Originally posted by krugulitis: as far as the kid crash, they aren't bad, but nothing for me to get too excited about. i still can't help but feeling an inherent immaturity in this genre of music (though that just could be me). i feel like the biggest thing early post hardcore has offered to music today is the start of math rock (like drive like jehu). and no, not everyone has gone the minimalist influenced art rock route of a band like don cab in math rock - band's like cinemechanica still bare obvious signs of influence from early post hardcore bands, but they have done something most of post hardcore hasn't done these days - progressed. i'm not saying cinemechanica are gods or anything (they are a solid, but not great band). now that i think of it, i liked the first sound of animals fighting release and that could arguably be considered post hardcore - but then maybe that is why i liked the album, because they have done something more with the genre.
Sorry, but I forgot to address Kidcrash and post-hardcore not progressing. My stance on the lack of progression: yes and no. Yes there are stale parts. On a whole post-hardcore is flailing. With Victory Records diluting post-hardcore with pop, and making tons of $$$ out of it, yes there is stagnation. However, there is a ton of beautiful integration in little pockets throughout the genre. Cinemachanica is a math rock bands hands down. They have more in common with Don Cab and Hella than with a band like Thrice. One thing that sounded great about them is "experimentation" without loss of emotive songwriting. They remind me of Frodus in that regard. I think you're looking for progression in certain musical traits but not in others. For example, with The Kidcrash. Their production and instrumentation are pretty standard and are likely going to invoke Thursday. The opening verse figure of "Turtlelephant" is a pretty typical groove over interweaving guitar parts, which as been done many times before. Their surface suggests that they're just another post-hardcore band. However, Kidcrash excels in terms of tempo and time manipulations as well as songwriting. I think when people look for time sig and tempo manipulations, they're looking for the segmented, chopped-up feel of a band like Hella, who makes their "mathiness" something to wrestle with. The Kidcrash move through brilliant tempo smears. The drummer has a flair for slurring accents and attacks across bars so that when time signatures change, it feels like part of a fluid shift and not a jutting math rock motion. There is also a lot done to flip up feels and having polyrhythms throughout instrumental parts. As a final note their songwriting is ridiculously interesting. The album is very non-repeating in terms of verbatim sections or parts but the talented musicianship and the flow of the songs allow it all to hang together. Aside from my huge hardon for The Kidcrash, there is a point to be made. Though post-hardcore maybe has not progressed in all the ways that one can immediately value the music (and I'm obviously assuming quite a bit about how you listened to the music), especially on a surfacey, aesthetic-based level (there's still all that god damn "screaming" which can be a huge turn off), there are certain bands that are making really interesting moves. It seems like you have a math rock skew just based on what you've cited in Cinemachina and Drive Like Jehu, so let me just end by recommending the band Tera Melos. They are technically just ridiculous and are doing the most interesting things I've heard recently with a guitar as well as integrating jazz drumming techniques. Just listen to "A Spoonful of Slurry" and "Last Smile for Jaron" here: http://www.myspace.com/teramelos.
Once again, sorry to talk your ear off but it seems like you're genuinely interested in where this discussion is going.
yeah, i do love me some math rock. but, what originally drew me to cinemechanica was how much they sounded like san diego and DC style 90's post hardcore. they just seem like the logical progression from those bands, so i found that interesting.
i don't doubt there are many talented post hardcore bands out there, but it seems that even the good ones would be better served to just sever their ties with the genre. a lot of it has to do with the vocals, and no its not just the screaming (though it can sound very juvenile, especially when these bands age and the fans at shows are still 16 - like thursday), its the lyrics and the ideas behind them. the mixture of overly emotional, heart wrought, etc. lyrics with the hey i just discovered a thesaurus attempt at intellectualism (like at the drive in), coupled with numerous bad attempts at concept albums sours me on the genre often times.
as far as tera melos, i am a fan. i saw them play about a year or two ago, and they are definitely are one of those bands that will never be able to have an album that can live up to the live performance. you may like by the end of tonight if you are a fan of tera melos (the song philthy collins is especially awesome) and they are just as good live also.
no worries about "talking my ear off" (i'm doin my fair share of this as well) - keep it coming.
