While this probably won't make my decade chart for the 2010's, it's still a great romp, and worthy of a listen if you want to hear some sweaty, feedbacky, and sometimes face-melty, riffage. Will make you want to punch a hole in the wall and light something on fire. Guaranteed.
While this probably won't make my decade chart for the 2010's, it's still a great romp, and worthy of a listen if you want to hear some sweaty, feedbacky, and sometimes face-melty, riffage. Will make you want to punch a hole in the wall and light something on fire. Guaranteed.
Yeah! This is awesome. Will most like likely make my View of 2010s From Under The Bleachers chart.
You know what's really surprised me so far though? AC/DC's Rock Or Bust album from like 2014. I've totally discounted AC/Dc since Flick Of The Switch (which I really liked.) I thought Who Made Who and Fly On The Wall were utter garbage and nothing they've ever done since has countered that. But fuck, this is a great little laid-back party tune from cranking on the FM and drinking some Old Style ....
With two members of "Duster" invovled, Helvetia has got to be one of the more overlooked rock groups of the last 10-15 years. This and 2015's Dromomania (which it seems I need to add to the site) don't reach the heights of the beloved "Stratosphere", but it's certainly another worthy and well-written indie album for the canon. One of people's gripes with them is that their songs tends to end abruptly; sometimes they just cut off in what seems like the middle of the action. I'm totally cool with this, because it fits the aesthetic of the band, and it keeps songs short and easily digestible. I've listened to both "Nothing in Rambling" and "Dromomania a couple of times now, and they've become some of my favorites just to put on.
EDIT: Here's the other album. I think it's a little better than their 2012 effort, actually.
Oddisee has slowly built himself up over this decade as a reliable MC with a knack for the sincere. Fully-entrenched on the conscious side of things, he's one of the few rappers that you could show your grandma. However, this is not to say that Oddisee is someone to mess with. He has a clear conviction and purpose to his music that adds weight to his presence on the mic. He does need to work on varying his flow more often though; his words are profound, but his sound can get a bit stagnant over the runtime. The mostly live instrumentation on this album is great, and adds to his character of a man of the people. "The Good Fight" is great as well, but I've been able to really connect with this album more over the past few years, and I think his next album will finally get him the recognition that he deserves.
I'm calling my shot with this one too. We haven't heard the best of this artist yet. Fred Warmsley's 2018 effort wasn't an improvment over this album here, but I'm hoping he pulls through with another album of this style in the 2020s. It's a great mix of the genres listed, and the compositions show a great knowledge and appreciation for past artists in the wide field of ambient music. A nice quick listen that will get the creative juices flowing.
Another two album post here. Two albums from the same year and on a similar side of the musical spectrum. I don't have anything intelligent to say about them, because I'm no expert on either of the genres, but I felt that each needed some representation on any chart from the 2010's. Anyways, I feel that "Deconstructed Club" in the UK and "Footwork" in the US, can't help but share some similarities in their styles and artistic aims. Both are not really meant for the album format, but for their respective club atmospheres; however, I'll make an exception with these two, because I think they make some decent albums for being so eclectic in their presentations. I'll link the best track for each album below.
Maybe it's still a couple of years away, but I'm hoping that this becomes the Lips album that people remember the most from their later period. I like Embryonic, but I find this album to be the best that they've done in creating a unique musical space this side of The Soft Bulletin. The atmosphere and the tangibility of the dread that songs like "You Lust" and "Turning Violent" create is not something that has been typical of the "Lips" sound. Usually, you can spot a Flaming Lips song from a mile away; they're just one of those bands that have been around for so long and have such a recognizable sound that they're easy to predict. But on "The Terror", the band is at its most cold, distant and, well, frightened. Wayne Coyne's usually whimpering vocals take on a new dimension as an actual call from the abyss.
I like his quote about the album,
"We want, or wanted, to believe that without love we would disappear, that love, somehow, would save us that, yeah, if we have love, give love and know love, we are truly alive and if there is no love, there would be no life. The Terror is, we know now, that even without love, life goes on... we just go on… there is no mercy killing."
Musically, the bombast is dialed down to minimal levels. Tracks feature relatively bare and calculated instrumentation instead of the lush symphonics that the Lips helped establish on previous albums. The playfulness and wackiness that occasionally supercedes the music is not present either. I think that this was the next logical step after Embryonic, which was easily the bands most drastic departure from a poppier sound in years. It's hilarious to me that they would be on "Miley Cyrus and her Dead Petz" in a year after this, which I guess should be expected from this band at this point. Anyways, if you care to listen to it again, then give it another shot and see what you think. I've grown more fond of this album on repeat listens, and I think I'm going to give it a spin again right now.
"We want, or wanted, to believe that without love we would disappear, that love, somehow, would save us that, yeah, if we have love, give love and know love, we are truly alive and if there is no love, there would be no life. The Terror is, we know now, that even without love, life goes on... we just go on… there is no mercy killing."
I just died a little more inside, beautifully said, but died.
"We want, or wanted, to believe that without love we would disappear, that love, somehow, would save us that, yeah, if we have love, give love and know love, we are truly alive and if there is no love, there would be no life. The Terror is, we know now, that even without love, life goes on... we just go on… there is no mercy killing."
I just died a little more inside, beautifully said, but died.
I'm really at a loss for this one, too. I had no idea that critics rated their last record Beyondless, which is a fine record, higher than this on average. This is The Gun Club cranked all the way to eleven. It's like the soundtrack to a wet dream Tarantino Spagetti Western movie. It's raw and relentless. It's cathartic and cataclysmic. It's an explosion of exasperation. It's a ... well you get the point. I find myself vehemently wishing to punch a hole in the wall or break a beer bottle over my head everytime I hear some of these tracks.
The title track is the probably the best rockabilly song of the last 30 years.
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum
