts & Unicorns made her a modern rock genius, doomed to wallow in the shadows of 90s grunge legends. Her sarcastic vocal delivery and sometimes rude lyrical content always has me guessing about what is sincere and what isn't. I can't tell if the personality she shares with us on the internet is a satirical reflection of the drugs & rock and roll lifestyle, or a pretty big clue as to why there has been no follow up LP all these years.
What is certain is that Hearts & Unicorns is still a fantastic album. That combined with a personality that keeps me guessing (and racking me with judgmental guilt), has kept me checking in on the status of Giant Drag every few months for close to a decade. After years of silence, briefed with "there is new stuff" "there is no new album" "there is new material" "most of it is old" "there was a new album I never told you about, but it's gone now" "there is no band" "there is a band again" "there is no new album again" - we have finally come to the abrupt conclusion -
"There is a new album HERE IT IS RIGHT NOW! oh and the band is done"
Although it's claimed that Waking Up is Hard To Do was mostly written in 2007, and has gone through production limbo for years, it still feels like the final act to a movie that skips the middle. The album has a very different tone than the grit and spitfire of Hearts & Unicorns, and even the 2009 single, "Stuff To Live For". There isn't as much fuzz and punch in the production, the lyrics and vocal delivery have this bubbly aloofness to them. Even though this material is firmly planted in (let's just call it) nu-grunge, there is this sort of "over-it" tone to the songs; which either give them a silver-lining, or so wrapped up with clever condescension that they feel like pop songs.
The bottom line is that I'm totally cool with all of this. Actually quite into it. It feels natural that after 8 years, a person would change enough to put out material that feels different. But even if this were released in 2007, I'd still love the fresh change. I would never expect positive feeling brought into a Giant Drag song would be a good thing, but it really does work here. I love everything in the first half of the album. A lighthearted take on the kind of snarky and cool attitude Hardy puts into her songs. "Meowch" and "I Saw The Light" are the only two low points for me, because i feel the songs rest too heavily on gimmick.
I suppose Waking Up should feel like closure. It must certainly feel like that to Hardy; but the change of pace here left me wondering where else Giant Drag could have gone. If not onwards from here, what would have come in those past eight years if there were constant output? But here were are, at the end of Giant Drag. I'm not sure whose fault it is. Hers, mine, fate, or the music industry. I'm just happy there was something to show for it in the end.
This was a super-indie release that went through years of hardship before a completed state. If you would like to tip the artist, you can do so at anniehardy.bandcamp.com
yes, i know I'm a week behind
As a distraction, here is a sample of everything I've enjoyed so far this year.
album of the week: 3.4
The Chronicles of Marnia
(2013)
why you'll love it: Impressive guitar work, wonderful uplifting lyrics and vocals
why you'll hate it: No Zach Hill, not as wild as previous works
It's amazing how much my perception of Marnie Stern has changed over the past 5 years. Around the time of her (totally killer) album, This is it And I Am it And You Are it And So is That And He is it And She is it And it is it And That is That (2008), my short summary of her was "Crazy Hella fangirl who shreds on guitar, and has an odd infatuation with breaking the rules of time and space". I used to judge her songs on the scale of "how damn nuts can she make this?", and little more. Her 2010 self titled release changed all that. At first i begrudged the repression of wacky super-fast songs about time travel, but eventually, the bare emotion and honest personality put into her new songs became an endearing replacement.
I jumped into The Chronicles of Marnia not even caring that the god-like Zach Hill would be replaced on drums. I wasn't here for madness anymore. I was just here for Marnie. There still is trademark fingerpicking, and few short bursts of ranting style delivery on this new album; but it's more cleverly woven into the song structure now. The real draw of this album is Marnie's ability to come off as a real person, a peer. Her lyrics are not nuggets of wisdom handed down to the clueless listener, it's just sharing a relatable life with you. Being normal may sound counter-productive in rock music, but I find it novel.
It's a bit tough to sell this record on a brand new listener. There are no real clear singles. Nothing that punches you in the face. There is a lot of talent to speak of, but it's spread evenly across the album with subtlety. This won't go down as Marnie Stern's best album, but damn if it isn't enjoyable. It hasn't failed to put me in a better mood in any of the dozen times I've listened.
