[guest]

Originally Posted by Severian

Yeah, I feel this.
And it’s not just hip-hop. There’s culture trolling in whatever passes for passable rock music in the mainstream, too (The 1975 for some reason?) and it’s all a bit much.
I mean, I’m a pretty cynical motherfucker too, and all my musical favorites have some degree of iconoclasm permanently lodged in their identities (Lou Reed to RDJ to SY to whoever), but being provocative and iconoclastic seems to, in the late 2010s, mean essentially being an edgelord button-pusher with no portion of authenticity to their “act.”

Like JPEG or Tyler or Lana Del Rey or whatever. So much of it is just “let me see how much I can fuck with people and how many horrible things I can get away with saying before people call me out”
And if you call them out, watch out, because “kids today” will eat your fucking face. Because it is now socially unacceptable in a lot of circles to take anything seriously.

I mean, it’s hard for an older fuck like me to reconcile my dislike of this stuff with my appreciation and respect for punk and the punk spirit. But this is different terrain, really.

pretty much this, loathe to use the term virtue signalling but it seems like that for so many artists. not sure why I'm not as reticent to engage with it as applies to older stuff (reed is a good example, a lot of industrial has a similar tendency) but I suppose it's a perceived authenticity on my end? like an implicit understanding that they were more genuine in their identity -- iconoclastic as you say -- but now it's simply a ploy.

[Severian]

Originally Posted by d.sound

Heroes cornballs, first track is like jesus forgive me I'm a thot?

I skipped around through several tracks. I just heard 90s style hip hop. I didn't hear any sound collages.

I honestly think there’s a misunderstanding here somewhere.
There are only fleeting rap flows on the album, and few that last more than a few seconds. It’s all over the place. I think one of the last things I would associate it with is ‘90s hip-hop — like, Wu-Tang? Tupac? Tribe? — because none of it sounds anything like that to me.

It’s a bit like Death Grips meets Aphex Twin’s compositional habits circa “Ventolin” remixes, with a little R&B and boyband-type shit tossed in at random intervals and an awful lot of just disparate sounds chucked in here and there.

I mean honestly it’s an interesting listen. This is a guy who named a song after voting for Donald Trump after all, and he’s a massive troll, but sonically it’s pure insanity. The fact that it’s immensely popular is ... either incredible or suspect, I can’t quite decide which.

Veteran is more straight forward, and better as an album, but even that record sounds nothing like ‘90s hip-hop to me. *shrug*

[Kuhb]

Originally Posted by Severian

I honestly think there’s a misunderstanding here somewhere.
There are only fleeting rap flows on the album, and few that last more than a few seconds. It’s all over the place. I think one of the last things I would associate it with is ‘90s hip-hop — like, Wu-Tang? Tupac? Tribe? — because none of it sounds anything like that to me.

It’s a bit like Death Grips meets Aphex Twin’s compositional habits circa “Ventolin” remixes, with a little R&B and boyband-type shit tossed in at random intervals and an awful lot of just disparate sounds chucked in here and there.

I mean honestly it’s an interesting listen. This is a guy who named a song after voting for Donald Trump after all, and he’s a massive troll, but sonically it’s pure insanity. The fact that it’s immensely popular is ... either incredible or suspect, I can’t quite decide which.

Veteran is more straight forward, and better as an album, but even that record sounds nothing like ‘90s hip-hop to me. *shrug*

You can attribute a lot of that popularity to The Needle Drop I suspect

[d.sound]

I gave the first two tracks another listen straight through. I hear it now, it does have some interesting change ups. Still, it doesn't do anything for me. I don't like a lot of hip hop in general. I LOVE Tierra Whack and Themselves. The Yugen Blackrock album this year was interesting for its heady lyrics, but I only listened to it a few times. The Dis Fantasy EP this year is pretty good. Then I like some classics. Public Enemy's It Takes... is one of the best albums ever by any standard.

[Severian]

Originally Posted by Kuhb

You can attribute a lot of that popularity to The Needle Drop I suspect

Heh?

