Random
Ten Albums that Didn’t Shit Me in 00s
I kind of gave up on music during this decade. I got tired of the repeat. Or tired of things that could not be repeated, as most albums I got a hold of got thrown out of the window after a week. There were some things worth hearing a few times, as wallpaper, and then no need to hear them again. In me, music seemed to have become mostly tired of itself. On that note, here are ten albums from the last ten years that to me felt both new and worth repeating, or at least ones I spent some time with, or had their own business about them, whatever that means. Yeah, another list, feel free…
1. Liars, Drum’s Not Dead [2006]
2. Madvillain, Madvillainy [2004]
3. Storm & Stress, Under Thunder and Fluorescent Light [2000]
4. Tom Waits, Alice [2002]
5. The Angels of Light, Sing ‘Other People’ [2005]
6. Fantômas, Delìrium Còrdia [2004]
7. U.S. Maple, Acre Thrills [2001]
8. Subtle, For Hero: For Fool [2006]
9. Of Montreal, The Sunlandic Twins [2005]
10. Boredoms, Vision Creation Newsun [2000]
As much as I like these albums, along with perhaps a few others, I’m still going to maintain that this past decade has been by far the worst decade of music thus completed. 99% blank, in a bad way, and getting blanker. Somehow electronics and onlines and send this and that here and there has come to mean ‘less work, less presence’ in the sound. Here comes the 10s.
Tags: fantomas, of montreal, Tom Waits
Though I don’t agree with this:
“I’m still going to maintain that this past decade has been by far the worst decade of music thus completed. 99% blank, in a bad way, and getting blanker.”
I do agree with this:
“7. U.S. Maple, Acre Thrills [2001]”
I haven’t heard someone mention U.S. Maple in a good, long while.
Though I don’t agree with this:
“I’m still going to maintain that this past decade has been by far the worst decade of music thus completed. 99% blank, in a bad way, and getting blanker.”
I do agree with this:
“7. U.S. Maple, Acre Thrills [2001]”
I haven’t heard someone mention U.S. Maple in a good, long while.
Blake,
do you tend to listen to music on your computer these days?
Blake,
do you tend to listen to music on your computer these days?
i listen to music in my car mostly, and in headphones on my computer or stereo. the same way i always have.
i listen to music in my car mostly, and in headphones on my computer or stereo. the same way i always have.
I’m going to go ahead and say it: This decade was way better than the 90s for music.
I was sitting in a bar the other day that was playing 90s “classic rock” and it was a steady stream of 311, Stone Temple Pilots and Sublime. That stuff is really the pits of music, no decade has produced worse mainstream rock/pop. Whatever Justin Timberlake/The Strokes/whatever music that makes the radio from the 00s will be far better than that.
In addition, metal was a wasteland in the 90s, dance music was shitty techno, punk had some great stuff on the fringes but most of it was awful ska punk revival, youth crew revival and so on. I guess you can’t mess with rap in the 90s, but the 00s had plenty of great rap. Two more words: Rap metal.
I also think the 90s were the height of the “hey lets put out two good songs for singles and make rest of the album total filler” practice.
I’m going to go ahead and say it: This decade was way better than the 90s for music.
I was sitting in a bar the other day that was playing 90s “classic rock” and it was a steady stream of 311, Stone Temple Pilots and Sublime. That stuff is really the pits of music, no decade has produced worse mainstream rock/pop. Whatever Justin Timberlake/The Strokes/whatever music that makes the radio from the 00s will be far better than that.
In addition, metal was a wasteland in the 90s, dance music was shitty techno, punk had some great stuff on the fringes but most of it was awful ska punk revival, youth crew revival and so on. I guess you can’t mess with rap in the 90s, but the 00s had plenty of great rap. Two more words: Rap metal.
I also think the 90s were the height of the “hey lets put out two good songs for singles and make rest of the album total filler” practice.
a list of incredible albums from the 90s destroys any potential list from the 00s. there just aren’t that many great records from the past ten years, despite the fact that, yeah, the general ‘trends’ of music from the 90s on their face supposedly appear worse.
at the heart of independent music, which is where most of the good shit comes from, there is now a worm, which comes out when you hear the bullshit ‘this sounds like it was recorded live at a rave’ or ‘this is lo-fi coldplay we are selling as new’ : the 90s at least had saw raw rad weird shit that wasn’t just trying to get people to click on it.
and even in the big ‘rock radio’ mainstream way: i’ll take soundgarden and stone temple pilots over puddle of mudd and nickleback anyday.
