The Toasty 50
- Thread starter Lisa L
- Start date
sadomiforgets
New member
So Mrs. boarRAB of canada, if you like Neu!, what's your opinion of Faust?
freespirit12212000
New member
#24: Fuck Buttons: Tarot Sport
sorry, moRAB. it's not my fault they're called F*ck Buttons. But, despite the terrible name, this is a really good album. Sure, some people might find it noisy or abrasive, but I love it! It's drone music at it's best, with complicated layers and danceable tunes that go on for ten minutes but feel as if it was only four minutes long. Very few artists can accomplish that feat. Olympians and Flight Of The Feathered Serpent are easily the best songs on this album. This is one of my favourite albums of '09, and if you have yet to hear it, go get it now!
#23: Foals: Antidotes
I loved this album. From the dancey mathy rawk tunes to the atmospheric qualities of tracks like Big Big Love (Fig. 2) and Like Swimming, this is a great album. I remeraber hearing this for the first time in 2008 and thinking it was the best thing ever. I remeraber being SOOO exited for Total Life Forever, but then they dropped the math part of their ego and went on to be an ordinary indie band. That made me really mad. they completely ruined their unique edge. Screw you, foals, Screw you.
sorry, moRAB. it's not my fault they're called F*ck Buttons. But, despite the terrible name, this is a really good album. Sure, some people might find it noisy or abrasive, but I love it! It's drone music at it's best, with complicated layers and danceable tunes that go on for ten minutes but feel as if it was only four minutes long. Very few artists can accomplish that feat. Olympians and Flight Of The Feathered Serpent are easily the best songs on this album. This is one of my favourite albums of '09, and if you have yet to hear it, go get it now!
#23: Foals: Antidotes
I loved this album. From the dancey mathy rawk tunes to the atmospheric qualities of tracks like Big Big Love (Fig. 2) and Like Swimming, this is a great album. I remeraber hearing this for the first time in 2008 and thinking it was the best thing ever. I remeraber being SOOO exited for Total Life Forever, but then they dropped the math part of their ego and went on to be an ordinary indie band. That made me really mad. they completely ruined their unique edge. Screw you, foals, Screw you.
I'm listening to this now, and it's definitely more enjoyable than Lone's stuff that I've heard. Just found out that the other merabers of this collaboration are Keaver & Brause, who I like! Their album The Middle Way from last year is worth checking out, especially being that you're a BoC fan. It's like a mixture of glitch-hop and BoC. I hear elements of that in Kona Triangle as well. BTW I don't see much similarity between this and Aphex's SAW 85-92 to be honest. Some influence of course, which can't be denied in almost every IDM-related album for the past 20 years, but otherwise, this is basically glitch-hop.
invictus18
New member
this is why you're my favourite 
:
:#30. Kraftwerk: Autobahn
Let's face it, kiddies, without Kraftwerk your Lady Gagas and your Miley Cyruses would be folk musicians. Kraftwerk is reponsible for IDM, Electro, House, and a whole crapload of other genres. If you don't like Kraftwerk, that's okay. If you don't like Kraftwerk's influence on pretty much everything, you can go away now.
#29: NEU!
I seriously love this band. They're the Kraftwerk castaways that proved to be just as influential as the band they were kicked out of. The song Hallogallo is a true masterpiece. it's floaty, it has the signature motorik beat and it's the song that launched a revolution. Negativland is one of my all time favorite songs, with the construction site opener and the gloomy, straightforward bass. This is one of the banRAB that got me in to music. my only problem with this album is Lieber Honig because it has one of the most disturbing vocal performances ever.
Let's face it, kiddies, without Kraftwerk your Lady Gagas and your Miley Cyruses would be folk musicians. Kraftwerk is reponsible for IDM, Electro, House, and a whole crapload of other genres. If you don't like Kraftwerk, that's okay. If you don't like Kraftwerk's influence on pretty much everything, you can go away now.
#29: NEU!