I’ve honestly never seen the two mentioned together, but I know TND gave it an 8 after kind of talking a bunch of shit about it.

Veteran is better. Haven’t seen TND vid on that one.

[Severian]

Originally Posted by d.sound

I gave the first two tracks another listen straight through. I hear it now, it does have some interesting change ups. Still, it doesn't do anything for me. I don't like a lot of hip hop in general. I LOVE Tierra Whack and Themselves. The Yugen Blackrock album this year was interesting for its heady lyrics, but I only listened to it a few times. The Dis Fantasy EP this year is pretty good. Then I like some classics. Public Enemy's It Takes... is one of the best albums ever by any standard.

Check out the Billy Woods album “Hiding Places” from this year. Sharp, good songwriting, intense — that one really is reminiscent of some NYC ‘90s hip-hop styles.

Little SIMZ has a surprisingly good debut. Tyler the Creator made a really strong dark-synth heavy soul-rap-dance hybrid album that is his first actual great release. Freddie Gibbs & Madlib released Bandana, which is good, though not great.

Other good shit too. Slauson Malone’s “A Quiet Farwell (sic): Twenty sixteen to twenty eighteen” is one of the best albums of the year. ... Made by Winston Marsalis’ son, who happens to be a really good abstract hip-hop producer with jazz fragments floating all over the place. Dreamy and spooky and surreal.

[d.sound]

Thanks, I'll add it to the never-ending list.

One of my favorite albums of all time is Tha Fly Girlz - Da Brats From Da Ville. The story behind it is awesome. A member of Zs started an afterschool program for poor areas of Brooklyn. The first year was Zebrablood teaching rap to middle school kids. Only 5 girls were left by the end and they cut an LP.

Middle school girls rapping positive lyrics over Excepter beats. Do I really need to say more?

https://www.youtube.com/watch?v=q5Fq9rA6E4I

[_tunic_]

 

oh yeah!! The moment you've all been waiting for!!!

David Hasselhoff Covers the Jesus and Mary Chain’s “Head On”: Listen

The Hoff goes shoegaze with the help of Cars guitarist Elliot Easton

 

David Hasselhoff, the Jesus and Mary Chain (Photos via Getty Images).


Actor, singer, and apparent shoegaze fan David Hasselhoff has released a cover of the Jesus and Mary Chain’s 1989 single “Head On” from the group’s Automatic LP. The Hoff enlisted the Cars guitarist Elliot Easton for his revved-up version of the track (complete with handclaps). Give it a listen below.


Hasselhoff’s cover of “Head On” is the second single from his forthcoming album Open Your Eyes, which arrives September 27 via Cleopatra Records. The record features contributions from Todd Rundgren, country singer Charlie Daniels, the Stooges’ guitarist James Williamson, and more.
The Jesus and Mary Chain’s last studio album was 2017’s Damage and Joy, which featured previously-released singles “Amputation” and “Always Sad.”

here it is: Head On (on first listen it is quite good, but don't listen to it another time )

and here's another song: Open Your Eyes (feat. James Williamson) (which is quite terrible)

[_tunic_]

ok, I'm sorry, the above post was a joke that I couldn't resit.


But this is no joke!!

Nick Cave & the Bad Seeds Announce New Album Ghosteen, Out Next Week

“The songs on the first album are the children. The songs on the second album are their parents.”

 

Nick Cave (Photo by Kevin Winter/Getty Images)


Nick Cave announced a new album with The Bad Seeds via his Red Hand Files newsletter today. It’s called Ghosteen, and it’s out next week, he says.


Cave told a fan that Ghosteen is a double album. “The songs on the first album are the children,” he wrote. “The songs on the second album are their parents.” Cave also said, “Ghosteen is a migrating spirit.” Find the tracklist and cover art below. The band’s last album of new material was 2016’s Skeleton Tree.