3/29/13
album of the week: 3.3
Sweet Swedish Winter
(2013)
why you'll love it: more of a stripped down, modest approach to pop songs. feels very real
why you'll hate it: lacks energy and catchiness
Longtime pop composer, Kideki Kaji has a love affair with pop music from Sweden that I can totally relate to. Due to the language barrier, I can't tell if he understands the fantastic bitter and maudlin undertones of Swedish pop songwriting; but on the surface, it's still some of the most enjoyable music out there. Hideki has make a carrer out of bringing the fresh and confident attitude that most Japanese artists have with the heartwarming and comforting feeling Swedish pop has.
Despite making such a big deal of this Japan & Sweden crossover on this album, as opposed to any other album of his carrer, Sweet Swedish Winter doesn't exactly capture the essence of Hideki Kaji all that well. Up front more than anything, the songs don't have much of zing to them. Hardly any memorable hooks or motifs. I was bored through most of this album.
I also think making a cover song the title of your album and the first track sets a bad precedence. I don't mind him doing a cover, but making it the centerpiece of the album sends a message that the rest of the material is comparatively weak. Also ending an album released in late February with a Christmas song? The last thing I want this time of year is Christmas music!
You don't have to track so far back to find much better works by Hideki Kaji. Even his previous album, Blue Heart (2012) was much better than this one.
3/20/13
album of the week: 3.2
Fade
(2013)
why you'll love it: Well crafted, subtle moody chill-out jam music.
why you'll hate it: vague and disposable, same thing over and over
Sorry for the lack of depth in the Godspeed review. I'm aslo sorry for what's to come in this one. Yo La Tengo and Godspeed share a commonality with me. They're both bands I respect a whole lot, and can tell they are skilled and proud musicians who deserve all the success they receive It's just that neither of them seem to draw anything out of me. Godspeed has the grandiose "bigger than you and me" composition down, but their material doesn't paint much of a picture in my brain beyond "vast whatever".
Yo La Tengo has been around a long time. They're from my home state of New Jersey. They've always stuck to their guns proudly. I want to like everything about them, but Fade comes and goes just as their entire discography has, no matter how honest of a shot I give them. I can't remember a single line or hook from this album once it finishes. In the moment, I admire the patience and care they have for their songwriting, but have never felt the need to go raving about it later.
Yo La Tengo offers a whole lot of ammunition for me to tout how significant and brilliant they are, but in the end, I'd just be massaging my own ego; using their credentials to make myself seem more legit. I must be honest, I'm not swept away by this band, only in love with what they represent.
Fade is most certainly an album worth your time. Up to you if you find it necessary to ever revisit.
3/9/13
album of the week: 3.1
'Allelujah! Don't Bend! Ascend!
(2012)
why you'll love it: a grittier tone to the sound, but same epicness
why you'll hate it: we don't need anymore Godspeed
3/1/13
2/27/13
album of the week: 2.4
Holy Fire
(2013)
why you'll love it: nice guitars, consistent, easy on the ears
why you'll hate it: fails at being cool, clever, or emotionally evocative.
When Foals burned their post-punk bridges in 2010 with the sophomore release, Total Life Forever, I was one of many who gave them hell for it. It wasn't just the genre they turned away from. It's what replaced it. Droning moody songs that dragged on rather than riled up emotion, until a predictable climax. Weak vocals that sound like any generic band. And a whole lot of unnecessary studio effects and filters that try to create something out of nothing.
Sadly, this iteration of Foals seems to be here to stay. Holy Fire tries to do what Total Life Forever attempted, and the best I can say is that it at least finds more success at it. Going into this album with the second single in my head ("My Number"), I was looking forward to mathy-guitars making a triumphant return. While they are more present on this album, they're not the focus. Trying to write that perfect song that speaks to a whole generation is. I think that is the vision quest of Foals. To escape from what they saw as a small-pond niche (the success of their energetic punk debut), and become that "beacon of light" band that everyone rallies around. The problem is they haven't developed a personality to replace what they ran from.