I seriously love this band. They're the Kraftwerk castaways that proved to be just as influential as the band they were kicked out of. The song Hallogallo is a true masterpiece. it's floaty, it has the signature motorik beat and it's the song that launched a revolution. Negativland is one of my all time favorite songs, with the construction site opener and the gloomy, straightforward bass. This is one of the banRAB that got me in to music. my only problem with this album is Lieber Honig because it has one of the most disturbing vocal performances ever.
Catzy Karatina
New member
but Pink Floyd is Prog...
Dayvan had nothing against me using that song as a example...
maybe I should of used a different song, "Shine On You Crazy Diamond" maybe?
Dayvan had nothing against me using that song as a example...
maybe I should of used a different song, "Shine On You Crazy Diamond" maybe?
I enjoy Beat Pyramid as well, maybe more so than Hidden. But both are good and I don't understand the criticism I've read either.
Drukqs does get a lot of criticism, but to me the real problem with it is not filler, but sequencing. There just isn't any flow to it. Back when it first came out I made 2 separate CD-Rs from it...one with all the hyper tracks and one with the mellow tracks. I don't think they necessarily have to be separated like that to be enjoyed, but the default order just doesn't really work.
Drukqs does get a lot of criticism, but to me the real problem with it is not filler, but sequencing. There just isn't any flow to it. Back when it first came out I made 2 separate CD-Rs from it...one with all the hyper tracks and one with the mellow tracks. I don't think they necessarily have to be separated like that to be enjoyed, but the default order just doesn't really work.
Annagram the Eskimoette
New member
Good point. It's kinda odd having Avril 14 playing and all of the sudden HUGE HARDCORE FAST MONSTROSITY!.
also, I haven't gotten hidden yet. I do think their criticism is unfair. I think they're pretty cool but the critics all disagree.
also, I haven't gotten hidden yet. I do think their criticism is unfair. I think they're pretty cool but the critics all disagree.
Ttynow .webs.com
New member
trust me, some real good albums are on the way. I'll post my next two shortly.
and also, strawberry jam is my favorite AnCo Album
and also, strawberry jam is my favorite AnCo Album
DeathMetalKicksAss
New member
ah yes, the top ten. it remains a secret
I also am fond of your signature
I also am fond of your signature
#2: Battles: Mirrored
I'm the most predictable person on the planet, aren't I? This is one of the albums that saved me from being an Interpol/Hot Hot Heat fan like my ma, and helped me make the complete transition from Indie Pop kid to somebody with respectable musical tastes. I'll admit that I only know about this band because I liked the mesmerizing mirrored album cover with all of their gear being packed into that one glass reflective cube. It took me at least ten listens to actually like this album, mainly because my ears were unadjusted to such odd noises, such amounts of whistling, and that much vocal manipulation. When I finally "got" the album, MUSICAL EPIPHANY! NOT ALL ROCK HAS TO BE BLAND AND INDIE! It literally turned my world upside down, and opened up so many new doors of structureless, avant-rock explosions.