Ghosteen:
Part 1:
01 The Spinning Song
02 Bright Horses
03 Waiting For You
04 Night Raid
05 Sun Forest
06 Galleon Ship
07 Ghosteen Speaks
08 Leviathan


Part 2:
01 Ghosteen
02 Fireflies
03 Hollywood

 

Also no joke. I'm not really interested in this one myself, but possibly some of you are. Historically it is an important edition:

SUB ROSA INFO #143


NEW


INSTITUTE OF SONOLOGY
1959-1969


2LP SRV164 Black vinyl + insert
CD SR164 digipack


Early electronic music from 1959 to 1969 produced
by the Institute of Sonology / Instituut voor
sonologie, in Utrecht, Holland.
These electronic works were composed by Dick
Raaymakers, Frits Weiland, Ton Bruynel, Konrad
Boehmer, Gottfried Michael Koenig and Rainer Riehn.
Raw material - we need to reflect on this period -
a real revolution: music produced by machines
designed to construct a new era.
From the Philips pavillion to the Instituut voor
sonologie.

Officially founded on September 1, 1960, at the instigation of several
people representing cultural institutions, the Institute for Sonology
had already taken initiatives in the field of electroacoustic music since
1954. A large complex of studios (initially under the name STEM =
STudio voor Electronische Muziek) was set up under the patronage
of Utrecht University in an old house on Plompetorengracht in Utrecht. Instruments, machines and tapes (among them, that of Varèse's
'Electronic Poem') comin' from Philips laboratories.


6 radical composers
Ton Bruyneel (1934-1999)
Gottfried Michael Koenig (1926- )
Dick Raaijmakers (1930-2013)
Rainer Riehn (1941-2015)
Frits Weiland (1933- )
Konrad Boehmer (1941-2014)


Track Listing
Dick Raaijmakers
Piano-forte / 1959-60 / 4'57
Frits Weiland
Studie in lagen impulsen / 1961 / 4'50
Ton Bruynel
Reflexen / 1961 / 4'36
Konrad Boehmer
Aspekt / 1965-67 / 15'14
Gottfried Michael Koenig
Funktion orange / 1968 / 17'21
Rainer Riehn
Chants de Maldoror first / 1965-69 / 26'24


Listen
https://www.subrosa.net/en/catalogue...-sonology.html


[and on bandcamp: https://subrosalabel.bandcamp.com/al...-music-1959-69 ]

[h8kurdt]

New Nick Cave album cover looks like something you see on Jehovah's witness pamphlets.

[Savage Clone]

Looking forward to the vinyl of the new Blut Aus Nord album "Hallucinogen."

[d.sound]

Mount Eerie and Julie Doiron - Lost Wisdom pt 2 on 11/8

John Chantler next month.

I highly recommend the new Jan St Werner for noise heads and those interested in automatic process music. Each track it's announced which frequencies are being used and they are left to feedback. Glorious harmonies and dissonance unfolds.

[The Soup Nazi]

Out November 1: Cate Le Bon & Bradford Cox - Myths 004 EP

 

As sure as if it had been mapped in the stars, or written in a prophecy buried deep beneath the sands of the Marfa desert, a collaboration between Cate Le Bon and Bradford Cox was always something of an inevitability. After years of admiring each other's work from afar, the two finally converged on Marfa, Texas in 2018, at Mexican Summer's annual Marfa Myths festival. Gaps puttied by a band of frequent Cate Le Bon co-conspirators on drums, saxophone, percussion, keys and additional guitar (Stella Mozgawa of Warpaint, Stephen Black of Sweet Baboo, Tim Presley of White Fence, and Samur Khouja); the EP –fourth in Mexican Summer's Myths series– was written and recorded in just one week.

For both Le Bon and Cox, Myths 004 signals a change of tack: meticulousness thrown to the wind as spontaneous, jammy tales of firemen and 5p plastic bags, unbrushed hair and shoelessness and makeup-daubed landscapes—roll effortlessly off their cuffs. "We committed ourselves to embracing the chaos, surrendering to all moments and moods that travelled through," says Le Bon. "It's a crude holiday scrapbook shared by all involved, an amalgamation of the changes in mood and light that shaped the days."