Posts: 513 | Location: San Diego | Registered: 26 November 2007
Originally posted by krugulitis: i think your vision of screamo, and emo for that matter is too singular of one. over the course of 20 some odd years, things change. these genres have mutated and latched themselves on to more conventional pop forms of music, pulling farther and farther from their hardcore origins. sure there may be bands still relishing in the fugaziesque diy culture and the musical leanings of these groups of the genre's earlier days, but emo has changed. so yes, sadly my characterization of emo in my earlier post is true for what emo is today to the vast majority of listeners of the genre (and yes thrice is a part of that, or was). i'm not bashing thrice, just merely stating that their band plays into many of the modern screamo bands habits. so yes, emo may sound more pop punk than what emo sounded like in the past, but that doesn't make it not emo (fuck just look at fall out boy's "hardcore" roots). elements still exist from the scene's earlier day, they are now just packaged and commercialized to within an inch of its life (even though there are some who are not as much a part of that as others) - but that doesn't make it not emo.
as far as the kid crash, they aren't bad, but nothing for me to get too excited about. i still can't help but feeling an inherent immaturity in this genre of music (though that just could be me). i feel like the biggest thing early post hardcore has offered to music today is the start of math rock (like drive like jehu). and no, not everyone has gone the minimalist influenced art rock route of a band like don cab in math rock - band's like cinemechanica still bare obvious signs of influence from early post hardcore bands, but they have done something most of post hardcore hasn't done these days - progressed. i'm not saying cinemechanica are gods or anything (they are a solid, but not great band). now that i think of it, i liked the first sound of animals fighting release and that could arguably be considered post hardcore - but then maybe that is why i liked the album, because they have done something more with the genre.
Still some weird discrepancies in where we're coming form. I understand the way the word "emo" has been warped over the years, but if you're following the purely musical timeline of those original emotional hardcore bands, there's a well defined through path that points to an emo today that is divergent from what is called emo. An emo that actually adheres to that original tradition with certain degrees of innovation. The way I see it is that emo had a fairly polarized stage. In the early to mid-90s you had two groups of people taking the genre in two different places. There were the chaotic, screamo bands of San Diego on the cutting edge of pushing dissonance and rhythmic intricacies (yielding math-rock in many forms as you noted), and the Midwest bands that were pushing for the total opposite, focusing on melody and emotive songwriting (bands like Boy's Life, Bells on Trike, and Christie Front Drive).* On top of that there were more typical emo bands who were perfecting the older formula (Moss Icon and Indian Summer are pretty much the two at work here). Now, here is where the story takes an interesting turn. Most bands after that reintegrated screamo into straight emo and midwest emo into straight emo. The late 90s featured bands like Saetia taking the dissonance and chaotic rhythms of screamo and connecting that back to the more songwriting-based focus on emo while bands like You and I saw the melodic leanings of the midwest bands as a way to pressurize emo's dramatics further and almost validate all of the screaming. So really the two forked paths of the mid 90s really converged at the turn of the century. On top of that screamo found its own strand with the San Diego bands highly influencing bands like Orchid and pageninetynine who continued the tradition of more chaotic emo and even integrated grind into the formula. Now this is the weird part of the story. The midwest emo styles also found its own legacy. Bands like Christie Front Drive toured with and highly influenced two important bands, Sunny Day Real Estate and Jimmy Eat World. Both of those bands took the emotional candor and focus on songwriting and arpeggiated guitars and all of that of midwest emo, and mixed that with the indie of a wide range of bands, especially The Pixies, and found great commercial success with that blend. So midwest emo, which had since become more indie than anything, got branded by popular culture as "emo" and influenced tons of bands from Dashboard Confessional to all of the crappy Victory Records bands. So the musicological path of emo points towards the bands on Level Plane records like Saetia and You and I, though the way the word "emo" is used today does not at all describe the genre of emo music. Interestingly, emo has since gone into a stage of pluralism, embracing post-rock (Circle Takes the Square), black metal (Celeste), progressive (Hot Cross), classic punk (Comadre), among other genres. So ya, that's my deal with emo. As you can probably tell I care a lot about it and have been "studying" it for a while but ya.
As far as Thrice goes, they were highly influenced by a band called Grade. Grade was weird because they took ideas in screaming and guitar-work from emo and injected that into a pop-punk paradigm (verse-chorus-verse song structures, catchy hook-laden melodies, chord progression based harmonies, octave guitar harmonizations, etc.). That style influenced a lot of bands like Thrice, Thursday, Coheed and Cambria, etc., all of whom have since diverged from that style. That style though has been since married with what people have been improperly been calling emo to create the new generation of pop punk bands on Victory Records (essentially just pure pop punk with screaming and some shitty Grade knock-off riffs). So ya, Thrice were influenced by a band that was ripped off poorly by slews of Victory bands, but Thrice and all of the other bands that diverged had so many of their own ideas going on (Thrice used metal, pop punk, hardcore, and alternative rock with a highly technical skew; Coheed and Cambria had prog leanings that ultimately took off; Glassjaw were really experimental in production techniques a la Refused and expanded post-hardcore to embrace very different genres like hip hop, jazz, soul, and r&b).
*=An interesting footnote is that the lo-fi sound, interweaving guitar, and hugely suspended melodies all hugely influenced Don Caballero and in turn a huge chunk of the math rock world
Okay I've talked a lot now. If you want a few recommendations for good albums in the world of "real emo" check these out:
Circle Takes the Square - As the Roots Undo Hot Cross - Cryonics You and I - The Curtain Falls Saetia - A Retrospective (many people consider this the best emo album of all time)
So ya, shit sorry for talking your ear off and getting so far off topic. Interesting discussion at least?
i'm sure everyone hates me with my 3rd post in a row, but whatever.
when perusing the hot cross myspace i particularly liked that cragganmore scotch, and Rodenbach Gran Cru were listed as influences. with that great of taste in whisky and beer (two things i am probably more passionate about than music) how can i not like them?
Posts: 513 | Location: San Diego | Registered: 26 November 2007
Originally posted by krugulitis: i see your point on the musical path of emo, but even if bands deemed emo today that you may not consider truly emo don't fit this exactly they still bare the influence of the genre. while emo as the majority of people know it may not resemble the musical path of emo that you describe, i don't know if i can say that that makes them any less of an emo band, just a different branch of the same genre. this is basically all semantics though.
a band like circle takes the square has musical chops, and some tendencies towards other genres than just screamo, but i feel like a false sense of melodrama (largely brought on by the vocals) can make them too cheesy to handle. still a talented band, but i feel like they would benefit from moving even farther from the genre that birthed them (after digging through some of my old music stuff, i found a split 7" by them and pg. 99 - don't even remember how i got that).
as far as saetia, i could never stand them - their awful vocalist ruins whatever musical talent they might have for me. soooo melodramatic (but i have to admit when thursday did crap like that i loved it, but i was also 15).
you and i, and hot cross i wasn't familiar with. from what i heard of hot cross on their myspace, they sounded talented, but just not my thing. yeah, i do love me some math rock. but, what originally drew me to cinemechanica was how much they sounded like san diego and DC style 90's post hardcore. they just seem like the logical progression from those bands, so i found that interesting.
i don't doubt there are many talented post hardcore bands out there, but it seems that even the good ones would be better served to just sever their ties with the genre. a lot of it has to do with the vocals, and no its not just the screaming (though it can sound very juvenile, especially when these bands age and the fans at shows are still 16 - like thursday), its the lyrics and the ideas behind them. the mixture of overly emotional, heart wrought, etc. lyrics with the hey i just discovered a thesaurus attempt at intellectualism (like at the drive in), coupled with numerous bad attempts at concept albums sours me on the genre often times.
as far as tera melos, i am a fan. i saw them play about a year or two ago, and they are definitely are one of those bands that will never be able to have an album that can live up to the live performance. you may like by the end of tonight if you are a fan of tera melos (the song philthy collins is especially awesome) and they are just as good live also.
no worries about "talking my ear off" (i'm doin my fair share of this as well) - keep it coming.