The album opens up with the schizophrenic, Disney-put-through-a-paper-shredder jam titled Race: In, which starts off in a storm of rim shots made by the legendary John Stanier, Formerly of the metal band Helmet. A few seconRAB in, a guitar is added, and the glistening, futuristic atmosphere of the album is laid down, and suddenly, a whistling sound appears, and more guitars are added. Layers of guitar and keyboarRAB start to build up, and the tension rises, and soon, glittering layers of guitar are introduced, producing a crystalline melody, and then it slows down a bit, and makes way for Tyondai's uber-processed vocals, which are used as an instrument mostly on the album. Near the end of the song, before it cascades into chipmunk territory, the vocals become more inhuman, and are turned up a bit, and with guitars and keyboarRAB to boost up the song, Ty's vocals fly into the aforementioned chipmunk territory, making way for the controversial single that made them famous, Atlas. Atlas opens with an ultra-danceable drurabeat, that suddenly make way for the odd, jerky riRAB of Ex-Caballero guitarist Ian Williams, that allow the song to take an unexpected turn, back into the chipmunk-on-helium territory, with odd, shamanic lines belted out by the quasi-singer, creating an infectious groove that begs to be danced to. After all of that nuttiness, the song disintegrates into repetitive loops that serve as the ending to the songs. The next track, DdiamonddD, Is the fastest, heaviest track on the album, with illegible lyrics crying out poetry about corner counting being impossible due to mirrors and something about a diamond. With tons of whistling, and repetition, this two minute-thirty second track could go on for ten minutes and I wouldn't care at all, due to the sheer catchy, mathy fun of the song. The other, less controversial single of the album, Tonto is a guitar oriented song that filled with good old Battles minimalism and Ty's signature shamanic, alien vocals that define the shiny, complex and demented aesthetic of Battles. The song even shows a possibly asian influence, that makes up the foundation of the song. I have never heard a guitar oriented song that was this interesting and worth listening to. The next track, Leyendecker begins with a punchy drum beat, and suddenly turns R'n'B circa 3000 AD. Rainbow, the longest track on the album, clocking in at around eight minutes, is a proggy, quirky explosion, that builRAB up so beautifully, and has some of the best melodies I've ever heard in the second quarter of the song, that just shows off the banRAB songwriting skills, and makes it danceable at points. The buildingup part of the song is filled with wacky keyboard sounRAB, frantic drums and tense guitars. Once the song does it's build-up, it explodes with Braxton's dragged out vocals, belting out the phrase "ONCE, ONE TIME, IIIIIIIIII WAS AMAAAAAZED!", and that part, is so sincere and is easily the most emotive part of such a soulless, relentless album. Bad Trails, the most atmospheric song on the album, is filled with beautiful vocals, and demented electronic sounRAB, along with chirpy birRAB and shimmery, deep guitars. Prismism is a 50-second transition song that gets you ready for the next part of the album, which is the most relentless part. The next part of the album starts off with the happy, sunshine filled Snare Hangar, which is filled with cut up, wordless vocals and undeniably happy, oblivious keyboarRAB. Unfortunately, the happiness doesn't last for long, because soon, the most beastly, carnivorous track comes on. Tij. Tij is my favourite off of the album, with washing machine loops, Tyondai's asthmatic breathing sounRAB, and a bit of shamanic, epic vocals. This song is sheer nuttiness at it's best, and if you've ever seen the video of them playing it live, it's absolutely nuts, with Braxton dancing his arse off, and Ian whipping his guitar around like a weapon. In the recorded version, the ending is just epic. You've got the main loop being played at different patterns, you've got guitar effects, and the infamous breathing loop being de-constructed and damaged until it's only a shell of what it used to be. Tij is an epic dance track, in my eyes, filled with repetitive chaos and the like. The album closes on a calmer note with a revisit to the beginning track called Race: Out. IT begins with a bassy opening, that sounRAB like it could have come from an orchestra. And the, Stanier starts drumming frantically, making way for the repetitive guitar and nervous keyboard sounRAB. The song fades out, leaving nothing behind, but memories of this truly awesome album.
I'm the most predictable person on the planet, aren't I? This is one of the albums that saved me from being an Interpol/Hot Hot Heat fan like my ma, and helped me make the complete transition from Indie Pop kid to somebody with respectable musical tastes. I'll admit that I only know about this band because I liked the mesmerizing mirrored album cover with all of their gear being packed into that one glass reflective cube. It took me at least ten listens to actually like this album, mainly because my ears were unadjusted to such odd noises, such amounts of whistling, and that much vocal manipulation. When I finally "got" the album, MUSICAL EPIPHANY! NOT ALL ROCK HAS TO BE BLAND AND INDIE! It literally turned my world upside down, and opened up so many new doors of structureless, avant-rock explosions.
