cat op 25

G

Gsaba

New member
or, if you prefer, the Cardboard Adolescent Top 25!

I decided to do a top 25 for several reasons:
a) urban has already done a top 100 and everybody else is doing them, so **** that
2) i don't have the attention span to write 100 album review
e) my taste changes too quickly for 100 albums to represent it correctly
5) twenty-five is 5^2!

i'll post the first review soon and try to stay steady at one every couple days. i think it would be fun if people tried to guess what albums are left, or at least if they provided some original opinion of their own regarding whichever album i might have recently been appraising anRABoforth etcetera.

in conclusion, welcome to my thread!
 
Modern Lovers s/t is great, but it's not one of those albums I listen to front to back all the time. "Old World" is probably one of my favorite songs of all time, but overall the record doesn't have the consistency to make it an all-time fav.
 
I do really really like A Trip To Marineville and have been listening to it a lot recently, but not quite enough to make the top 25.
 
Faust - Faust IV
1974

Fau-FIV.jpg


What does this song mean? It is titled
 
Can - Tago Mago
1971

TagoMago.jpg


CAN: communism, anarchism, nihilism.

As I put this album on to try and write about it, I feel myself slowly slipping into a trance. The feeling is familiar. How much time have I spent walking, driving, completely oblivious of my surroundings, lost in this labyrinthine music?

What is there to say about krautrock that isn't redundant? The whole scene was the focal point of so many different styles, and quickly diffracted to produce a whole lot of new ones. The synthesis of jazz, rock and minimalism was perhaps inevitable, and still repeats itself today, but very few have ever done it as well as Can. Tago Mago isn't just an intellectual exercise, it is first and foremost a devotion to music. It can be dark and apocalyptic, but it is also a doorway to another realm. It lifts the spirit from this world.

This album is a collage of studio jams, back-tracked vocals, and even music recorded between sessions, while the musicians were half-jamming unaware. The songs are improvised but tightly and meaningfully constructed; the instruments wander but coil around one another. The sound drifts in from a world that is all-encompassing and indescribable... the lyrics are foreboding yet hopeful, sung by a voice that transcenRAB space and time. Halleluhwah is nineteen minutes long and doesn't waste a second. It's Sister Ray ascending to Heaven.

The communism/anarchism of the musical is blissfully apparent—every musician plays an essential role in the full realization of the piece. Nothing feels out of place or extraneous. Even when the album devolves into chaotic noise, it feels completely warranted. It is simply the necessary conclusion of the progression presented.

Why is it appropriate that something so universal should sound so absolutely bizarre? Maybe people are simply more comfortable with the particular, with things that fit easily into a context. This music is too different—it sits outside of time; it shrugs off interpretations. It wants you to write about it, but resists your attempts to do so. That simple realization encapsulates all my love.
 
I have to wait til October 28 for Microcastle, cos I cant download music. Boooo!!!

And A Trip to Marineville is the bees knees.

Ive been looking for that Raincoats record for a while. I have 'Fairytale in the Supermarket' on a compilation, its radical.
 
I have to say this is probably my new favorite thread, for the well written reviews alone.

It's almost like people have to love these albums just because you've described why you love them so passionately and descritively. I can't stop reading it, it's like a captivating book and I can't put down.

With that, I feel like I have to check out Violent Femmes, Velvet Underground, Ornette Coleman and Disco Inferno.

Thanks for these amazing reviews!!
 
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