cardboard adolescent

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.

Brad Stengel

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.

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cardboard adolescent

i'm willing to send links for any of these albums, just shoot me a pm. i obviously love them, so i'm more than willing to share.

Molecules

**** just noticed this thread. *has multiple orgasms*

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[SIZE="1"]Eff em
tumble her

cardboard adolescent

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.

jackhammer

I think I need to give the Deerhunter album a listen

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cardboard adolescent

Talking Heads - The Name of This Band is Talking Heads
1982



When Andy Warhol said that everything artists were doing in the 80's was the same as what Warhol & co had been doing in the 60's, he really meant that what everything artists are doing today is the same as what they were doing in the 80's. Which is best demonstrated by this record, which refers not only to itself, but to the music of today, tomorrow, and all that came before it.

The name of this band is Talking Heads. The name of the first song is “New Feeling,” and that's what it's about. Why this particular live album is better than any of their studio albums is hinted at in the first song: “I hear music, and it sounds like bells.” And you can hear the guitar overtones ringing out like bells. The bass is monstrous. The drums are so angular and tight that they serve as a straightjacket for Byrne's absolute surrender. If you've ever seen Stop Making Sense you have probably seen what that man puts into a performance... how could it be the same in a studio? How could you not feel like a fool giving your all to a performance in a sound-proofed box?

This album presents a band in their full, dynamic prime. As the material progresses from 1977 to 1981, the band doesn't necessarily move away from their original sound but rather expands on it. More new styles are embraced, most notably soul and afro-beat, giving the music an ever more universal feeling. I find the culmination of this maturity in “Once in a Lifetime,” which uses the powerful symbol of water to represent life, constantly flowing yet always the same. “Same as it ever was, same as it ever was,” Byrne intones, in that somewhat aloof, somewhat melancholy voice, and he's speaking to all of us. Very Heraclitan. This is necessarily followed up by “Animals,” which is just as profound in its absurdity.

“Psycho Killer,” on the other hand, provides probably the best example of their early sound, with its menacing and building bassline, one guitar doing the Sonic Youth ringing bell thing and another providing angular Gang of Four style screeching, and of course Byrne's demented vocals and lyrics which will permanently be entwined with American Psycho for me. All the tension of modern life is captured and released in this one song. “We are vain and we are blind/ I hate people when they're not polite.”

Urban Hat€monger ?

^^^

About a million times better than the over-polished over-rated Stop Making Sense

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cardboard adolescent

It really is. So good.

Brad Stengel

Indeed, I feel the same way about The Modern Lovers' first album...will that be on the way?? I hope so. This really is a great album, caught me by suprise, I thought "Blister In the Sun" would be the only dece song, but the entire thing was great front to back.

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These is the musics I own:
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