I just wanted to see Sunbather lose. I didn't even dislike the record (actually, I preferred it to that Gorguts record), but the universal praise is a little nauseating tbh.
I just wanted to see Sunbather lose. I didn't even dislike the record (actually, I preferred it to that Gorguts record), but the universal praise is a little nauseating tbh.
Yeah as petty as it sounds I'm kinda the same (though I legitimately think Coloured Sands is much better). Sunbather was getting this ridiculous reputation for saving the current state of metal which just makes no sense. Its not a terrible album but its not that great either imo. That's kind of why I'm guessing people who thought Sunbather was going to win were the ones who didn't vote for metal at all. It was just the only one they'd heard
“"Marry The Pussy" made me the gash crushing Pimp I am today” – Precedent
" its often turbid incubations can be stretched into a some kind of inside commentary on music and its criticism in the 21st century. A shifting ambience like “Throw This Money On You” with throaty exhalations of horn that can do nothing but attune themselves to the mood of their surrounding wasteland, is a perfect complement to a cultural space where the formal properties of a composition are becoming increasingly irrelevant to its interpretation and appraisal. This is no exaggeration, because in our virulently capitalistic age, we’re incrementally abandoning a pre-war, pre-commercialized focus on strictly musical parameters such as harmony, melody, rhythm, timbre, and phrasing, which are peripheral to the construction of a consumerist identity. Instead, the significance of a song is projected onto it by virtue of its increasingly non-musical signifiers and connotations, just as the gelid resonance of “Crazy Sex” is to a large extent the artifact of an unrelenting gale and of remote footsteps, just as the uncanny meditations of “Legs Shakin” are dampened by underlying showers of rain.” – The Quietus
“ I try to structure albums in a pattern, like in a way where there's a motif that runs throughout or some kind of conceit that informs it in a general way. Maybe it's in a harmonic key. I like to go metastructural sometimes, like look at more than the three-minute passage and how that interacts with other pieces. And I've been increasingly interested in false starts and fraudulent beginnings, and things that don't reach their implied conclusions. I take an album and I kind of start moving things around like Jenga, you know...[laughs] It kind of becomes this disfigured collage or something. Where you're cutting up bits of a magazine and putting the nose where the ear is or whatever. I don't know.” – Tim Hecker
"Hecker's constructions never collapse into simple harmonies or traditional crescendos for the sake of emotional impact. Instead, they build awkwardly towards strange and jagged peaks before crumbling into patches of desolation that are both beautiful and painful. His tracks are not bloodless academic experiments or hacked-out splurges of noise; they shiver and howl with a passion that challenges the shapes we expect such emotion to take. There is a kind of pure, cathartic rage in Virgins and it leaves moments of intense peace in its wake.” – Resident Advisor
“ It's like exploring a haunted labyrinth left behind by a lost civilisation. Tim Hecker's music has always had a ghostly quality, but the ghosts on this album sound particularly upset.” – SquishypuffDave
Now here's Meccalecca's take on Perils from the Sea by Mark Kozelek & Jimmy LaValle
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When it all began with Down Colorful Hill in 1992, Mark Kozelek was a poet, painting his words with an Impressionist touch. A colorful melancholy haze engulfed the songs of Red House Painters and eventually Sun Kil Moon. There were characters and stories, but we only caught brief glimpses of who they were.
With the 2012 release of Sun Kil Moon's Among The Leaves, Kozelek's songwriting saw a fundamental shift. Kozelek's songs had become detailed works of non fiction. These musical novellas were mostly autobiographical, offering a new perspective of the man behind the songs, as well as his life as a songwriter and performer.
The following year, Kozelek appeared to be more prolific than any other time is his long career. After beginning the year with a covers album and a few live releases, an unlikely collaboration with Jimmy LaValle (The Album Leaf) would offer fans quite possibly the finest work of Kozelek's career. Musically, Jimmy LaValle's inspired minimalist electronic beats set a complimentary foundation for Kozelek's storytelling. Much like Among The Leaves, the songs of Perils From The Sea are novellas based around his life experiences. Early standout, "Gustavo" is an unforgettable tale of a day laborer who eventually gets deported. The storytelling is casual, which enhances the genuine feel of the story. That's what makes what Kozelek is doing work so well. He appears as an old friend telling you some stories as you hang out over a drink.
Like a matured Postal Service, Mark Kozelek & Jimmy LaValle have crafted an unexpected gem that should age gracefully.
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