mandexlufc
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trying to make it 26 eh?
cat op 25
- Thread starter Gsaba
- Start date
I Dream Of Writing
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i think it's a lot more interesting, but to each his own
Renesmee Cullen♥
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i really like the juxtaposition of my avatar and that album cover
chickennugget128
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Wow I didn't know there were many other sane people on this forum who liked Tool... whenever I mention them I get shot down immediately! There is a lot of Tool-fan hate circulating.
Tool are my favourite band, and I'd have to agree that they are one of the only banRAB I still listen to from my "teen angst" years. Everyone says that their music is angry, but it isn't, there is a lot of light in it. Maynard's vocals still give me shivers and the musicality still amazes me. Aenima is a fantastic album.
Great review :thumb:
Tool are my favourite band, and I'd have to agree that they are one of the only banRAB I still listen to from my "teen angst" years. Everyone says that their music is angry, but it isn't, there is a lot of light in it. Maynard's vocals still give me shivers and the musicality still amazes me. Aenima is a fantastic album.
Great review :thumb:
The Holy Bible
So, God is my dad and I'm Jesus? But Jesus is God so I'm God. Okay I can work with this. Or is this supposed to be taken literally?
But a lot of Jesus' stuff seems kind of derivative of John Lennon.
If we include Paradise Lost which most people seem to I guess I'm Satan as well... pretty cool.
Tentative 8/10
So, God is my dad and I'm Jesus? But Jesus is God so I'm God. Okay I can work with this. Or is this supposed to be taken literally?
But a lot of Jesus' stuff seems kind of derivative of John Lennon.
If we include Paradise Lost which most people seem to I guess I'm Satan as well... pretty cool.
Tentative 8/10
Violent Femmes - Violent Femmes
1982
This is the ultimate loser rock album. Gordon Gano speaks with such honesty it's almost shameful, but if you've ever been to High School and felt like an outsider it will move you. Really, I wouldn't consider somebody a real person if they couldn't relate to at least a few songs on here.
That said, this is a very delicious album musically. The bass in particular, speaks volumes, alternating wonderfully between melody and rhythm, driving the album rapidly forward into new areas of self-revelation. Gano's vocal delivery is all over the place, and carries an air of self-deprecation and absurdity which suits it perfectly. Like The Raincoats, Violent Femmes are a band to play up their faults until they become their strengths. Their name, for instance, refers to the derogatory term “femmes” which was used as epithet for geeks in their hometown of Milwaukee (meaning “girls,” for you Francophobes). The attached “violent” is hilariously self-mocking, but at the same time a good metaphor for the way they've turned their detachment and alienation into something constructive and explosive. Because this music is certainly explosive, and also implosive. It threatens to do both.
Take “Add It Up,” which brazenly handles school shootings. What? That was an issue in 1982? No way! Sure it was. So when Gano sings “don't shoot shoot shoot that thing at me/ You know you got my sympathy/ but don't shoot shoot shoot that thing at me,” it carries an intoxicating honesty that we don't get from the media, which is more interested in propagating the myth of evil than exploring the real causes of teenage frustration. “Confessions,” on the other hand, laments “I'm so lonely, I feel like I'm gonna crawl away and die.” Teenage angst? Sure. But not angst turned into tragedy or opera, angst for what it is. Somebody has to address it, don't they?
As you can probably see, I'm not too interested in talking about the music itself. It's like, folk music infused with punk. It's not exactly an acquired taste.
1982
This is the ultimate loser rock album. Gordon Gano speaks with such honesty it's almost shameful, but if you've ever been to High School and felt like an outsider it will move you. Really, I wouldn't consider somebody a real person if they couldn't relate to at least a few songs on here.
That said, this is a very delicious album musically. The bass in particular, speaks volumes, alternating wonderfully between melody and rhythm, driving the album rapidly forward into new areas of self-revelation. Gano's vocal delivery is all over the place, and carries an air of self-deprecation and absurdity which suits it perfectly. Like The Raincoats, Violent Femmes are a band to play up their faults until they become their strengths. Their name, for instance, refers to the derogatory term “femmes” which was used as epithet for geeks in their hometown of Milwaukee (meaning “girls,” for you Francophobes). The attached “violent” is hilariously self-mocking, but at the same time a good metaphor for the way they've turned their detachment and alienation into something constructive and explosive. Because this music is certainly explosive, and also implosive. It threatens to do both.
Take “Add It Up,” which brazenly handles school shootings. What? That was an issue in 1982? No way! Sure it was. So when Gano sings “don't shoot shoot shoot that thing at me/ You know you got my sympathy/ but don't shoot shoot shoot that thing at me,” it carries an intoxicating honesty that we don't get from the media, which is more interested in propagating the myth of evil than exploring the real causes of teenage frustration. “Confessions,” on the other hand, laments “I'm so lonely, I feel like I'm gonna crawl away and die.” Teenage angst? Sure. But not angst turned into tragedy or opera, angst for what it is. Somebody has to address it, don't they?
As you can probably see, I'm not too interested in talking about the music itself. It's like, folk music infused with punk. It's not exactly an acquired taste.
iTs A B0Y <3
New member
I think I've seen these reviews floating around somewhere else on rabroad, or maybe I've just been here before. Thanks Cardboard Adolescent for all of the music and some great concept-based reviews. A while ago you turned me onto both Neutral Milk Hotel, and Slint. I'm forever in debt just for that. Ornette Coleman will be a great chance for me to jump into Jazz. I've heard good things about DeerHunter, Violent Femmes, and Talking HeaRAB as well, and these reviews just reinforced my desire to explore them. And, man, Avro Part sounRAB so interesting! Again, thanks a million for all the effort. I very much enjoyed reading these reviews and am happy to have so much sound to look forward to. I don't know what I'd do without rabroad.
i'm sorry that this hasn't gone anywhere, but i recently lost like half my music so i can't do some of these reviews and the next couple albums on my list are ones i don't really feel like listening to. so i'm going to stop going in order. i'll probably have another review up later.
Slint - Spiderland
1991
It's hard to explain the appeal of Spiderland to someone who “doesn't get it.” What the hell, they might say, these cynical ones, it's just some guy talking over music that goes from soft to loud, soft to loud. Big whoop. They might even have the audacity to say that the pieces aren't musically interesting, that the chorRAB sound detached from each other and don't create compelling tunes. Of course, the problem isn't that they don't get it, but that they assume there is something to get.
In fact, the only thing to get is nothing. And once you get nothing, you no longer have it. Nothing must be something to be understood. To understand nothing, something must come out of nothing. Something like Spiderland.
Spiderland is an object of massive appeal to the “record snob” because it is prototypical outsider music; it generates a creepy voyeuristic vibe and plays on futility, offering a series of rolling climaxes which bring nothing new, deliver no catharsis. In essence, it resonates with the void inside us. Those who are not completely jaded, or detached, or empty, who still have contorted belief structures jutting out of the void at obtuse angels, will resist this resonance. For those of us obsessed with staring into our own abyss the resonance is inevitable.
The aesthetics of Slint are not defeatist. They say we can move beyond, we can still provide singularities of style, here is the evidence. We respond in turn, by turning Slint into a template, and this is the sorry state we now find ourselves in. But we cannot blame Slint for post-rock, everything singular must be simulated until it is no longer so, this is the society which we live in, we are all complicit. Spiderland, then, is the ultimate narcissism, and the ultimate dissolution of the ego, and it sounRAB great. Great because it can lead you to every greater, dizzying heights, but not the heights of pleasure, not mental or physical orgasm, but to the pinnacles of self-pity, self-doubt, absurdity and anti-catharsis.
This review is deliberately pretentious because this record is deliberately pretentious. But pretension is not something to be feared! Only pretensions can keep music mentally titillating, before it simply becomes the beat to hump to. Music is quickly becoming more and more functional, but if we must allow this we must also force the functionality to serve on both fronts, cerebral and visceral! How can we achieve a state of post-tension without pretension? Slint extracts tension from pretension, and moves us ever closer, ever farther away, from the post.
1991
It's hard to explain the appeal of Spiderland to someone who “doesn't get it.” What the hell, they might say, these cynical ones, it's just some guy talking over music that goes from soft to loud, soft to loud. Big whoop. They might even have the audacity to say that the pieces aren't musically interesting, that the chorRAB sound detached from each other and don't create compelling tunes. Of course, the problem isn't that they don't get it, but that they assume there is something to get.
In fact, the only thing to get is nothing. And once you get nothing, you no longer have it. Nothing must be something to be understood. To understand nothing, something must come out of nothing. Something like Spiderland.
Spiderland is an object of massive appeal to the “record snob” because it is prototypical outsider music; it generates a creepy voyeuristic vibe and plays on futility, offering a series of rolling climaxes which bring nothing new, deliver no catharsis. In essence, it resonates with the void inside us. Those who are not completely jaded, or detached, or empty, who still have contorted belief structures jutting out of the void at obtuse angels, will resist this resonance. For those of us obsessed with staring into our own abyss the resonance is inevitable.
The aesthetics of Slint are not defeatist. They say we can move beyond, we can still provide singularities of style, here is the evidence. We respond in turn, by turning Slint into a template, and this is the sorry state we now find ourselves in. But we cannot blame Slint for post-rock, everything singular must be simulated until it is no longer so, this is the society which we live in, we are all complicit. Spiderland, then, is the ultimate narcissism, and the ultimate dissolution of the ego, and it sounRAB great. Great because it can lead you to every greater, dizzying heights, but not the heights of pleasure, not mental or physical orgasm, but to the pinnacles of self-pity, self-doubt, absurdity and anti-catharsis.
This review is deliberately pretentious because this record is deliberately pretentious. But pretension is not something to be feared! Only pretensions can keep music mentally titillating, before it simply becomes the beat to hump to. Music is quickly becoming more and more functional, but if we must allow this we must also force the functionality to serve on both fronts, cerebral and visceral! How can we achieve a state of post-tension without pretension? Slint extracts tension from pretension, and moves us ever closer, ever farther away, from the post.
Littlechickenman
New member
erm youll have to wait until im home which isnt for another twenty days or so
syazdefined
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Moar!
mumakto4++3angels
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Agreed and the reviews will be eminently readable too.
This Is My Name
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i lost most of my music and i don't like the rest of the albums on the list as intensely as i used to and don't really feel like i can write about them. this project is on hold indefinitely.
Amazonqueen
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very good list so far. 
ζαϯà ơʂ
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I'd have to agree it is alot more interesting but I prefer In the Aeroplane Over the Sea anyway it's more touching to me. Though Song Against Sex is my favorite Neutral Milk Hotel song.
NiN3Ti3S KiDD
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I still have'nt got this SOAB in my collection. Are we getting some Zappa in here?