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Dude, I've said it elsewhere and I will repeat myself, but I just can not get into Modest Mouse at all. When I heard Float On years ago, I thought it was awesome. So I went back a few years later and listened to more Modest Mouse and just wasn't feeling it. The vocals are just so weird to me. I went back again recently and I just felt nothing for them besides Float On which I still consider amazing.
I've just never liked any of The Smiths. Morrissey is such a flamboyant weirdo. I will keep an eye on the Poseur Cave though. |
The Poseur needs help I think I might start liking gothic rock. I started listening to The Cure a while ago, well, the hits. Then I looked them up on Wikipedia and saw them tagged with "gothic rock". After educating my belief that Friday I'm in Love could be considered gothic away, I started looking into their earlier, more gloomy stuff (Three Imaginary Seconds, and later, Pornography). The music was much simpler, but that didn't in any way kill the mood. In fact, I'd say it did the exact opposite. I loved it. I started looking for more, and I found a band named Bauhaus. The very first song I heard by them was a live version of Bela Lugosi's Dead. This wasn't just gloomy, it was dark, haunting and gave me chills. So I gave their debut, In the Flat Field a listen. That was a wise decision. Now, please, someone with a little more goth knowledge than me (well, anyone), will you please tell me where I should continue in order to not get scared away from gothic rock for life? |
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If you're looking for some other good music in a similar vein, for one thing, you should definitely check out Love & Rockets, who are what Bauhaus turned into after singer Peter Murphy left the band. I'd also highly recommend checking out Sisters of Mercy: And Siouxsie & The Banshees: |
Early impressions of Danzig http://www.classicrockmagazine.com/w.../02/Danzig.jpg What did I already know about Glenn Danzig? He was the vocalist for punk band Misfits... nothing more, really. I've seen The Batlord among others post some good words about Danzig, though I didn't really see what they meant until now, when I put on their (his?) self-titled debut, and got educated. I don't think the album has any outstanding tracks, everything was great and I loved it all. Their sound is a brand of raw blues-metal, and I think that if Lemmy and Tony Iommi had a child who went on to form a band, that band would sound an awful lot like this. Also, thanks, Janszoon ;) |
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In other words, I didn't have any preferences because everything was so good.
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Piling up on metal http://imageshack.com/a/img843/5382/cjtz.png I got gift cards for christmas, and what better way is there to use them than buying a pile of metal CDs? Is there even one? Well, the selection in the store was a bit limited, so I had to choose from what was available (they had neither Bomber nor Overkill so I bought Ace of Spades), but I think I managed to find an alright pile, though I'm a little dubious of the big, screaming letters saying "remastered". http://imageshack.com/a/img31/4346/lc21.png From the left: Judas Priest - Screaming for Vengeance Judas Priest - Killing Machine Accept - Balls to the Wall Rainbow - Rising Okay, I think all of my CDs are remastered, except for the more recent ones, but the last time I bought something warning me so clearly of it being remastered, I ended up with the 2004 version of Rust in Peace. Okay, that one was remixed too, but I ended up extremely critical of anything remastered. Have any of you heard the pictured remasters? Are they alright? Good enough for new listeners? |
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Did someone say “inconsistent journal content”? No? Okay, then. What I mean is that my journal has been a bit inconsistent up until now (probably will be); first I looked at metal classics, then at indie/alternative and gothic rock, then I went back to metal and now I'm back to indie. Or should we just call it alternative? I think the word “indie” is lean descriptor when it comes to the musical content, and that's what's important, well, most of the time. But let's stick to the word “indie”, because that is, in one variation or other, maybe the only term I've seen people use to describe Elliott Smith, whose eponymous album I shall present to thee... In order to not be too pretentious, I need to admit that this is the only album of his I have heard in its entirety so far, and that I have only heard bits of the other ones. Title: Elliott Smith Year: 1995 Genre: “Lo-fi indie folk” Tracklist: 1. "Needle in the Hay" 2. "Christian Brothers" 3. "Clementine" 4. "Southern Belle" 5. "Single File" 6. "Coming Up Roses" 7. "Satellite" 8. "Alphabet Town" 9. "St. Ides Heaven" 10. "Good to Go" 11. "The White Lady Loves You More" 12. "The Biggest Lie" The album opener, “Needle in the Hay”, is one of the better tracks on the album, and as far as I can tell from the Spotify top 10 and rateyourmusic.com, it's one of his most popular songs overall (apparently Pitchfork loves it, too). Track three, “Clementine”, is a bit different, the guitar is more melodic than on the previous ones, which both feature a “down-down pattern” as far as I can tell. It's one of my favourites, along with “Needle in the Hay” (and a couple of songs from the other albums, like “Angeles and “Say Yes”). Though all the tracks on the album sound quite similar because of the instrumentation, there are some small differences. “Southern Belle”, for instance, sounds more aggressive, especially at the ending, than the rest of the album, and the intro on “Satellite” is a bit classical-sounding, at least to me who haven't heard a lot of classical music (especially not guitar works). The album has a very bittersweet mood, I think that's what the cover art is suggesting, since it is, depressingly, featuring two persons jumping off of a building as if commiting suicide. My opinion? This album was pretty good, and I totally think you should hear it if you haven't already (all the indie nerds have, I bet). |
Oh great. I did not know you like Elliot Smith. Don't trust too much in Pitchfork, though. But this is good album anyway.
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