"And one day a Spanish king, with a council of bad knaves, tried to come to Bury." In a career full of aggressively sharp left turns, The Fall still always managed to sound like absolutely nobody fucking else except The Fall. A large part of this was down to their (mission-)stated, oft-quoted, faithfully upheld emphasis on "repetition, repetition, repetition", and Your Future Our Clutter might actually be The Fall's single most repetitive LP, if not from start to finish, then certainly on an intra-track basis; here we have a series of chugging, mid-tempo, one riff, garage rock dirges with the drums high in the mix, and yet no two tracks sound alike. Sharp left turns. As John Peel famously noted: "Always different, always the same." Smith employs a variety of vocal styles to get his William Burroughs via Ken Loach word salad across, growling, sneering, mumbling, imitating Dylan and Presley and Jagger, but sounding like absolutely nobody fucking else except himself (a recurring theme, natch). He talks of doctors and medication, of chinos and sloppy floors, of quitting, of running away, of not wanting to get up, of the chain around his neck, of Britain's lowest prices, of having given us the best years of his life, with all the passion of a man half his age, and all the weariness of a man twice it. The dichotomy of Mark E. Smith, I guess. God rest his cantankerous soul. John Peel also said, "If I died tomorrow, I'd have nothing to complain about, except that there'll be another Fall album out next year." Well, there won't be one next year. Or the year after that. Or the year after that. But given that Smith was still releasing Fall albums as good as this over 30 years into his career, there's more than enough left behind to keep me satisfied for a good while yet. "I'm from Bury, as in bourrée, a French composition on a fluted instrument. I can. I can."
We don't deserve rock'n'roll. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
"And one day a Spanish king, with a council of bad knaves, tried to come to Bury." In a career full of aggressively sharp left turns, The Fall still always managed to sound like absolutely nobody fucking else except The Fall. A large part of this was down to their (mission-)stated, oft-quoted, faithfully upheld emphasis on "repetition, repetition, repetition", and Your Future Our Clutter might actually be The Fall's single most repetitive LP, if not from start to finish, then certainly on an intra-track basis; here we have a series of chugging, mid-tempo, one riff, garage rock dirges with the drums high in the mix, and yet no two tracks sound alike. Sharp left turns. As John Peel famously noted: "Always different, always the same." Smith employs a variety of vocal styles to get his William Burroughs via Ken Loach word salad across, growling, sneering, mumbling, imitating Dylan and Presley and Jagger, but sounding like absolutely nobody fucking else except himself (a recurring theme, natch). He talks of doctors and medication, of chinos and sloppy floors, of quitting, of running away, of not wanting to get up, of the chain around his neck, of Britain's lowest prices, of having given us the best years of his life, with all the passion of a man half his age, and all the weariness of a man twice it. The dichotomy of Mark E. Smith, I guess. God rest his cantankerous soul. John Peel also said, "If I died tomorrow, I'd have nothing to complain about, except that there'll be another Fall album out next year." Well, there won't be one next year. Or the year after that. Or the year after that. But given that Smith was still releasing Fall albums as good as this over 30 years into his career, there's more than enough left behind to keep me satisfied for a good while yet. "I'm from Bury, as in bourrée, a French composition on a fluted instrument. I can. I can."
We don't deserve rock'n'roll.
I’m glad I didn’t post about this album now because there’s no way I could’ve come anywhere close to such a superb write-up. That was an excellent read Skinny, thanks! _________________ Some RYM paraphernalia:
Everyone knows that Father John Misty's I love You ,Honeybear is considered one of the best singer-songwriter albums of 2010s. What you may not know is that this ...
... sounds eerily similar in a lot of aspects and just as good. Only my first time hearing this, but damn this shit is good. Father John Misty has a lot of explaining to do or perhaps his album is simply a homage to this LP. 🤔
edit: Hmmm... This has a pretty high rank on BEA. So maybe I'm the only loser who doesn't know how fabulous this album is. lol. Must be more of a homage than an outright theft of style & tone than i'm guessing.
Well I don’t think I’ve ever heard of it, so it looks like I know exactly what I’ll be listening to today.
And yeah, I can see your point sometimes (especially on “JC Hates Faggots”) but for the most part, they’re two different artists. Misty is more of a character who you’re supposed to abhorre and that’s what makes his albums so compelling, while John Grant, I feel, is just doing what he does best. I mean if you’re going blame anyone for copycating you may as well take this whole thing back to Nilsson, and that’s where the whole logic falls apart 🤣 . _________________ Some RYM paraphernalia:
Everyone knows that Father John Misty's I love You ,Honeybear is considered one of the best singer-songwriter albums of 2010s. What you may not know is that this ...
... sounds eerily similar in a lot of aspects and just as good. Only my first time hearing this, but damn this shit is good. Father John Misty has a lot of explaining to do or perhaps his album is simply a homage to this LP. 🤔
edit: Hmmm... This has a pretty high rank on BEA. So maybe I'm the only loser who doesn't know how fabulous this album is. lol. Must be more of a homage than an outright theft of style & tone than i'm guessing.
Well I don’t think I’ve ever heard of it, so it looks like I know exactly what I’ll be listening to today.
And yeah, I can see your point sometimes (especially on “JC Hates Faggots”) but for the most part, they’re two different artists. Misty is more of a character who you’re supposed to abhorre and that’s what makes his albums so compelling, while John Grant, I feel, is just doing what he does best. I mean if you’re going blame anyone for copycating you may as well take this whole thing back to Nilsson, and that’s where the whole logic falls apart 🤣 .
Well I never claimed to be logical. lol. But, there's more to their eerie similarity than both just (rightly) worshipping Nilsson. I'm pretty sure FJM is indebted to & informed by this JG LP, and that's fine. So much of art is stolen. I'm glad we have both of 'em despite the weird deja-vu moments. I just didn't expect it when I dropped the needle down and was like "Holy Shit!" One thing's for sure, it SHOULD BE a contender for our top 10, and I encourage everyone to check it out.
Despite a band name that suggests a mixture of lethargy and comedy, an album titled wrought with cliché, and some of the most hideous cover art known to humankind, Satan Worshipping Doom is an album of towering ambition, from a band that evidently takes its craft seriously, without ever forgetting to have heaps of groove-riddled fun in the process. Riffs are piled high, as is to be expected from any instrumental doom album with an ounce of self-worth, but it's the dynamic nature of these hearty jams which really make this so special, as the band whizz through a variety of tempos and textures, taking in elements of sludge, black metal, psych-rock and drone, whilst still staying faithful to a staple diet of fuzzed-out riffery (straight from the Bluntfog School of Witchcraft and Electric Wizardry) and Valhallan percussion, crafting gnarly walls of sound from which epic guitar lines appear, in a seemingly neverending procession, inspiring involuntary headbanging on contact. One of my favourite metal albums, and one that reveals something new with every listen.
Wow! This is some emotive & epic metal. You're totally right, the cover and album title completely belie what lies within. This is really intelligent & dare I say sensitive stuff. Some of the best moody maelstroms of guitar I've heard in a long time. Fans of Pelican & Isis will probably love this.
It did kind of help create a genre of music. A high watermark of postmodernism.
I don't know if I will. If it was for a top 10, maybe. But top 5? Ehhh. Though keep in mind, this is one of the best albums of 2010 and the decade. Seriously, if you haven't heard this and you like some weird electronic music. This is your ticket. And most importantly,
T H E V A P O R I S H E R E T O S T A Y !
baystateoftheartNeil Young as a butternut squashProfile Massachusetts
Das Racist were an odd group that was very 2010 in spirit, and that was also the year they released the vast majority of their output together. Heems and Kool A.D. are two nerdy stoners out of Wesleyan with great flow and the ability to rap their asses off when they feel like it, which is not always. As Das Racist, a group as irony-drenched as its name suggests, they made music that was not fully comedy rap, but also never fully serious. At their best, their lyrics were thicker with cultural allusions and good punchlines than just about anyone else's. After two well-received 2010 mixtapes, they released a 2011 album, and split up in 2012 to pursue solo careers, with mixed results. Here's my take on their mixtapes now that eight years have passed:
This was the debut that launched their rising star. But in hindsight, it's feast or famine here. There's enough good material for an EP, and a couple amazing songs that are among the year's best. But it doesn't hold up as a complete project, and gets worse as it proceeds. They could have used someone doing quality control who wasn't also baked out of their mind. A few of the songs are totally bizarre without being funny, and in general, the less they're rapping, the worse the music gets. My verdict? 2.5/5. It's not worth committing an hour of your time to, but you should listen to these two tracks from it to get an idea of what they're capable of:
If you liked those songs, this is worth checking out in full. With their second mixtape, they transitioned from a novelty act to a legit hip-hop group while retaining their sense of humor. Some bigger names came in to assist on the production and verses, including the likes of Roc Marciano and El-P, and Das Racist raised their game in response. Despite being almost 80 minutes long, this goes down a lot easier. It's much more consistent and there's more effort put into the rapping. There aren't enough standout tracks to make it a great mixtape in my eyes, but it is a very good one. 3.5/5.
Much like my other favourite metal album of 2010, Bongripper's Satan Worshipping Doom, Eve - by lauded Italo-sludge cosmonauts Ufomammut - is a monster of an album, one that is unafraid to try its hand at a number of genres, that trusts its audience's patience, and delivers with some fuzzed-out, atom bomb doom riffs. However, where Bongripper, for all the allusions to Lucifer, are undeniably earthbound, Ufomammut operate on another plane entirely, using gurgling, enveloping synths, squealing feedback, reverbed, almost Floydian vocals, and claustrophobic horror score motifs across the five parts of this album length suite to create a world that's entirely their own, at once proggy and still refreshingly visceral, like Hawkwind and Sabbath trying to start an old fashioned saloon brawl in a new age opium den (or something equally ridiculous). Thunderous doom-sludge passages ebb and flow in and out of kosmische sci-fi wanderings, before coming to a thrillingly primal blast beat climax of apocalyptic fuzz and sampling that really shows off just how intense Ufomammut can get - especially on Eve, their most focused, most considered, most powerful, and quite simply best album. _________________ 2021 in full effect. Come drop me some recs. Y'all know what I like.
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