Epic post-rock/drone album combo. Earth are well into their second decade of making music, and rather than stagnating as most bands do, they just keep getting better. A bluesy, subtle, slowed down take on post-rock with sprinklings of their pre-AoD/DoL doom-drone period, the addition of a cello being the most notable development. Dylan Carlson, the main man in the group, is a master of tone and atmosphere. He creates tracks ranging from 3 minutes to 20 minutes all with the same effect; lulling the listener into a state of placidity. There’s many arguments against the changes the band has taken in terms of their sound, mostly the hardcore fans. I dare say that they have become a lot more accessible, and through that more popular. It’s not a bad thing, not at all. A reaction born out of their followers ravenousness for more of the same drone-doom. Whatever.
Highly recommend this to be listened to as a combo. It’s an unreal 2 hour experience.
Christopher Reimer, guitarist and drone-backbone of band Women, died in his sleep a few days ago. Shit like this fucks you up, such a loss. There’s not much to say that other blogs/sites haven’t already. To give a nod to the man, I’m putting up 8 and half minutes of relatively hard to get Women tracks from their golden “Public Strain” era. It can barely be called an era, as it was so short lived, but it can hopefully be looked back on as some of the best music the noughties had to offer.
Described as “sunny Beach Boys pop […] dragged into a dark alley and gleefully mutilated” this is three tracks from a Faux Discx comp EP and the Service Animal 7″, released with the first few vinyl releases of Public Strain. It’s my own little ode to the band, and the man. It maybe easy to tag them with the “too good to last” trope, but I genuinely do think it was true of them.
The band’s members have, or have had, their part in many other projects; backing Chad Vangaalen, Friendo, Fels-Naptha, Azeda Booth, the folk band the Dodos (a favourite of their other involvements) and Porcelain Shaft. The latter are being critically acclaimed and are a real interesting listen.
Any problems with this post and it’ll be taken down immediately. If there was ever a time to respect an artist’s work, it is now.
It can be sometimes upsetting if a band takes a change in musical direction. Especially after their first album. It’s normally coupled with a sense of rage and loss. Fuck Buttons manage to overthrow such commodity. They’ve darted away from their previous noise/drone combo, maturing their sound. Tarot Sport is like an electronic take on an epic post-rock album. The structure, the sweeping drones. It’s a thing to behold. Even a quick glance at the song list can give you a hint on how colossal the album is. Titles such as “Space Mountain” and “Flight of the Feathered Serpent” just scream galactic overtures and 14 minute tracks.
The band themselves are from Bristol, and consist of Andrew Hung and Benjamin John Power. Orchestrating the producing was the trusty Andrew Weatherall, worked with Primal Scream in their heyday, who honed their sound so much it could carve through time itself. These guys done remixes and covers of My Bloody Valentine and Mogwai stand out as well.
On first listening to Transparent Radiation I entered a state of ecstasy. This truly is exactly how I wanted to sound if I was talented, twisted and motivated. Sadly it was released in ’87, stifling any hope I had of trying to pitch this to low-budget label.
It is a noise, psychedelic, rock, drone thing and fucks with your mind the moment you turn it on. You realise that Panda Bear has ripped off the seocnd track, and, after filling me with the rage of a nordic warrior, sent me into a state of utter adoration. I cannot explain how perfect I think this little EP is. Sounds like Velvet Underground entered a rip in time-space, stumbled out in the late eighties, vomited, then created this EP. Even then they still sound a decade ahaed of they’re game at times, but that’s for another time.
Here’s a taster, and what a taster it is:
After a pathetic amount of research I found out that the title track is a cover, the band who done the original are called Red Krayola. I’ll end up posting about them if it’s at all similar to this.
Captain hipster has done it again. This will probably get insanely good reviews as it is classic Lennox and people eat this shit up like toffee glazed popcorn. Even after recent streams of the album and hearing half the album before it’s release, I’m glad to have this nestled in my ears. It’s been a good month forhipster music.
My personal favourite from the album:
10 days before release. Get it before the web sheriff shits on our links.
Deerhunters first album sounds like an aggressive, echo-heavy, rythmic assault that’s fueled by youth and general angst that the lads felt at that time. This is no means for the average Deerhunter fans who like the accessible harmonies of recent releases, oh no. It’s for a hardened, intrepid listener who enjoys an album that most wouldn’t dare tackle. With this all said it’s common knowledge that Cox doesn’t even like the album, but maybe he’s just playing the media to throw off the critics.
Always remember to lick before you bite:
A good album by the young new wave revivalists with a bit of kraut rock and Sonic Youth thrown in here and there.
Marrying abrasive drone-ish, noisey fuzz with eerie melodic vocals sounds like something of a science-fiction novel, yet quartet ‘Women’ from Calgary effortlessly accomplish this to a level Kevin Shields would be proud of. The LP itself is a fucking mash of different genres and angle that collectively form a contender for album of the year. They shock and satisify the listener at every track; just try defining this album into a genre. The only real ‘tag’ this album has got is postwave, which is just a bit of a fucking laugh really but sounds rad.
Last track on the album is a beast.
Drone, indie, shoegaze, kraut, pop, noise… postwave? Easily my favourite album of the year.