Yeah, he seems to be getting Miley confused with, I dunno, Lady Gaga. On top of that, he seemes to just not like her; it's as if he wanted virginal Disney princess Miley to never grow up.
i just heard Bodies by Drowning Pool for the first time in forever
man i remember when i was like 13 that song was THE MOST BRUTALEST THING I HAD EVER HEARD like that bit where he does that lead in growly bit blew my fucking mind
Hey so if I've liked a lot of Mountain Goats songs, but haven't listened to an album other than The Life Of The World To Come, what are some other good albums to go to?
I haven't heard much of their work despite greatly liking it, but Heretic Pride seems like the logical point of departure. From there you can work your way back—Darnielle's early work is a bit rougher around the edges and way more stripped back, so it's a cool progression.
Apparently his novel Wolf in White Van is amazing, too.
Despite liking Aesop and liking that remix, I still prefer the original. It's tight and razor-sharp and the final lyric is just amazing: "I feel like Lovecraft in Brooklyn."
In the original song, the last verse is where he goes to buy a knife and "the girl at the checkout asks me how I feel today. I feel like Lovecraft in Brooklyn."
It's also fairly unusual for a later Prurient album to be that overloaded. Fernow's music is pretty dynamic and textured, and there are usually quiet passages that build into the more extreme sections, but And Still, Wanting... is relentlessly harsh. It's probably the only one of his more melodic albums to go into that territory.
Note that the next loudest album on that list is Merzbow's Venereology, which is, again, an unusually brutal album even in the context of his discography.
Not to get your expectations down, but I like it a lot less than the first album.
It's just kinda....inconsistent? Both sonically and thematically.
The rapping is much more scattershot than I'm used to from Mike (and especially from El) and there's a bunch of serious songs (like "Early" which is imo a highlight), but there's also a sex jam with a Gangsta Boo feature. It's a weird album and not necessarily in a good way.
rose clouds of sugoi rose clouds of kawaii rose clouds of bitter bitter bitter lies and when bakas of ignorance fall down from your eyes rose clouds of sugoi rose clouds of kawaii
I've already shown you tracks from Soft Machine's Third; you might enjoy their first two albums and their live stuff as well. I'm less familiar with their later work, however, although with a few exceptions most critics agree that it is a mixed bag.
If you are not familiar with Bad Bad Not Good, acquaint yourself.
In terms of albums that I think you would at least find interesting, I would recommend Bügsküll's Distracted Snowflake Volume One, Macha's See It Another Way and Angels of Light's How I Loved You. I still need to pass you along some of Windsor for the Derby's early stuff, so I'll try to get on that.
Also, basically anything on Young God Records before Michael Gira reactivated Swans would be worth a look; despite his formidable reputation, he has a great ear for very low-key, hard-to-classify experimental music of a folky bent. Other back catalogues worth a look: Secretly Canadian, possibly Rough Trade and/or Asthmatic Kitty.
I will also venture XXL's two albums—basically what Xiu Xiu were doing on La Forêt without Jamie Stewart's vocals and with more instruments—and, way more tentatively, La Forêt itself. It's far less in-your-face than their other albums, and frequently very pretty, but it's no emotional cakewalk.
[classical music] For some reason, I find myself rarely hearing that much of a difference between different performers' interpretations of a piece. I can hear the differences if I pay attention, but if I don't, they don't typically stand out much. With the exception of radically different interpretations (e.g. Glenn Gould playing Bach pieces staccato or something).
At least, this applies to pieces I don't personally know.
On the other hand, there are some pieces I know well and particularly love, and for _those_ pieces, I can become _intensely_ opinionated about their interpretation.
But, like, I guess, before something's really touched my heart, I guess the interpretation kinda takes a back seat to the composition? Unless it's really, really shit. But even then, it might just sound like something else to me, rather than an unholy corruption of the source material.
I was going to say the same thing about sound quality, but then I thought about it again, and realized I actually don't mind really shitty sound quality, as long as I'm enjoying that performance of a piece that I really like.
I'm just very curious about the mental processes behind these two phenonema.
Comments
man i remember when i was like 13 that song was THE MOST BRUTALEST THING I HAD EVER HEARD like that bit where he does that lead in growly bit blew my fucking mind
avant garde
this is still the best thing
it's just really pretty as massive slabs of noise go
rose clouds of kawaii
rose clouds of bitter
bitter bitter lies
and when bakas of ignorance
fall down from your eyes
rose clouds of sugoi
rose clouds of kawaii
I have a link to the full album this time.
For some reason, I find myself rarely hearing that much of a difference between different performers' interpretations of a piece. I can hear the differences if I pay attention, but if I don't, they don't typically stand out much. With the exception of radically different interpretations (e.g. Glenn Gould playing Bach pieces staccato or something).
At least, this applies to pieces I don't personally know.
On the other hand, there are some pieces I know well and particularly love, and for _those_ pieces, I can become _intensely_ opinionated about their interpretation.
But, like, I guess, before something's really touched my heart, I guess the interpretation kinda takes a back seat to the composition? Unless it's really, really shit. But even then, it might just sound like something else to me, rather than an unholy corruption of the source material.
I'm just very curious about the mental processes behind these two phenonema.