It seems like you get hung up on lyrics and vocals a lot. I come at music from a distinctly non-lyrical point of view. Sure, the lyrics can make or break a song, but for me there's a huge midrange of tracks that I don't even know the lyrics for. That's just the way I operate, and it's funny considering I've studied poetry both creatively and analytically and have been writing for most of my life. But ya, it seems like you have demands that music not aspire to be conceptual or dramatic, or if those things are going to come into play, they have to be subdued or brilliantly executed. Also, it seems like if you hear screaming, it's automatically going to make you think a band is immature. Screaming is unfortunate in some ways because it's an opportunity for another melodic voice lost (ignoring those unique singers who can shout/sing simultaneously). However, a lot of people knock screaming as faux-aggressiveness or faux-emotional candor or something like that. I see screaming as an extension of distorting a guitar tone. Screaming definitely narrows the range of pitches the "instrument" can hit, but it does a lot in terms of changing texture, tone, contour, dynamics, and attack for that instrument. So while on one hand screaming is limited, it's also expansive. I think a big problem is for every "good" screamer, there are countless bad ones who are using it for manliness or something stupid. However, you could make the counter argument for singing that for every Jeff Buckley there's going to be countless shitty singers as well. Also, has there even been a critically acclaimed screamer in popular music? Probably not.
On the topic of Tera Melos, I'm actually writing an article about Northern California math rock for sputnikmusic that'll be up by August 15. I'll PM it to you when it's up. Here's the band list I'm working with (includes some non-california bands and some people who have gone away from traditional math rock stuff):
Hella Tera Melos Planets / Swims Twain Harte Facing New York By the End of Tonight Oh No, It’s Birds / The Sound of Silence O! the joy O lucky man! Manacle Maps and Atlases Upsilon Acrux
Let me know if there are any others (particularly from California) that I just have to look at.
Originally posted by krugulitis: when perusing the hot cross myspace i particularly liked that cragganmore scotch, and Rodenbach Gran Cru were listed as influences. with that great of taste in whisky and beer (two things i am probably more passionate about than music) how can i not like them?
Oh also, the songs on Hot Cross' myspace are not representative of their skillz. Check out Cryonics. I also agree that Saetia is really really overrated. Screaming sucks with them. Their bassist is great though. Also, for some reason I didn't mention Off Minor. If you like math rock, Off Minor will be right up your alley as far as emo goes. I'd check out either Heat Death of the Universe or Innominate. They had a new album this year called Some Blood that a lot of people loved but I only thought was okay.
Originally posted by krugulitis: i see your point on the musical path of emo, but even if bands deemed emo today that you may not consider truly emo don't fit this exactly they still bare the influence of the genre. while emo as the majority of people know it may not resemble the musical path of emo that you describe, i don't know if i can say that that makes them any less of an emo band, just a different branch of the same genre. this is basically all semantics though.
a band like circle takes the square has musical chops, and some tendencies towards other genres than just screamo, but i feel like a false sense of melodrama (largely brought on by the vocals) can make them too cheesy to handle. still a talented band, but i feel like they would benefit from moving even farther from the genre that birthed them (after digging through some of my old music stuff, i found a split 7" by them and pg. 99 - don't even remember how i got that).
as far as saetia, i could never stand them - their awful vocalist ruins whatever musical talent they might have for me. soooo melodramatic (but i have to admit when thursday did crap like that i loved it, but i was also 15).
you and i, and hot cross i wasn't familiar with. from what i heard of hot cross on their myspace, they sounded talented, but just not my thing. yeah, i do love me some math rock. but, what originally drew me to cinemechanica was how much they sounded like san diego and DC style 90's post hardcore. they just seem like the logical progression from those bands, so i found that interesting.
