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Give a Glimpse of What Yer Not - Dinosaur Jr

Honestly reviewing a Dinosaur Jr record is a difficult journey of self reflection at this point. I was already bonkers over the first two records when Bug came out. I remember buying Bug at a record store that catered to students of Virginia Tech. I mentioned the good reviews that it was getting and she asked me the way you ask someone if they’ve dropped acid yet, “Have you HEARD it?” “No,” I confessed. “It’s that good?” I asked. “Oh YEAH,” she replied with the yeah drenched in college chick sexuality.

So that’s the bar. They were (and likely are) an astounding powerhouse live. Every guitar riff was perfect, the solos shot through the heart, the vocals cracked into your soul. After Bug, a few Dinosaur Jr tracks here and there hit the spot but mostly I turned to Sebadoh and J Mascis’ solo acoustic stuff.
In so many interviews I’ve heard bands ponder why so many have wandered. Is an album just as good not as good in another time and space? Is it me demanding the impossible? That my youth be returned in the process. Can my old college girl get my old dick rock hard again?

Dinosaur Jr bridged to the Swans through Sonic Youth. The Swans and Sonic Youth have given us so much after the 80’s. Is it me? Am I open to Sonic Youth because the SYR series leaves my youth alone? Is the musical self immolation of Michael Gira what keeps me on board. They were never young.

I’m serious about this. I need that spark of joy from Dinosaur Jr. If the signal is all there but my heart doesn’t open then what the **** is wrong with me?

As requested....

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Skeleton Tree - Nick Cave and The Bad Seeds - 2016

Given the tone, title and subject matter of his latest (and many say greatest, at least of the recent releases) album, you could probably be forgiven for thinking Nick Cave wrote this following the tragic and accidental death of his son, but it appears that most if not all of the album was already written before that terrible event. To an extent, you have to either wonder at the fortitude and determination, and dedication of the man, to return to work on the album a mere two weeks after Arthur, his fifteen-year-old son, had fallen from a cliff to his death, or shake your head at the lack of compassion or the perhaps obsession as the man drove ahead in the face of such a tragedy. But then, without being crass, this kind of awful calamity can be a creative spark to writers, and Cave did apparently add or rejig some of the lyrics to reflect what had happened.

But nobody is going to poke too deeply into his own personal loss – I'm not, anyway – although you can't help but be moved by the way despair, loss, fear and perhaps anger colour this, his sixteenth album, in the wake of his son's unexpected death at such an early age. For me, personally, I've loved Cave's work from about The Good Son to about No More Shall We Part, while the albums that followed that left me a little cold, or at least uninterested. I did enjoy Push the Sky Away, but kind of not on the same level as previous ones in the bracket mentioned above. Consequently, when I saw this was out, I of course got it, but have not so far been that bothered about listening to it, so this will be my first experience of it. From what I read, it should be well worth it.

Pretty atmospheric start, very dark of course, with Cave in his usual fine vocal form. The second track is a little more upbeat, musically, almost puts me in mind of Springsteen, oddly, at least his more recent stuff. You can kind of hear a tremor in his voice on “Girl in Amber” - whether this has anything to do with the loss of his son or not I don't know; maybe the vocal was already recorded at that time. But it certainly sounds like his heart is breaking. Terribly sad, and in a much more low-key and therefore more effective way than Clapton's “Tears in Heaven”, which just to me came across as self-pitying, which is fine, but also used the death of his son to get him a hit single. Hey, that may not have been his aim, but he did put his grief out there on show for all to see. And hear. And buy. I don't get the feeling Cave is doing this: as I said, most of these songs were already written before Arthur's death, so I can't and won't accuse him of capitalising on the tragedy.

There's much less reliance on guitar here, as there has been on his last few albums, than I've been used to. Kind of more an ambient feel almost, with piano high in the mix, some female vocals adding pathos to the end of “Girl in Amber”, a dark opening then to “Magneto”, which sort of creeps and slides into your soul with a sense of discomfort that is somehow welcome. Cave also doesn't overstretch himself here, making this his shortest-run album ever, and one of the ones with the least tracks, at a mere eight. And yet, there's nothing wasted. Nothing. Everything here is gold. And if you have a soul, every one of these songs will move you. Cave was never a man to write “happy” or even upbeat music (even his uptempo material usually had downbeat or dark lyrical matter - “Jack the Ripper” from Henry's Dream, “Loverman” from Let Love In, even “The Curse of Millhaven” from Murder Ballads) but this is especially dark and melancholic, and as I said, that can't be blamed on the loss of his son. He had written this album almost in its entirety before that particular hammer of life fell upon him.

I've always considered Cave one of the most honest musicians I know of. He never tries to be something he isn't, never hides or avoids issues, and even takes sly pokes at his own celebrity (see “Lay Me Low” on Let Love In for a great example of this). The result is that when a Cave album is released, you pay it special attention. Yes, I know that belies what I said at the start, but after I had listened to Push the Sky Away I did kind of remember what I was missing, and it's just been my workload that has stopped me from checking this out. I'm glad I got to do that now, as I agree that this is one of his greatest albums, certainly of the last twenty years, coming close to the epic darkness of No More Shall We Part, but in a more low-key and somehow more raw manner.

“I Need You” drips with yearning and desperation, while “Distant Sky”, featuring the welcome guest vocals of Else Torp, is pure release and salvation, backed by a sonorous organ and muted percussion, almost a prayer, and the title track is the perfect closer to what is, pretty much, a perfect album. I have nothing bad to say about it. I know I'm a Cave fan so therefore biased, but up to the last album I hadn't thought a lot of his output after No More Shall We Part, so I can be critical when required. I don't however think there's much, if any criticism you can level at this album, unless you're a total dick, or clueless about Cave's music.

To be honest, those who have never heard Cave but who like ambient music will probably be able to appreciate this album too, as there is a very ambient feel to it, albeit dark ambient, and the soundscapes built up here by Cave, Warren Ellis and producer Nick Launay are nothing short of staggering. They're also oppressive, choking, terrifying and at the same time cathartic. Sure, after listening to this album you kind of feel like you've been submerged underwater longer than you can stand, or have been shut up in a confined space, and you need, to quote Waters, to breathe in the air. But hell, it's worth suffering through that personal trauma to be able to accompany Cave on this most personal and harrowing journey.

Buy your ticket today, and don't look back. Darkness, and a kind of light, too, awaits.

Track Listing
Jesus Alone
Rings of Saturn
Girl in Amber
Magneto
Anthrocene
I Need You
Distant Sky
Skeleton Tree

Fantastic

Probably the best collection of words ever written about this important late career masterpiece from one of the greatest rockers to ever rock.

Trolls kills it people:

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Wow! Did not expect that. Glad you liked it, Hawk. Happy to review anything else you might want me to. :thumb:

Skeleton Tree sucks. Blah blah personal tragedy. Blah blah probably good lyrics I don't pay attention to anyway. Apart from the first track, which is kinda nice, the music ranges from mediocre to downright cheesy ****.

And I was just thinking it was shameful that I've never listened to it. Now I guess I don't have to bother anyway? :pimp::cool::afro:

You do seem to like cheesy ****, so...

You've heard Nick Cave though right?

Good point, actually.

No, I've been living in a monastery.

Haven't heard more than a handful of his albums. Only Murder Ballads really did anything for me.

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:nono:

I hope you won't record a mediocre album about that.

I don't record anything. I don't play. Are you confusing me with someone who has talent, by chance? Now if you'd said "I hope you don't write a mediocre story about that", you might have been more on the money...

Exactly.

Do I have to explain the joke?

Yes. Then TH will explain to you how it is neither funny nor actually a joke.

Then I will argue against that and TH will respond with indignant posts of rapidly increasing length.

Yes. Or no, depending on how many ****s you give. Or I do.
You're the arbiter of what's funny and what's not. That's your job. I wouldn't dream of stepping on your toes. Especially when you're usually standing on one leg like a flamingo. Nomsayin?
Please: they're called Walls of Text, and I'm a little sensitive about them. Each one is like a child I wish I had had aborted.
(That's for you, Hawk).

chris abrahams fluid to the influence

Chris Abrahams is the keyboardist for the Necks. Like most jazzmen he has recorded solo and with other bands and as a sideman. Typically, the Necks very patiently explore musical themes in long singular tracks. In contrast, this album clocks in at 40 minutes with 8 tracks. I’m not saying one way is better or worse. There’s plenty of room (if not time) for both. The tracks on this album could be explored more deeply à la manière de Necks but they also work well less explored but (perhaps) more concise.

Anyway, highly recommended.

https://room40.bandcamp.com/album/fl...-the-influence

bremer/mccoy ‎– forsvinder

Easy going simply produced honest melodic jazz

2016 Fall Release 3-Album Bundle

OFF WORLD + AUTOMATISME + JASON SHARP

Constellation Records

A galaxy of music to explore.

I don’t know if I’m using it wrong or what but the search engine keeps telling me that Ivo Perelman has never been discussed on MB. Probably a glitch.

Here’s his 2016 output.