You can run down the track list and see who they are trying to impress. The noodling opener, "Prelude" essentially does nothing. It's got a soft build, and a mild release, but fails to leave a impression that what you are about to hear will be anything special. "Inhaler" is a rebel cry, but trying to appeal to the lowest common denominator. You try to make me believe you are a matured band, and then have lyrics like "I shimmy-shake. I wake and bake." Man, what? "My Number", as fun as it is to listen to, is lyrically, a really smug "I'm too good for you" relationship song that wouldn't be above Justin Beiber to write. The dueling closers, "Stepson" and "Moon" compete for what is the more emotional somber finale, but neither feel all that special.
Just like as in Total Life Forever, moments of pure talent shine through cracks in the artificial UK ballad-rock mold. As bland as Yannis has become at singing / songwriting, none of these songs are something I would call bad. Tepid, at worst. I'd go as far to say that if you've never heard Antidotes before, you'd see less problems with this band; especially if you don't pay attention to lyrics all that much. I find myself enjoying a good chunk of this album, but cannot shake the regret of wasted potential. This band has, and still can create something much better, but they're still trying to chase a dream that is beyond their potential.
2/21/13
album of the week: 2.3
Blow The Roof
(2013)
why you'll love it: that part where if gets silent and then everything gets all loud and squeally and random sounds are going all "WARRGG WAHHH BUHHH"
why you'll hate it: even for dubstep, this is pretty cheesy.
OK, so here is your big dumb dubstep release. I actually enjoy the concept of dubstep at its very core. Without irony, even! When you break it down to fundamentals, lots of random electronic sounds that sound like a robogasam are exactly what I like to hear. Sometimes, at work, I like to track down a random dubstep mixtape on 8tracks.
A healthy indifference to popular opinion, and ignorance of the dubstep scene and its star performers keep me from getting as fed up with the genere as most do. I don't even know the name of a single Skrillex song. For some reason, Flux Pavilion is the only dubstep artist I have in my iTunes. I don't even remember how I ended up with a copy of Lines in Wax (2010), but I did, and now here I am with his newest EP, Blow The Roof.
On top of hitting all of the dubstep bullet points, Flux also throws a dose of rap/hip-hop into the mix. Also, he's British.
Know what you are getting into.
I like some songs, as corny as they are. The "cool guy" rapping stuff and played out dance floor catch phrases are at least better than the modern attempts by capsule (the closest thing to this kind of stuff I enjoy). It's easy for me to look past all the gaudy fluff and concentrate on the wacky computer bits. I totally understand if it's all just too lame for others to get into. As for a critical look into these songs... Dude, it's dubstep. You can't criticize a jelly doughnut for not being a sirloin steak. It does as much as I ask.
2/12/13
album of the week: 2.2
True North
(2013)
why you'll love it: Bad Religion doing their best "old school" in over a decade!
why you'll hate it: No real standout singles. Nothing better than what they did in their height of popularity.
What can I say about Bad Religion that hasn't been said already? They've been relevant in the punk scene about as long as I have been a living being. It's pretty much impossible to have even a passing interest in American punk rock, and not be familiar with Bad Religion. They've been active for so long that even cries of "Bad Religion is BACK" has became a tired phrase.
My first ever concert was a festival with Bad Religion. At the time they were going through the period without founding songwriter, Brett Gurewitz; and there were cries from the fanbase that they should hang it up. In 2001, Gurewitz came back, and I recall a roommate making a snarky remark about how they should be in walkers. These guys have done it all; been through good times and bad. Which is why it's so remarkable that True North feels so fresh and full of life.
Every Bad Religion trope is here. "oooh"s and "aahhhh"s, guitar slides, big vocabulary words, simple 4/4 drumming beat, Greg exclaiming "wa-choo!" before gutiar solos. For over a decade, every other Bad Religion album harkens back to the '88 classic, Suffer. 2002's The Process of Belief rode on "Bad Religion is BACK" hype, but looking back on it, it wasn't very strong. 2007's New Maps of Hell felt too flat and safe, but maybe it just wasn't the right time for it. This makes True North the first really good "retro" Bad Religion album since the 90s!