Though Myths 004's seven tracks are wondrous in their variety, they sit perfectly alongside one another–the gently melancholic cutlery drawer percussion of sole single "Secretary," and the lippy cynicism and wit of final hurrah "What Is She Wearing" united; along with every other shape, character, prang, plod and playful bite, by a feeling of sheer joy. ¡Viva la colaboración!

https://mexicansummer.bandcamp.com/album/myths-004

"Secretary": https://www.youtube.com/watch?v=g5Y58JmlBpQ

From Under The Radar: "Le Bon had a furniture building residency during Marfa Myths 2019 and Mexican Summer has also released a new short documentary about this titled Have a Seat. Eli Welbourne directed the documentary, which also features Cox".

https://www.youtube.com/watch?v=J8o6pFynkYc

[The Soup Nazi]

 

https://folkways.si.edu/news-and-pre...from-the-bardo

https://folkways.si.edu/songs-from-the-bardo

https://www.allmusic.com/album/songs...08416/releases

[greenlight]

Originally Posted by _tunic_

no joke. I'm not really interested in this one myself, but possibly some of you are. Historically it is an important edition:

institute of sonology? deifinitely. I was checking out that record already in record store and I was tempted as fuck to get it. I will get on my next visit to record store.

[d.sound]

Pop is the new punk

https://www.youtube.com/watch?v=qcNt-sNB4_s

[_tunic_]

 

https://monoofjapan.bandcamp.com/alb...ectrical-audio

MONO formed in Tokyo, Japan in the closing winter weeks of December, 1999. They played their first live shows at the top of the new millennium, and released their first album, Under The Pipal Tree, in 2001. Recorded live in one day on a razor-thin budget, Pipal Tree was an earnest introduction to the curious magic of a band that would eventually become synonymous with monstrously dynamic, contemporary classical rock music.

To commemorate those austere beginnings – and celebrate their remarkable longevity – MONO revisit three of their earliest songs, and retrofit them with speaker-destroying upgrades. Anchored by the towering 16-minute noise opus, “Com(?)”, Before The Past • Live From Electrical Audio shows the evolution of MONO’s execution, stripping away the strings and layers of guitar overdubs to show just how massive this band can be at their most instrumentally austere.

Newly recorded in one day in 2019 with longtime collaborator, Steve Albini – and mixed by Albini with Temporary Residence founder, Jeremy deVine – Before The Past is as much a declaration of the present as it is a document of the past. These songs, which are now 20 years old, feel more powerful and profound than ever – a testament to MONO’s enduring dedication to their craft, and their dogged exploration of maximum minimalism.

releases November 8, 2019


1. Com(?) (Live From Electrical Audio)
2. L’America (Live From Electrical Audio)
3. Halo (Live From Electrical Audio)

unfortunately this EP only has three tracks, wouldn't have minded at all to hear a couple more oldies from their first two albums getting a rework job, A Speeding Car for instance ...

[choc e-Claire]

The new Lightning Bolt album is really good, it's definitely more 'pop' than a lot of their past records have been. That said, it's still forty-five minutes of super heavy, lightning-quick bass riffs with apeshit drums, so...if you like them, you'll like it.

[Severian]

Originally Posted by choc e-Claire

The new Lightning Bolt album is really good, it's definitely more 'pop' than a lot of their past records have been. That said, it's still forty-five minutes of super heavy, lightning-quick bass riffs with apeshit drums, so...if you like them, you'll like it.

Yeah, it’s decent. I like it.

Not the kind of thing I’m likely to put on in 5 years when I want to hear Lightning Bolt, but definitely blazing.

[The Soup Nazi]

Weyes Blood - Rough Trade Session

 

The digital EP features Titanic Rising standout "Wild Time" along with alternate takes of singles "Everyday" and "Something To Believe," and album opener "A Lot Has Changed" (titled "A Lot's Gonna Change" on the album). These versions were recorded with Ariel Rechtshaid and originally available as a bonus CD with the Rough Trade release of Titanic Rising.

https://weyesblood.bandcamp.com/albu...-trade-session