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"Gets A Bad Rap For No Reason"
Review Rating 5 Stars Reviewed on 07/11/2016
Recommended
We have had this washer now for almost a month. We bought it before we read the reviews...silly me. But, the wife wanted a simple, knob style washer after wasting time and money with a piece of junk Samsung WA456DRHDWR/AA which I fixed twice after the warranty expired. Here is what we have experienced:
1. Yes, this washer does spin slower (650 RPM) than the newer ones. Does it spin the water out of your clothes? Absolutely. We washed a full size comforter in it and it did just fine.
2. Does the washer walk across the floor? No. I own a level and I used it.
3. Is the washer noisy? It is louder than our 2 Year old Samsung. Think of the washer your Mom had when you were a kid...But, a little bit more quiet. Close the door to the laundry room and you'll be fine.
4. Does the washer take longer to fill? Not that I have noticed. But, we did read the manual and followed the loading instructions.
5. Does the washer take forever to do a load of clothes? No.
6. Are the clothes dripping wet when they come out? No. It only takes about 40-50 minutes to dry a load of fluffy towels.
All in all...we are very pleased with this washer and would not hesitate to recommend it to our friends. This washer is a solid value. It seems to get bad reviews only when folks don't follow instructions. Or, there were one or two who got a defective one out of the box.

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Matmos
Ultimate Care II

A+

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lunch music yannis kyriakides

If you want to hear these guys dick ride Naked Lunch check it out.

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yamaneko keygen loops project nautilus

Sucks

I’m going to reaffirm my convictions that Music Banter hip hop fans are lost in the past. Not old stuff which would be fine but it’s the new guys who’s sound old. Always looking for the new Jimi so to speak. I’m not going to name drop who you overrate. You already know.

Hip hop doesn’t just evolve. It reinvents. Also, it may seem counterintuitive but hip hop isn’t about poetry. It’s about the sound. And rap and hip hop are 100% synonymous so don’t go there. Forget what you think you know. Just follow me. I’m right.

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bpace backwoods and burritos

“I can hear that pussy callin
Me and my bitch be ballin”

drugs sex sex sex drugs white pussy sex drugs

content correctly checked
hypnotic mumble trap auto correct checked
production checked
southern ****ing checked

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Get with it.

People who hold hip hop lyrics on such a pedestal are just Chula dicksucking Steve Howe.

Lame, generic, forgettable ****.

I love Steve Howe but point taken.

You’re one of the few that get it.

Man Like Monkey does too. He’s into the local **** where he’s at grime and it’s trap down here.

I think they should start collaborating.

No. He’s part of a bigger picture. What you think is generic is actually genetic. That’s why it’s on point. And drugs.

Him being a talentless retard might very well indeed be genetic.

Suck a dick Adolf

If Yes and the Sex Pistols can exist in the same genre and both get respect then so can Aesop Rock and Waka Flocka Flame. I don't even know why this seems to be controversial. I think white people are just self-conscious about black rap fans calling them bustas.

Ja sound definitely comes first. Good lyrics aren't required but they can give records more longevity. Good point but the track you posted was mediocre.

How about some new sound that isn't trend hopping?

https://flanch.bandcamp.com/album/flanch

Add it to the 2016 docket.

That does seem really cool. Write it up for me.

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noel akchote mary halvorson live in strasbourg

https://noelakchote.bandcamp.com/alb...-in-strasbourg

Two great guitarists that go great together.

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Halvorson is a leading voice in jazz guitar and Akchoté is wildly prolific and appears to be able to play anything from transcriptions of any 20th C composer to very early western music to free jazz.

Electronica 2: The Heart of Noise - Jean-Michel Jarre

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This has been subjected to massive bad reviews, in some ways justifiable but I feel like people are sort of looking at wrong. Like if it were Kraftwerk it would be forgiven as adorable camp instead of pathetic kitsch. Jarre, who perhaps more than any other shamelessly married ectronics and pop deserves more leeway. He did study with Pierre Schaeffer. I also think it’s cool he samples Edward Snowden. It’s not that I don’t get that this album has shortcomings; it’s that I think it’s the wrong way to look at it.

Side note: Jean-Michel Jarre has played three exceptionally huge concerts.

Rendez-vous Houston: A City in Concert

This 1986 event was at the time the largest concert ever with over a million people in attendance.



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Paris La Défense – Une Ville En Concert

In 1990, he broke the record again with a staggering attendance of over 2 million in Paris.

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And over 3 Million in Moscow



Damn. Those Russians will come out for a free show!



Track from the record

dustin tebbutt first light

This is the best track on a very bad record.