Why is the album so good? That's kind of hard to figure out. I can't put it any other way than lightning in a bottle. "True North", "The Island", "Vanity", all great old-school style Bad Religion songs. I absolutely love the choruses on "In Their Hearts is Right" and "Nothing To Dismay". I think "Fuck You" will become a set-list mainstay. It's a very clever dissertation of the phrase, and funny to hear Greg rant about it, after being a living thesaurus for so many years. There are a few songs with corny lines, like "Robin Hood in Reverse" and "My Head is Full of Ghosts", but every song has such a fun pace and constant attack of guitars, that it doesn't really matter.
So if I'm keeping track correctly, I think this may be the third time, but Bad Religion is BACK!
2/8/13
album of the week: 2.1
Allez Allez
(2013)
why you'll love it: Ass-kicking rock and roll
why you'll hate it: Sophomore slump. Poor production. A couple bad songs
I've been dwelling on the past possibly too long. Now it's time for the present. Starting the year off is a release I've been waiting about four years for, a sophomore release by The Night Marchers. This is a Californian garage rock band made up mostly of my personal favorite punk band in the world, Hot Snakes. Of course, Rick Froberg is fronting his own band now, so this is a John "Speedo" Reis joint (leader of the LEGENDARY rock band, Rocket From The Crypt).
I've you're familiar with RFTC, or any of John Reis' other projects you know what to expect here, and get a lot of it. When he sings "The only things that speak to me are loud, dumb, and mean!" I can't tell if that is foreshadowing, or an proactive excuse. Allez Allez has some of the most boastful dick-swinging songwriting I've heard from Speedo since the heyday of Rocket From The Crypt. Maybe even a bit more. Most of the songs on this album appear to be about how talented, successful, and popular he portrays himself as. It's a gangsta rap amount of self-aggrandizing, as a carnival of buzzsaw guitars and lo-fi drums accompany. Again, if you are a RFTC fan, you should be nodding yes to this, aggressively. Allez Allez is the closest thing to a Rocket From The Crypt album since the band disassembled in 2005. Even more so than All Systems Go 3 (2008), which contains many demos for a scrapped RFTC album.
My only problem with all this is The Night Marchers debut album, See You in Magic (2008). It greatly exceeded my expectations of what this band can be. The production, the songwriting, the range of sounds - all much more of a complete package than something simply "loud, dumb, and mean". Basically, Allez Allez sounds like it should have been the first album by these guys, and See You in Magic is the big next step that should come now, especially after 4 years. It's hard for me to listen to this album, without thinking of it as a huge step back.
There are a few other little things that bug me. Quite a few of these songs have been knocking about for a while. "All Hits", "Fisting The Fan Base", "Tropical Depression", and "Thar She Blows" have been titles I've been either hearing or hearing about since way back when this album was supposed to be called Villager. And they all sound pretty much just like they did when I first heard them, which makes me wonder why it took so long to get this thing finished. And most importantly, where the hell is "Scene Report"? Seriously, this song rocks!
If you haven't had your ear to the ground over the past four years about this stuff, I suppose none of my complaints should keep you from enjoying this. Objectively, the only thing poor about this album are two songs in the middle ("Pain" and "Two Guitars Sing") which are both plodding, and have lyrics all the swagger in the world can't save. Most of these songs are great despite the flat production. "Fisting The Fan Base", and its marathon of false endings, really shines through as a damn good song. I wish it got the level of production it deserved. The inclusion of horns and harmonicas sound good when you notice them, but tend to get buried in the mix.
Maybe I made a stupid mistake of expecting too much from a band that likes it simple. I came away from this album feeling kinda burned, but in the long run, I'll be thankful that music like this is still being made.
1/31/13
album of the week: 1.5
Monstre Cosmic
(2012)
why you'll love it: Sophisticated pop, as enjoyable as it is admirable.
why you'll hate it: Basically, soundtrack music. Does not stick with you.
One last holdover from 2012 before get start on the 2013 releases. This is something I actually discovered this week. The French pop band, Monade, is an offshoot of Stereolab (a band I featured during the summer records stint last year). If you have heard Stereolab before, the connection is quite obvious from just one listen. Lætitia Sadier sings on this band as well, and the music is similar enough to fool you into thinking you are listening to a Stereolab album.