i don't doubt there are many talented post hardcore bands out there, but it seems that even the good ones would be better served to just sever their ties with the genre. a lot of it has to do with the vocals, and no its not just the screaming (though it can sound very juvenile, especially when these bands age and the fans at shows are still 16 - like thursday), its the lyrics and the ideas behind them. the mixture of overly emotional, heart wrought, etc. lyrics with the hey i just discovered a thesaurus attempt at intellectualism (like at the drive in), coupled with numerous bad attempts at concept albums sours me on the genre often times.
as far as tera melos, i am a fan. i saw them play about a year or two ago, and they are definitely are one of those bands that will never be able to have an album that can live up to the live performance. you may like by the end of tonight if you are a fan of tera melos (the song philthy collins is especially awesome) and they are just as good live also.
no worries about "talking my ear off" (i'm doin my fair share of this as well) - keep it coming.
It seems like you get hung up on lyrics and vocals a lot. I come at music from a distinctly non-lyrical point of view. Sure, the lyrics can make or break a song, but for me there's a huge midrange of tracks that I don't even know the lyrics for. That's just the way I operate, and it's funny considering I've studied poetry both creatively and analytically and have been writing for most of my life. But ya, it seems like you have demands that music not aspire to be conceptual or dramatic, or if those things are going to come into play, they have to be subdued or brilliantly executed. Also, it seems like if you hear screaming, it's automatically going to make you think a band is immature. Screaming is unfortunate in some ways because it's an opportunity for another melodic voice lost (ignoring those unique singers who can shout/sing simultaneously). However, a lot of people knock screaming as faux-aggressiveness or faux-emotional candor or something like that. I see screaming as an extension of distorting a guitar tone. Screaming definitely narrows the range of pitches the "instrument" can hit, but it does a lot in terms of changing texture, tone, contour, dynamics, and attack for that instrument. So while on one hand screaming is limited, it's also expansive. I think a big problem is for every "good" screamer, there are countless bad ones who are using it for manliness or something stupid. However, you could make the counter argument for singing that for every Jeff Buckley there's going to be countless shitty singers as well. Also, has there even been a critically acclaimed screamer in popular music? Probably not.
On the topic of Tera Melos, I'm actually writing an article about Northern California math rock for sputnikmusic that'll be up by August 15. I'll PM it to you when it's up. Here's the band list I'm working with (includes some non-california bands and some people who have gone away from traditional math rock stuff):
Hella Tera Melos Planets / Swims Twain Harte Facing New York By the End of Tonight Oh No, It’s Birds / The Sound of Silence O! the joy O lucky man! Manacle Maps and Atlases Upsilon Acrux
Let me know if there are any others (particularly from California) that I just have to look at.
hmmm californian math rock. rumah sakit from san francisco, sleeping people from san diego, crime in choir also from san francisco (though they are more prog), giraffes? giraffes! from santa cruz are the only others i can think of. i'm interested in reading the article, especially given that you have listed some bands i have never heard of.
as far as screaming goes, i'm not entirely apposed to it. i just find it limiting and immature at times. that doesn't mean i don't have bands i like that happen to scream, or even worse growl (metal). generally i have to be completely enamored a band instrumentally for me to put up with the screams. vocals don't have to be technically brilliant for me (though that is nice at times), i generally favor originality, diversity, and lyrical abilities before someone's actual ability to sing (hence why i love spencer krug so much). i can only think of one guy that would be considered a "critically acclaimed" screamer (though i am sure there has to be others) and that would be mike patton (to the point, that he made the noises of the monsters in the movie i am legend).
i'll be sure to check out some of the other rec's you listed.
Posts: 513 | Location: San Diego | Registered: 26 November 2007
Originally posted by DFelon204409: On the topic of Tera Melos, I'm actually writing an article about Northern California math rock for sputnikmusic that'll be up by August 15. I'll PM it to you when it's up. Here's the band list I'm working with (includes some non-california bands and some people who have gone away from traditional math rock stuff):
Hella Tera Melos Planets / Swims Twain Harte Facing New York By the End of Tonight Oh No, It’s Birds / The Sound of Silence O! the joy O lucky man! Manacle Maps and Atlases Upsilon Acrux
Let me know if there are any others (particularly from California) that I just have to look at.
hmmm californian math rock. rumah sakit from san francisco, sleeping people from san diego, crime in choir also from san francisco (though they are more prog), giraffes? giraffes! from santa cruz are the only others i can think of. i'm interested in reading the article, especially given that you have listed some bands i have never heard of.
