Great log! After listening to a few tracks, I think I'm going to pick up xx on my next CD excursion. Thanks!
No problem! Again, as I said on the first page I live for cooperation, sharing, etc. - being left alone and this turns into a very narcissistic ULL, lol.
A great collection of pop songs; whilst lacking the production or arrangements that make Pet Sounds transcendent, Summer Days (and Summer Nights!!) is still one of my favorite Beach Boys records with the melodies and harmonies you expect out of the Brian Wilson camp. Doesn’t hurt that this record has some of the best pop singles of the groups career (“Help Me, Rhonda”, “California Girls”, etc.) which cements it as a great album to just nod your head along to.
Ah, I remember liking this a lot, more than both Pet Sounds and Smiley Smile, when I was exploring Beach Boys' discography. I loved the irreverence coming out from many songs here, expecially love "You're so good to me" outside the ones you mentioned.
I was crazy? LOL I don't know, I have never re-visited their discography and it passed a lot of times (like 5-6 years ago). I just loved more this kind of stuff than their more acclaimed works: since this kind of stuff was desribed by many people as "their silly stuff" I just thought Beach Boys were not for me. But I know I should re-visit them.
Anyway, great job Gowi! A lot to discover and good comments
I think I'll give a listen to Amanda Mair, based on your description.
Perhaps better as a singles-oriented pop group, I still spin the two Orange Caramel LP’s I’ve stumbled upon and they are mostly definitely my favorite contemporary pop group from South Korea. Park Soo-Young is probably the standout in vocals and persona for me (marketed as “Lizzy”) and her solo song on this record is my favorite of the solo songs; maybe I’m just smitten or something. There’s just something zanier and infectious about Orange Caramel as a group for me and I just enjoy listening to them. I’ll let the “teens chat” have Carly Rae Jepsen, I’ll take South Korea and Japan’s contemporary pop music over her any day of the week.
Recommended for:revolver (maybe?), Fans of Dance-Pop.
thanks for the rec!! i'll check it out at some point today
Quote:
Deciding to take a break from the full length marathon and moving on to “one of those weird big Korean pop groups Gowi plays way too much in plug.dj” as sort of a five minute sugary release. I really like the melodies and the dance-pop synths are pretty cool.
Okay, maybe it wasn’t a temporary relief… haha, let’s see where this sugary pop stride takes me. Anyway, if you don’t like western dance-pop you probably won’t like the eurodance-flavored dance-pop of South Korea; but if you like either of those aforementioned things you might actually dig this synth-laden collection of pop songs. Kara is one of the bigger girl groups in South Korean (alongside After School, T-ARA, and Girls Generation/SNSD) and their melodies and their organizations choice of producer’s shows pretty much why. It’s pretty fun.
Recommended for:revolver (maybe?), Fans of Dance-Pop.
Still on that stride, so mostly see above since it’s basically the same damn thing haha... well mostly, this one has elements of contemporary R&B and pop-rap. But yeah, like the previous album I like the melodies, production, and synths fairly well enough. Though there was a time where I barely liked this but in the last year or two I’ve really fell in with Korean pop music so a lot of my perspective has changed.
Recommended for:revolver (maybe?), Fans of Dance-Pop.
I really need to remember that other people than Revolver like contemporary pop onsite...
Known in the states as “Puffy Amiyumi” because Sean Combs is an idiot, Puffy has had a diverse existence in the Japanese pop canon since 1996 and have gone through strides of well-directed power pop as led by producers Tamio Okuda and Andy Sturmer who had hands in their development early on in their career.
Seems I’m back to Puffy today; I decided I hadn’t listened to Nice in a few years so it was about time to listen to the exceptionally well-produced and arranged work by Andy Sturmer who probably did his finest work with the Japanese pop duo on this record (and from what I’ve read was his last major contribution to Puffy as his work became downplayed as they went on). This one had some decent crossover appeal (“Teen Titans Theme”) as Puffy hit the peak of their international exposure. As expected by Sturmer’s background there’s a lot of traditional power pop stylings, baroque pop and psychedelic pop influences, and so forth. Actually this is probably Puffy’s best record if 2011’s Thank You! isn’t.