a list of incredible albums from the 90s destroys any potential list from the 00s. there just aren’t that many great records from the past ten years, despite the fact that, yeah, the general ‘trends’ of music from the 90s on their face supposedly appear worse.
at the heart of independent music, which is where most of the good shit comes from, there is now a worm, which comes out when you hear the bullshit ‘this sounds like it was recorded live at a rave’ or ‘this is lo-fi coldplay we are selling as new’ : the 90s at least had saw raw rad weird shit that wasn’t just trying to get people to click on it.
and even in the big ‘rock radio’ mainstream way: i’ll take soundgarden and stone temple pilots over puddle of mudd and nickleback anyday.
i think there’s a lot we haven’t heard with the right ears yet
i think there’s a lot we haven’t heard with the right ears yet
lincoln’s right about ska-punk and rap metal, those 90s cancers that we in the 00s are just now in remission from. but overall i’m with blake: what was raw wild in the 90s has become urban outfitters catalog/music-by-numbers equation rock, just way too self-conscious, no feeling. if only everthing had iggy & the stooges’ channeled abandon, the world would be a better place for us all.
(but dex romweber put out a killer cd last year)
i’m sick of jangly, banjoey antler/deer/hoof/mouth/fox disease folk stuff — it’s the rap metal of now.
lincoln’s right about ska-punk and rap metal, those 90s cancers that we in the 00s are just now in remission from. but overall i’m with blake: what was raw wild in the 90s has become urban outfitters catalog/music-by-numbers equation rock, just way too self-conscious, no feeling. if only everthing had iggy & the stooges’ channeled abandon, the world would be a better place for us all.
(but dex romweber put out a killer cd last year)
i’m sick of jangly, banjoey antler/deer/hoof/mouth/fox disease folk stuff — it’s the rap metal of now.
so fucking self conscious.
i’d rather have to listen to Korn than Wavves.
so fucking self conscious.
i’d rather have to listen to Korn than Wavves.
Nickleback first got big in the 90s though!
but their reign is now
i could imagine that. but it’s still not the bulk of it. and that is always the case.
Nickleback first got big in the 90s though!
but their reign is now
i could imagine that. but it’s still not the bulk of it. and that is always the case.
What was raw wild in the 90s? Wasn’t the 90s watered down paint-by-numbers versions of what was raw in the 80s?
What was raw wild in the 90s? Wasn’t the 90s watered down paint-by-numbers versions of what was raw in the 80s?
in fact, i’d say they were a huge joke when they came out. now they are actually taken seriously because the bands that overshadowed them are gone. and all those dudes repeating trying to make new shit, getting worse, and the younger people undeneath them who grew up fed listening to that shit.
now mainstream music is okay when it sounds like the strokes, which could not be more overprocessed. back then at least it was just some older dudes who’d been doing the same thing for a long time and just kind of stumbled into the light.
in fact, i’d say they were a huge joke when they came out. now they are actually taken seriously because the bands that overshadowed them are gone. and all those dudes repeating trying to make new shit, getting worse, and the younger people undeneath them who grew up fed listening to that shit.
now mainstream music is okay when it sounds like the strokes, which could not be more overprocessed. back then at least it was just some older dudes who’d been doing the same thing for a long time and just kind of stumbled into the light.
sure. but if we’re judging by the bulk of it, music has been garbage since the classical era.
sure. but if we’re judging by the bulk of it, music has been garbage since the classical era.
I think it’s because you’re “older”, Blake.
The 90s were more “formative” for you. I think you were in high school/university during the 90s? That’s why you “favour” that decade, that’s usually the way it is for music. But there’s a lot of good stuff in both decades. It’s kind of funny to see you shitting on 00’s music when the 00s were a great decade in music, not only artistically but in terms of increasing access to music from the 90’s, 80’s, 70’s, etc. The nineties were awful. But they were also great. I think it’s same for any generation.
Also, name 10 albums from the 90s that flat-out beat any 10 albums from the 00s, and I (not an expert by any means) will name 10 albums from the 00s that are comparable. I mean, by all accounts more people are making more music, more people are listening, how could the amount of good music decrease from an era where the music industry was by and large way more corporate and way more tightly controlled?
I think it’s because you’re “older”, Blake.
The 90s were more “formative” for you. I think you were in high school/university during the 90s? That’s why you “favour” that decade, that’s usually the way it is for music. But there’s a lot of good stuff in both decades. It’s kind of funny to see you shitting on 00’s music when the 00s were a great decade in music, not only artistically but in terms of increasing access to music from the 90’s, 80’s, 70’s, etc. The nineties were awful. But they were also great. I think it’s same for any generation.