I'd agree that Giraffes? Giraffes! definitely need to be in there. Great band...
I'd also be interested in getting the link to the article when it's written since I'm a Hella/Upsilon Acrux/Planets fan (sadly, I missed Planets when they were here even though I was on the guest list )
Originally posted by krugulitis: hmmm californian math rock. rumah sakit from san francisco, sleeping people from san diego, crime in choir also from san francisco (though they are more prog), giraffes? giraffes! from santa cruz are the only others i can think of. i'm interested in reading the article, especially given that you have listed some bands i have never heard of.
as far as screaming goes, i'm not entirely apposed to it. i just find it limiting and immature at times. that doesn't mean i don't have bands i like that happen to scream, or even worse growl (metal). generally i have to be completely enamored a band instrumentally for me to put up with the screams. vocals don't have to be technically brilliant for me (though that is nice at times), i generally favor originality, diversity, and lyrical abilities before someone's actual ability to sing (hence why i love spencer krug so much). i can only think of one guy that would be considered a "critically acclaimed" screamer (though i am sure there has to be others) and that would be mike patton (to the point, that he made the noises of the monsters in the movie i am legend).
i'll be sure to check out some of the other rec's you listed.
In terms of the recs, the best are Tera Melos, Planets, Maps and Atlases (though they're not from California and sound much more like Minus the Bear than math rock), and Manacle. Thanks for you recs. I am familiar with Giraffesx2 but didn't realize that they were from Santa Cruz. Will check out the others.
Mike Patton is known as a diverse vocalist before being a screamer. He was definitely the first and only person who came to mind but then I immediately thought of all of his non-screaming vocal work that has led to his reputation.
Originally posted by JGlass: I'd agree that Giraffes? Giraffes! definitely need to be in there. Great band...
I'd also be interested in getting the link to the article when it's written since I'm a Hella/Upsilon Acrux/Planets fan (sadly, I missed Planets when they were here even though I was on the guest list )
I was on the Planets guest list as well haha. I saw them at Gilman, so I'm assuming when you say, "Location: Drug induced coma" you do in fact mean Berkeley. I'll definitely just post the link in a thread in the punk subforum or something.
Originally posted by JGlass: I'd agree that Giraffes? Giraffes! definitely need to be in there. Great band...
I'd also be interested in getting the link to the article when it's written since I'm a Hella/Upsilon Acrux/Planets fan (sadly, I missed Planets when they were here even though I was on the guest list )
I was on the Planets guest list as well haha. I saw them at Gilman, so I'm assuming when you say, "Location: Drug induced coma" you do in fact mean Berkeley. I'll definitely just post the link in a thread in the punk subforum or something.
Actually Denton, TX but the show was in Ft. Worth. I had some gf drama which made me miss that show and Boris/Torche a few days before.
And I think I'm rebelling against making a list. Aka I have to go furnish an apartment and I just can't handle the pressure right now haha
I picked up a handful of the records you guys have been recommending today. I couldn't find Takka Takka and Noah and the Whale.
My updated top 20 now:
1. Portishead - Third (1) 2. Hercules And Love Affair - s/t (3) 3. Drive By Truckers - Brighter Than Creation's Dark (4) 4. Erykah Badu - New Amerykah (5) 5. Nick Cave - Dig, Lazarus, Dig!!! (2) 6. The Bellrays - Hard, Sweet, and Sticky (6) 7. Hanne Hukkelberg - Rykestraffe 68 (8) 8. Laura Marling - Alas I Cannot Swim (10) 9. Spiritualized - Songs In A&E (14) 10. Bon Iver - For Emma, Forever Ago (18) 11. Robyn - Robyn (12) 12. Vampire Weekend - Vampire Weekend (9) 13. Bonnie Prince Billy - Lie Down In The Light (7) 14. M83 - Saturdays = Youth (New) 15. Shearwater - Rook (New) 16. Elbow - The Seldom Seen Kid (Reentry) 17. Ponytail - Ice Cream Spiritual (New) 18. Alejandro Escovedo - The Real Animal (New) 19. Fleet Foxes - Fleet Foxes (New) 20. The Roots - Rising Down (16)
Off: Dodos, Why?, Titus Andronicus, Hot Chip, Shelby Lynne
The first four of those would still be in my top 30, but Shelby Lynne totally lost me when I heard Dusty In Memphis and realized how far superior the originals were.