Unless you have a serious aversion from songs sung in French, I can't see anyone really complaining about this album. It's one of those records that is best suited for a party (the classier, the better). Using the term "background music" seems like selling them short, because when you do pay attention, there is a lot being put into this album. A nice range of instruments, and a constant feed of melody without ever getting repetitive. You can sit back and soak in the music, or put this on while you do chores, and still get something out of it.
1/27/13
album of the week: 1.4
欲望
(2012)
why you'll love it: never too much TSPO
why you'll hate it: this is too much TSPO
Did you know Tokyo Ska Paradise Orchestra released a second 2012 album in November? Not me! I actually like it better than Walkin'. The guest vocal contributions are great. "Midnight Buddy" has some infectious scatting. Not much more to say about this that hasn't been said about all their other albums. I hope Coachella is streamed like it was last year, because TSPO will be there, turning heads for sure.
1/25/13
album of the week: 1.3
Downtown Rockers
(2012)
Why you'll love it: Simple and effective funk as good as their early material
Why you'll hate it: Title track is complete garbage. Middling to awful lyrics throughout.
One of the coolest surprises that I never got around to talking about last year was the sudden appearance of new Tom Tom Club material. I've always enjoyed the funky Talking Heads offshoot band. Well, honestly, just only their debut LP, but I really do have an appreciation for that one album that kind of covers up their later disappointments. Downtown Rockers is actually the first release by them that I'd put right alongside that original release, aside from the title track. I'm going to spend the rest of ths post complaining about that song, so let me just say up front, I otherwise like this EP a whole lot…
OK, with that out of the way, the song "Downtown Rockers" is one of the worst songs I have ever heard… EVER. You know the song "Losing My Edge" by LCD Soundsystem? It's an excellent rant portraying this aging hipster, clinging desperately to his glory days, and experiencing everything he built his entire persona around melt away. Thanks to the internet, his musical knowledge is no longer interesting. The people he is name dropping are no longer relevant. He's watching "the scene" make the same narcissistic mistakes he made, but looking a lot better while doing it. And his looks are slipping away, with no real interesting talent or personality to reveal underneath. By the end of the song, he's simply rattling off bands and people he used to know, whatever sticks. The beat is great, and the song has some hilarious lines. There is a lot of satire and parody to enjoy, but it is truly a reflection of a sad and vain personality.
"Downtown Rockers" is "Losing My Edge" without parody. It truly thinks its being cool by name dropping. That's all that's going on in this song, just naming underground or counter-culture bands from the 70s-80s. Even on the surface, it's a shallow and uninteresting song, but when I think about its intention, a suffocating depression overcomes me.
But yeah, to reiterate, I really love the four songs that follow it. In fact, if you get the album off Amazon download, you get instrumental versions of (almost) all the songs. Since the lyrics are mostly filler, the instrumentals are even better than the original tracks.
1/10/13
LISTAMANIA 2012 MEGAPOST
Two weeks later than anyone will care, here is my big 2012 music roundup!
- First off: I look back at what my favorite records of 2002 would have been, if I knew about what bands I know today...
- One more pit stop before 2012: What I missed in 2011
- Sorry for bitching: The biggest bummers of 2012
- oooo pretty: My favorite cover art of 2012
- yes, these things still exist: Favorite music videos of 2012
- The 2012 Mixtape
- annnnd: My top ten of 2012
LISTAMANIA 2012: What I missed in 2011
 |
| Sample: Progress |
The Color Spectrum
This is one of those "Jack of all trades. Master of none" kind of sitiations, but it's still fun to sift through these 4-song EPs and listen to how they sound to their respective colors. Indigo (prog rock) and violet (lounge/swing) were my favorite
 |
| Sample: Colisión Inminente |
La Casa Azul
La Polinesia Meridional
Another example of concept over execution, but I mean come on; Spanish Shibuya-kei? HELL YES!
 |
| Sample: Shirley |
Matthew Friedberger
Napoléonette / Good-Bye Forever
Instead of working as The Fiery Furnaces, this guy released ELEVEN solo albums last year. These two are the most piano focused, which I feel is his strength.
 |
| Sample: ただのともだち |
Salyu x Salyu
s(o)un(d)beams
Through the wonder of album producing, Cornelius took an otherwise run of the mill J-pop singer, and turned her into a vessel for more Cornelius mad genius!