Also, name 10 albums from the 90s that flat-out beat any 10 albums from the 00s, and I (not an expert by any means) will name 10 albums from the 00s that are comparable. I mean, by all accounts more people are making more music, more people are listening, how could the amount of good music decrease from an era where the music industry was by and large way more corporate and way more tightly controlled?
i’m sure you can name comparable albums. that’s the point. what was new to this decade?
i’m sure you can name comparable albums. that’s the point. what was new to this decade?
While I agree that now frequently builds on before, and every era has its turds, the 90s were not all copycatting the 80s. All the neon headband, synth of the 90s became leperous in the 90s, so that wasn’t copied (not until now, ugh).
Flat Duo Jets was raw and wild. Early, early Soundgarden was raw and weird and dark. The Oblivions from Memphis was raw and wild. Beat Happening’s You Turn Me On was great.
ha! korn
While I agree that now frequently builds on before, and every era has its turds, the 90s were not all copycatting the 80s. All the neon headband, synth of the 90s became leperous in the 90s, so that wasn’t copied (not until now, ugh).
Flat Duo Jets was raw and wild. Early, early Soundgarden was raw and weird and dark. The Oblivions from Memphis was raw and wild. Beat Happening’s You Turn Me On was great.
ha! korn
when touch and go was good
when dischord was good
those two alone cover anything the 00s has.
also:
when dance music was still a joke
when kids actually had to spend $$ to put out a record, so actually took some time figuring out what it would sound like, thinking about it, or even not imagining it would be recorded or heard at all, and so therein just doing whatever they wanted, less photography less hype. quicker access is often not a good thing in music. it begets repetition, and shit.
when touch and go was good
when dischord was good
those two alone cover anything the 00s has.
also:
when dance music was still a joke
when kids actually had to spend $$ to put out a record, so actually took some time figuring out what it would sound like, thinking about it, or even not imagining it would be recorded or heard at all, and so therein just doing whatever they wanted, less photography less hype. quicker access is often not a good thing in music. it begets repetition, and shit.
a major innovation in the last ten years was dubstep. it changed the way people collected music, made music, and listened to music–both on headphones and in clubs. in fact, i’m gonna go out on a limb and say the only truly important record of the last 10 years was burial’s self-titled LP on hyperdub. but that’s just my opinion.
a major innovation in the last ten years was dubstep. it changed the way people collected music, made music, and listened to music–both on headphones and in clubs. in fact, i’m gonna go out on a limb and say the only truly important record of the last 10 years was burial’s self-titled LP on hyperdub. but that’s just my opinion.
dubstep I would agree, even though I am more partial to Techstep.
dubstep I would agree, even though I am more partial to Techstep.
What about grunge? What about Nirvana, et al? Maybe it’s just because I grew up on grunge, but I still think those bands are iconic and appealed to a far greater audience than most stuff that’s out now.
Plus the 90s was the heyday of good hip hop. The Roots, Common, Mos Def, Talib Kweli, Atmosphere, Blackalicious, etc, etc, etc were putting out good shit then. Black Eyed Peas didn’t suck yet.
The last thing I really, really loved in this crappy decade was Arcade Fire’s last album.
What about grunge? What about Nirvana, et al? Maybe it’s just because I grew up on grunge, but I still think those bands are iconic and appealed to a far greater audience than most stuff that’s out now.
Plus the 90s was the heyday of good hip hop. The Roots, Common, Mos Def, Talib Kweli, Atmosphere, Blackalicious, etc, etc, etc were putting out good shit then. Black Eyed Peas didn’t suck yet.
The last thing I really, really loved in this crappy decade was Arcade Fire’s last album.
yes! Urban Outfitters music. Low=Grizzly Bear=Bon Iver=every other low-fi emo record playing at any given Urban Outfitters store/in any Gossip Girls episode.
That said, I do like Vampire Weekend, despite it’s being perfect Urban Outfitters music.
yes! Urban Outfitters music. Low=Grizzly Bear=Bon Iver=every other low-fi emo record playing at any given Urban Outfitters store/in any Gossip Girls episode.
That said, I do like Vampire Weekend, despite it’s being perfect Urban Outfitters music.
Damn, I have a half-baked, half-formed theory that the quality of music dropped with the rise of tinny computer speakers…..in other words, it’s not music that is sucking so much, but the devices we use to listen to it…..But that’s only part of it….The death of the album and the rise of the MP3 makes music utterly disposable these days. Artists make music to be discarded like newspaper: see the rise of the “mixtape.”