Doc note, I dissent. A fast never prevents a fatness! I diet on cod.
I''m nowhere close to really ranking these guys, but here are some that I know will be up there in the end:
Portishead - 3rd Hospitals - Hairdryer Peace Deerhunter - Microcastle Women - Women Aufgehoben - Khora Dodos - Visiter Flying Lotus - Los Angeles HEALTH - HEALTH/DISCO Wolf Parade - At Mount Zoomer Thee Oh Sees - The Master's Bedroom Is Worth Spending a Night In
I don't have enough left field picks to warrant artist descriptions at this point, but when I get to the ranking stage I'll add some stuff. Most of it has some general appeal. However, Hairdryer Peace and Khora are a bit too volatile for mass consumption.
1: Wolf Parade "At Mount Zoomer" 2: Bon Iver "For Emma, Forever Ago" 3: Vampire Weekend "S/T" 4: Portishead "Third" 5: The Walkmen "You and Me" 6: Human Highway "Moody Motercycle" 7: Crystal Antlers "EP" 8: Fleet Foxes "Ragged Wood" 9: The Mae Shi "Hlllyh" 10: Born Ruffians "Red, Yellow and Blue" 11: Hercules and Love Affair "S/T" 12: The Hold Steady "Stay Positive" 13: M83 "Saturdays=Youth" 14: The Mountain Goats "Heretic Pride" 15: The Black Keys "Attack and Release" 16: The Kills "Midnight Boom" 17: MGMT "Oracular Spectacular" 18: Nick Cave "Dig!!!Lazarus Dig!!!" 19: The War on Drugs "Wagonwheel Blues" 20: Beck "Modern Guilt" 21: Evangelicals "The Evening Descends" 22: Shearwater "Rook" 23: Islands "Arm's Way" 24: Santogold "S/t" 25: Times New Viking "Rip it Off" 26: Bonnie Prince Billy "Lie Down in the Light" 27: Blood on the Wall "Liferz" 28: Los Campesinos! "Hold On Now, Youngster" 29: The Low Lows "Shining Violence" 30: The Long Blondes "Couples" 31: Titus Andronicus "The Airing of Grievances" 32: Girl Talk "Feed the Animals" 33: No Age "Nouns" 34: Tokyo Police Club "Elephant Shell" 35: Tyler Ramsey "A Long Dream..." 36: Sun Kil Moon "April" 37: Black Kids "Partie Traumatic" 38: Frightened Rabbit "Midnight Organ Fight" 39: The Magnetic Fields "Distortion" 40: Neon Neon "Stainless Style" 41: The Whigs "Mission Control" 42: Atlas Sound "Let the Blind Lead..." 43: Why? "Alopecia" 44: Fuck Buttons "Street Horrsing" 45: She and Him "Volume One" 46: Thao "We Brave Bee Stings" 47: Devotchka "A Mad and Faithful Telling" 48: Black Mountain "In the Future" 49: Tapes n Tapes "Walk it Off" 50: Sons and Daughters "This Gift"
Originally posted by thefanste: I think I'm gonna have to check out that last one on the merits of the album title alone.
That Oh Sees record is great - especially if you're into garage/rocka/psychobilly. While pitchfork gave it a lukewarm 7.1 (I suspect the reviewer didn't give it a whole lot of time to digest), the guys from Health cited it as a favorite record in their (pitchfork)guest list.
)