Recommended for:nachosbob, Fans of traditional power pop.
About on par with Michael’s Off The Wall to the point that this is undeservedly forgotten. The title track is probably one of my top ten favorite songs Michael Jackson ever record in his entire career, and that’s saying quite a bit. It’s an absolute pop-soul gem and I implore you that if you haven’t heard it to go so do so when you have the chance. There’s a lot of hints of what was to become in Michael Jackson’s solo career in songs such as “Blame It on the Boogie”, and “Shake Your Body (Down to the Ground)”.
Recommended for: Fans of 'Thriller' and 'Off The Wall'.
This is probably my favorite hardcore punk album ever released and it’s a compilation. Lampooned from the emotive hardcore scene is a collection of essential songwriting full of time changes, well-construct soft-to-fast tempo shifts, emotive harsh vocals that owe themselves to the advancement of the genre, and knockout power exhibited from all angles of the instruments that prevail in what should be essential listening. I was originally introduced to the ‘screamo’ offshoot of hardcore punk in 2005 when my friend Chris was recommending acts like Pg. 99, Orchid, City of Caterpillar, Raein, and Saetia. It would take a bit of interest and development before I would find Funeral Diner’s utter perfection of the standards of their genre. Originally I wasn’t too keen on screamo’s dynamic as it felt way too erratic for me at the time, but I didn’t exactly want to be the odd one out so I kept trying and whilst eventually I did not care what my peers thought the genre’s knowledge and the acquired taste that I had achieved helped it become part of me. Funeral Diner may be no more, but this compilation remains a reminder of not only some of the best of the genre but that snapshot of that music community I found myself apart of at the time.
Recommended for:RepoMan (maybe?), Fans of Post-Hardcore, Emocore.
The sound of misery, loneliness, isolation, and dread recorded in what feels like a frozen forest as the sun seems absent completely from your gaze. This is the record of winter and all of that she evokes. If that opener is a bit hammy for you I understand, but it’s something that I think is befitting to describe what The Mantle is and it is this sort of spooky dark record that is as wonderful as it is harrowing. To think that all of the experimentation Agalloch does on this record works as well as it does is something pretty amazing— this is a band that brings together the harshness of black metal, the droning gloom of doom metal, the movements of progressive metal, the haunting beauty of neofolk, and the textures of post-rock to create something that I could only describe as perfect. For all of those people unaccustomed to harsh vocals that this record supplies then it certainly creates a challenging listen, but if you think about the desperate emotion that ranges from rage to misery it becomes all very vital to the album and to suggest they don’t is a fit of ignorance and selfishness.
For me this is the epitome of, as I mentioned before, all of the depression and desolation and misery that comes with the beckoning call of winter.
Actually one of my favorite post-rock records despite the whole “cresendocore is lame” sentiment going around these days. Pretty much love the changes, textures, and everything you expect from this generation of post-rock. Bit tired right now, so I’m not sure how to put it into words what I think about it beyond that.
Swirling textures and coming in erratic constant waves, Hallucinogen’s Twisted isn’t in a genre I’m very familiar with (psytrance) but over the years it has something of a resilience with my limited electronic taste and I find it right up there with Shpongle and Astral Projection – though admittedly I can count the psytrance (or trance in general) artists I’m into on one hand and maybe the ones I’m not with two; not really my field. It’s cool and almost primal in its stylizied rhythms and I cannot seem to get enough when I find myself listening to it. I might put on Shpongle next, hell.
Recommended for: Fans of swirling bleeps and boops?
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I've finally listened to Jenny Lewis & The Watson Twins' album! I really like it, it's a smooth, well-tuned and fun album, I think that my favorite songs are "You are what u love" and "Happy".
And wow, dude, you like Ojos De Brujo !!
I have almost their full discography in original copy, they're amazing rumba /flamenco fusion players; I noticed that u rated Aocana, Techarì and Bari, I would recommend u their first album "Vengue", it's an interesting record too. _________________ Not Talulah?
- Gosh!
I've finally listened to Jenny Lewis & The Watson Twins' album! I really like it, it's a smooth, well-tuned and fun album, I think that my favorite songs are "You are what u love" and "Happy".
And wow, dude, you like Ojos De Brujo !!