Anyway, my thoughts are jumbled and I don’t feel like putting them together. All I know is from about 2005–2008, roughly, I could barely listen to shit. I hated music. It was grating to me. Mostly new stuff, but even older stuff too (though that stuff wasn’t as bothersome). All of this was very weird, disconcerting and depressing and I’m only now recovering..
Damn, I have a half-baked, half-formed theory that the quality of music dropped with the rise of tinny computer speakers…..in other words, it’s not music that is sucking so much, but the devices we use to listen to it…..But that’s only part of it….The death of the album and the rise of the MP3 makes music utterly disposable these days. Artists make music to be discarded like newspaper: see the rise of the “mixtape.”
Anyway, my thoughts are jumbled and I don’t feel like putting them together. All I know is from about 2005–2008, roughly, I could barely listen to shit. I hated music. It was grating to me. Mostly new stuff, but even older stuff too (though that stuff wasn’t as bothersome). All of this was very weird, disconcerting and depressing and I’m only now recovering..
I dunno, mainstream “alternative” rock along with most underground punk/hardcore before the late 90s seemed like a shitty watered down version of punk/hardcore from the 80s. 90s metal, in the US at least, definitly felt watered down. I dunno if i’d call 90s rap watered down, but it didn’t feel terribly raw.
I dunno, mainstream “alternative” rock along with most underground punk/hardcore before the late 90s seemed like a shitty watered down version of punk/hardcore from the 80s. 90s metal, in the US at least, definitly felt watered down. I dunno if i’d call 90s rap watered down, but it didn’t feel terribly raw.
Tribe Called Quest
Tribe Called Quest
i’m not really the type to pit one decade against another like that.
“i think there’s a lot we haven’t heard with the right ears yet”
on the money!
“a major innovation in the last ten years was dubstep.”
agreed completely.
i would also argue that sample-based music was taken to the next level this decade, from “since i left you” by the avalanches to “donuts” by j dilla to “person pitch” and “MPP” by panda bear/animal collective to mainstream rap and r&b producers which killed it in the 00s.
plus, you can’t really complain a/b the democratization of the creative process that has happened in the past 10 years (via cheap technology + the internet).
i think every decade has been and will be great for music and all art.
i’m not really the type to pit one decade against another like that.
“i think there’s a lot we haven’t heard with the right ears yet”
on the money!
“a major innovation in the last ten years was dubstep.”
agreed completely.
i would also argue that sample-based music was taken to the next level this decade, from “since i left you” by the avalanches to “donuts” by j dilla to “person pitch” and “MPP” by panda bear/animal collective to mainstream rap and r&b producers which killed it in the 00s.
plus, you can’t really complain a/b the democratization of the creative process that has happened in the past 10 years (via cheap technology + the internet).
i think every decade has been and will be great for music and all art.
Lincoln, with all due respect, I’m just judging the quality with my ears, not by its influences and components, and the bands I mentioned, to me, felt raw and wild. They epitomized it. Also, I didn’t mention punk/hardcore, and I’m not really concerned with metal.
Like Zappa said: writing about music is like dancing about architecture.
Lincoln, with all due respect, I’m just judging the quality with my ears, not by its influences and components, and the bands I mentioned, to me, felt raw and wild. They epitomized it. Also, I didn’t mention punk/hardcore, and I’m not really concerned with metal.
Like Zappa said: writing about music is like dancing about architecture.
“when touch and go was good”
You mean the 80s? (outside of Jesus Lizard)
“when dischord was good”
I mean I like Nation of Ulysses, but Dischord is totally an 80s label. Minor Threat, Rites of Spring, Embrace, Faith/Void, Fugazi’s first few records… all 80s.
“when dance music was still a joke”
90s was also when every year was a huge “This is the year techno is going to break through!” frenzy, although normally just one random album did well (Chemical Brothers, Prodigy, etc.) then faded away.
“when touch and go was good”
You mean the 80s? (outside of Jesus Lizard)
“when dischord was good”
I mean I like Nation of Ulysses, but Dischord is totally an 80s label. Minor Threat, Rites of Spring, Embrace, Faith/Void, Fugazi’s first few records… all 80s.
“when dance music was still a joke”
90s was also when every year was a huge “This is the year techno is going to break through!” frenzy, although normally just one random album did well (Chemical Brothers, Prodigy, etc.) then faded away.
Vampire Weekend are so much worse than those other bands you named.
Vampire Weekend are so much worse than those other bands you named.
Like the 90s took Rites of Spring and gave us The Get Up Kids. 90s took old school ska and gave us Mighty Mighty Bosstones. 90s took 80s Metalillica and gave us the 90s Metallica.