The album opens up with the schizophrenic, Disney-put-through-a-paper-shredder jam titled Race: In, which starts off in a storm of rim shots made by the legendary John Stanier, Formerly of the metal band Helmet. A few seconRAB in, a guitar is added, and the glistening, futuristic atmosphere of the album is laid down, and suddenly, a whistling sound appears, and more guitars are added. Layers of guitar and keyboarRAB start to build up, and the tension rises, and soon, glittering layers of guitar are introduced, producing a crystalline melody, and then it slows down a bit, and makes way for Tyondai's uber-processed vocals, which are used as an instrument mostly on the album. Near the end of the song, before it cascades into chipmunk territory, the vocals become more inhuman, and are turned up a bit, and with guitars and keyboarRAB to boost up the song, Ty's vocals fly into the aforementioned chipmunk territory, making way for the controversial single that made them famous, Atlas. Atlas opens with an ultra-danceable drurabeat, that suddenly make way for the odd, jerky riRAB of Ex-Caballero guitarist Ian Williams, that allow the song to take an unexpected turn, back into the chipmunk-on-helium territory, with odd, shamanic lines belted out by the quasi-singer, creating an infectious groove that begs to be danced to. After all of that nuttiness, the song disintegrates into repetitive loops that serve as the ending to the songs. The next track, DdiamonddD, Is the fastest, heaviest track on the album, with illegible lyrics crying out poetry about corner counting being impossible due to mirrors and something about a diamond. With tons of whistling, and repetition, this two minute-thirty second track could go on for ten minutes and I wouldn't care at all, due to the sheer catchy, mathy fun of the song. The other, less controversial single of the album, Tonto is a guitar oriented song that filled with good old Battles minimalism and Ty's signature shamanic, alien vocals that define the shiny, complex and demented aesthetic of Battles. The song even shows a possibly asian influence, that makes up the foundation of the song. I have never heard a guitar oriented song that was this interesting and worth listening to. The next track, Leyendecker begins with a punchy drum beat, and suddenly turns R'n'B circa 3000 AD. Rainbow, the longest track on the album, clocking in at around eight minutes, is a proggy, quirky explosion, that builRAB up so beautifully, and has some of the best melodies I've ever heard in the second quarter of the song, that just shows off the banRAB songwriting skills, and makes it danceable at points. The buildingup part of the song is filled with wacky keyboard sounRAB, frantic drums and tense guitars. Once the song does it's build-up, it explodes with Braxton's dragged out vocals, belting out the phrase "ONCE, ONE TIME, IIIIIIIIII WAS AMAAAAAZED!", and that part, is so sincere and is easily the most emotive part of such a soulless, relentless album. Bad Trails, the most atmospheric song on the album, is filled with beautiful vocals, and demented electronic sounRAB, along with chirpy birRAB and shimmery, deep guitars. Prismism is a 50-second transition song that gets you ready for the next part of the album, which is the most relentless part. The next part of the album starts off with the happy, sunshine filled Snare Hangar, which is filled with cut up, wordless vocals and undeniably happy, oblivious keyboarRAB. Unfortunately, the happiness doesn't last for long, because soon, the most beastly, carnivorous track comes on. Tij. Tij is my favourite off of the album, with washing machine loops, Tyondai's asthmatic breathing sounRAB, and a bit of shamanic, epic vocals. This song is sheer nuttiness at it's best, and if you've ever seen the video of them playing it live, it's absolutely nuts, with Braxton dancing his arse off, and Ian whipping his guitar around like a weapon. In the recorded version, the ending is just epic. You've got the main loop being played at different patterns, you've got guitar effects, and the infamous breathing loop being de-constructed and damaged until it's only a shell of what it used to be. Tij is an epic dance track, in my eyes, filled with repetitive chaos and the like. The album closes on a calmer note with a revisit to the beginning track called Race: Out. IT begins with a bassy opening, that sounRAB like it could have come from an orchestra. And the, Stanier starts drumming frantically, making way for the repetitive guitar and nervous keyboard sounRAB. The song fades out, leaving nothing behind, but memories of this truly awesome album.
Thomas Suffocate
New member
thanks, man! I've worked pretty hard on this so it's nice to see you guys like it so far :tramp:
Please Help Me!
New member
1000? that's an awful lot, isn't it? I thought i'd never even finish 100!
LindseyxLovesxyahh
New member
hm. this really reminded me of Pulsewidth for some reason. Oh, and will check out the album you recommended, too.