I have almost their full discography in original copy, they're amazing rumba /flamenco fusion players; I noticed that u rated Aocana, Techarì and Bari, I would recommend u their first album "Vengue", it's an interesting record too.
Not sure if I’ve heard Vengue or not, but if it’s even half as good as Bari then it’ll be a good visit. I like Ojos de Brujo and I really wish their later records were as good as Bari which imo is the only one that really stands out as really cohesive and high quality.
It's a morning. Think I will start with some indie pop.
Wednesday, April 29th Session 7: Sword of the Morning
Feist finding Feist. Not as vibrant as her later releases and certainly more moody, Monarch shows us the Feist that was moving forward after learning a lot by working as a collaborator in By Divine Right. Still this is what you expect of Feist’s brand of indie pop and it makes you think that she was a decade ahead of her contemporaries in 1999 when it came to her pop music. Can’t imagine why this one is lacking exposure after her success as a crossover artist in the present day.
I’m not going to pretend this is an innovative or creatively progressive indie folk/pop record; but a lot of people who criticize this for being generic have forgotten that music doesn’t have to be ‘original’ to have heart or have a good sense of musicianship. “Emmylou” is a splendid example of a song with good sense of melody, heart, and emotion. I don’t care if I’ve heard this “sound” before, it is a wonderful sound as far as I’m concerned. I will tell you that specific song I had on repeat for about three or four listens before I carried on this morning and I could hear myself losing myself to the hokey heartfelt storytelling present here. Generic yes, bad/forgettable/shallow no.
Oooo the two recs you sent my way look cool. I'm aware of Symphony X, though I haven't listened to them. I'll definitely check it out! _________________ Progressive Rock
There used to be a guy on my old forum who was THE alternative rock regular who absolutely sported Dinosaur Jr (amongst other noisy alternative) with a no-nonsense attitude that was pretty awesome to come across in a post. That person was why I originally explored Dinosaur Jr as well as other bands (Sonic Youth, Drive Like Jehu, Sebadoh, etc). In the present I’m glad that happened because there are all sounds that in time I have all taken to quite well. The music is the perfect alternative rock vacation as it swirls itself in noisy guitar lines but never quite losing themselves in the madness of those swirls outside of maybe “Don’t” which is still utterly awe-inspiring for me (it was one of the songs that inspired me to start writing noise music) and there is loads of janglely rock here to really appreciate.
Recommended for: Fans of Husker Du and The Replacements.
A sad introspective interpretation of indie pop at the turn of the century, Aden is a group that took the slowcore lyrical conventions but in a different soundscape. Aden’s guitarist, Kevin Barker later went on to show his influence from American Primitivism and Avant-Folk to record as Currituck County where he would collaborate with individuals such as Joanna Newsom, Devendra Banhart and bands like Vetiver. It certainly is strange how such a low key indie pop group could hold a folk talent like Barker but perhaps it’s not as strange as it seems on paper. Regardless, Aden’s self-titled has a perfect collection of melancholy indie pop as it reflects on relationships, life, and so forth – in a way it’s not dissimilar to the approach Ben Gibbard would take with Death Cab for Cutie later on but in many ways Aden’s self-titled is just as good as DCFC’s Transatlanticism. “Scooby Doo” is heck of a song.
One of the greatest power metal records of the 21st century. Tobias Sammet’s high concept project of Avantasia creates an opus of the genre after years of making solid and consistent records. Embracing the neo-classical and orchestral influences of years past, Sammet’s ‘metal opera’ comes to life in some of the most well-written and beautifully composed work in the entire history of power metal. With musical guests such as Michael Kiske (Helloween) topping the list of collaborators there was no doubt in my mind going in that this was going to be an “all or nothing” approach and fortunately for the efforts of the musicians here the execution has not been stifled. I might even put this in the 10 metal records of the 21st century in general and with strong musicianship alongside powerful vocal melodies & harmonies there is little to ignore here.
Recommended for:RepoMan, High concept power/heavy metal.
Pretty standardized indie pop with baroque pop touches; though it is most certainly much better live than on record as I can attest to. Still really dreamy production that I still most certainly like even if I don’t listen to it all too often. “Invasion” is still my jam.
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