LISTAMANIA 2012: RETURN TO 2002!
Looking at what I have from 2002 reminds me of how big of a year it was for me. I remember going to the Best Buy between classes to buy some of these albums that are in my top ten. This was definitely the first year where I was getting into the kind of music I listen to today, and breaking out of that punk/ska exclusivity. So yeah, if i knew about what I do now, this would have been my top 10 of 2002, even though some of these would have still been on my list back then....
NUMBER TEN
THE GET UP KIDS
ON A WIRE
Following up an extremely popular and trendsetting emo-sweetheart indie pop album; the band takes control of their own destiny and releases a mature and chilled out 60's Beatles-esque album. The respect points alone makes this album remarkable, but it's pretty good too.
NUMBER EIGHT
REEL BIG FISH
CHEER UP
Young, cynical, and zero fucks to give about what kind of music you're playing or who your audience is. This is how I remember Reel Big Fish.
NUMBER SIX
POLYSICS
FOR YOUNG ELECTRIC POP
One of those Polysics albums that proved that they're not just a bunch of misguided spazzes. Instead, they're a bunch of really creative spazzes, who can be just as catchy as they are abrasive.
WHOOPS THIS CAME OUT IN 2003. I FUCKED UP
 |
| Sample: Walking on A Wire |
THE GET UP KIDS
ON A WIRE
Following up an extremely popular and trendsetting emo-sweetheart indie pop album; the band takes control of their own destiny and releases a mature and chilled out 60's Beatles-esque album. The respect points alone makes this album remarkable, but it's pretty good too.
 |
| Sample: Lost Cause |
NUMBER NINE
BECK
SEA CHANGE
This guy has nearly done it all, and everything he attempts he excels at. Motivated by loss and heartache, Beck uses his powers of psychedelica on humble and somber balladry. As usual, it's amazing.
 |
| Sample: Somebody Loved Me |
REEL BIG FISH
CHEER UP
Young, cynical, and zero fucks to give about what kind of music you're playing or who your audience is. This is how I remember Reel Big Fish.
 |
| Sample: LAX |
NUMBER SEVEN
HOT SNAKES
SUICIDE INVOICE
The greatest punk rock band ever.
 |
| Sample: TV's High |
POLYSICS
FOR YOUNG ELECTRIC POP
One of those Polysics albums that proved that they're not just a bunch of misguided spazzes. Instead, they're a bunch of really creative spazzes, who can be just as catchy as they are abrasive.
 |
| Sample: Brakeはずれた俺の心臓 |
NUMBER FIVE
THEE MICHELLE GUN ELEPHANT
RODEO TANDEM BEAT SPECTER
The greatest punk rock album ever.
 |
| Sample: Mu Empire |
NUMBER FOUR
GLASSJAW
WORSHIP AND TRIBUTE
When it comes to progressive hardcore (and I am by no means, an expert), Europe has The Shape of Punk To Come by Refused. America has Worship And Tribute.
 |
| Sample: Hearts of Oak |
NUMBER THREE
TED LEO & THE PHARMACISTS
HEARTS OF OAK
WHOOPS THIS CAME OUT IN 2003. I FUCKED UP
 |
| Sample: Disarm |
NUMBER TWO
BAD ASTRONAUT
HOUSTON: WE HAVE A DRINKING PROBLEM
I can't possibly sum up Bad Astronaut in a blurb, or even how incredible they were. Considering their roots, this album is logic-breakingly good in every aspect!
 |
| Sample: Inuzini |
NUMBER ONE
NUMBER GIRL
NUM HEAVYMETALLIC
When it comes to progressive hardcore (and I am totally an expert), Europe has The Shape of Punk To Come. America has Worship And Tribute. Japan has Num-Heavymetallic.
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