Just curious what your three favorite kiwi rock albums are. I'm going through a phase where that's the perfect sound for my short breaks from meditation and qigong.
Can't elaborate right now, too much to do, but trust me. Expect the diary back tomorrow, one or two things to say, and I'll come back on those albums if you want.
Can't elaborate right now, too much to do, but trust me. Expect the diary back tomorrow, one or two things to say, and I'll come back on those albums if you want.
That'd b great. Checked out Juvenilia already, and I'm in lOve. 😁
It's been a long time, due to a hectic end of 2015, probably the saddest in a long line of miserable years. Let's just hope 2016 fares better, doubtful, but still: bonne année à tous.
What's new? Lots of listen, which I can't be bothered to list right here, but if some of you keep trace of some of my charts they'll spot them. Elsewhere, 2001 has replaced 1984 and 2012 has done the same for 1993, bit of a challenge this one, as 2012 was one of those years during which I listened to much less new music. Good challenge.
Key word : subtlety. In a genre that is entirely their own, Pinback pile up layers of melancholy dream-pop guitar, without the echo, and over soft-math drums. Very nice indeed, and priobably on par with their debut,
This Is A Pinback CD by Pinback. Strongly recommended if you're into this type of indie melancholy, and are looking for something to whine to with gusto.
Every once in a while, an astounding minor release invites itself into first division. Such is the case of UK's Parameter's only LP, Galactic Ramble (1971). It's basically late 60s psych-folk, but in '71.
The recipe:
- One third Barrett;
- One third Ayers (Kevin, not Roy)
- One third just about any lo-fi folk rambling they could think (?) of.
Great fun! Radioinactive puts up a solid backpacker hip-hop release, with Hispanic, Oriental and cartoonesque undertones, all in good mood as well. Featurings include frequent collaborator Busdriver, quite the fashionable underground hip-hop artist on BEA these days, I reckon. Anyway, a very enjoyable relisten.
What a strange LP to be rec'ed by a book on Folk music. Most of it is a dreamy droney ambient affair, with, if truth be told, the odd chord vaguely reminiscent of old time music haunting the background. Beautiful! Apparently, Samara Lubelski is long time collaborator of Thurston Moore and Tara Jane O'Neil, figures. A remarkable find anyway, and something that surely will please the most #abstractqualities members of our fine community.
EDIT : oh, also listened to Herbert's Bodily Functions, R. Keenan Lawler's Music for the Bluegrass States (a must-have for y'all abstract folk enthusiasts), Obo's Innhverfi, Joseph Arthur's Days of Surrender (solid), Neil Young's Americana (good fun, totally disposable though) and A Silver Mt. Zion's Born Into Trouble... (almost fell asleep, used to like this and now am totally cold to it), but I've decided I wasn't going to write about just about anything I listen to during the holidays. I probably should have told you about Lawler though, as it's a remarkable post-folk (?) record.
EDIT2: Oh, and earlier also: Neil Young's Weld (OK) and Hot Chip's Why Make Sense (boring), as well as Cohen's Various Positions and I'm Your Man on CD (but you already know they're very good).
Which I loved a lot. Indie lo-fi folk has J. Mascis soundalike tiredly sing over beautiful modest folk-rockish numbers. It strangely reminded me of Dean Blunt as far as atmosphere was concerned, and I'll recommend it to those of you who like their indie tired but imaginative and varied.
Had I known this album before, I would not have been so surprised at how good this year's
Never Were The Way She Was was. This is a fantastic piece of contemporary violin music, very much indeed reminiscent of what Colin Stetson does with his saxophone - to the point that one might want to start an akward dance move or two to, say, the title track for instance. It's modern classical, if you wish, with an angry edge to it, truly remarkable.
Just a quick word on this, because I feel so ashamed at my underestimating this. I am now convinced, that this record is, by far, the best thing I've heard by Holter, and I even feel that the following are giving up on some of the most daring - and, shall I say, moving because daring - aspects of her works. Mostly sublime, and the most stunning relisten I've had in weeks.
Back with a vengeance, if only for a short while - leaving town on Thursday with the kid for a holiday at Grandma's, during which music listening, let alone bookkeeping, will inevitably be sparse. However, I really liked this:
which I only just discovered and deserves better than the obligatory "oh, I like What's Going On but can't be bothered with his other stuff". A deliciously lush production, I Want You delves into the 'sweet lovin' tonight baby' fashion Marvin is so apt at; the paradox being that you don't nearly hear enough of Marvin's voice on the record, overcrowded as it is by lovely (but repetitive) instrumentals that'd be a wonderful soundtrack to a high-end get-together by the villa's swimming-pool. You'll understand this is a lazy affair for sure, and there isn't really an album in it. However, the album that's not really in it is just wonderful, candid and, indeed, lovemaking inducing - and with this I must be off.
Last edited by Norman Bates on 02/24/2016 15:27; edited 1 time in total
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Norman Bates