Like the 90s took Rites of Spring and gave us The Get Up Kids. 90s took old school ska and gave us Mighty Mighty Bosstones. 90s took 80s Metalillica and gave us the 90s Metallica.
i read billboard magazine named nickelback band of the decade.
some of my favorite records in 2000s were just hold-overs from the 90s – for example, a toadies record in 2001.
i read billboard magazine named nickelback band of the decade.
some of my favorite records in 2000s were just hold-overs from the 90s – for example, a toadies record in 2001.
dischord was still taking baby steps in the 80s. those early bands are fine, and seminal, but don’t hold up as well over time i think, and are nothing in bigger effect compared to where they got with NoU, Hoover, mid era Fugazi, Shudder to Think, Circus Lupus, Jawbox, Lungfish
as well by far the important stuff from Touch and Go, which is where so much of the 00s bites their ‘new’: Brainiac, Don Caballero, GvsB, Slint, Rodan, Blonde Redhead, Jesus Lizard, Polvo, etc etc
are there even any record labels like these left? both slowly turned to jokes, mocking themselves.
the dance music was popular in a small set but hadn’t bled into the other musics, farting all over it
dischord was still taking baby steps in the 80s. those early bands are fine, and seminal, but don’t hold up as well over time i think, and are nothing in bigger effect compared to where they got with NoU, Hoover, mid era Fugazi, Shudder to Think, Circus Lupus, Jawbox, Lungfish
as well by far the important stuff from Touch and Go, which is where so much of the 00s bites their ‘new’: Brainiac, Don Caballero, GvsB, Slint, Rodan, Blonde Redhead, Jesus Lizard, Polvo, etc etc
are there even any record labels like these left? both slowly turned to jokes, mocking themselves.
the dance music was popular in a small set but hadn’t bled into the other musics, farting all over it
“We simply wanted to give those dumb heavy metal kids (the kids who we used to be) an introduction to a different way of thinking and some 15 years worth of emotionally and socially important music* and all we got was flack, backstabbing and Pearl Jam.”
– Kurt Cobain
*he is referring to 80s hardcore here.
—
As for hip-hop, it is hard to fuck with 90s hip-hop although if I was going to talk about great 90s hip-hop I wouldnt’ be talking about Blackalicious, Atmosphere or Black Eyed peas! (Atmosphere only had one 90s album anyway, they are more of a 00 group). 90s gave us Wu-Tang Clan so hard to fuck with that.
“We simply wanted to give those dumb heavy metal kids (the kids who we used to be) an introduction to a different way of thinking and some 15 years worth of emotionally and socially important music* and all we got was flack, backstabbing and Pearl Jam.”
– Kurt Cobain
*he is referring to 80s hardcore here.
—
As for hip-hop, it is hard to fuck with 90s hip-hop although if I was going to talk about great 90s hip-hop I wouldnt’ be talking about Blackalicious, Atmosphere or Black Eyed peas! (Atmosphere only had one 90s album anyway, they are more of a 00 group). 90s gave us Wu-Tang Clan so hard to fuck with that.
yes, yes. forgot about tribe.
yes, yes. forgot about tribe.
i gotta be honest. for a site that proclaims itself as “the internet literature magazine blog of the future,” i thought you guys would be more psyched about the possibilities that the internet and the digital medium bring to music, not just literature.
too many folks grasp onto art that was familiar to them when they “came of age,” then quickly become cynical about new shit. i hope that never happens to me.
i gotta be honest. for a site that proclaims itself as “the internet literature magazine blog of the future,” i thought you guys would be more psyched about the possibilities that the internet and the digital medium bring to music, not just literature.
too many folks grasp onto art that was familiar to them when they “came of age,” then quickly become cynical about new shit. i hope that never happens to me.
Yeah, forgot about the Clan, too. Can’t fuck with that. I never liked Black-Eyed Peas, but they were better then than now was my point.
I still say Nirvana’s more iconic than any music today.
Yeah, forgot about the Clan, too. Can’t fuck with that. I never liked Black-Eyed Peas, but they were better then than now was my point.
I still say Nirvana’s more iconic than any music today.
we never said “the internet music magazine blog of the future”
music is dead
long live music
we never said “the internet music magazine blog of the future”
music is dead
long live music
I just realised this is a super annoying argument.
i mean, don’t get me wrong, i like the internet’s influence on music. because i sure wouldn’t be paying actual money for this junk anymore.
I just realised this is a super annoying argument.
i mean, don’t get me wrong, i like the internet’s influence on music. because i sure wouldn’t be paying actual money for this junk anymore.
i gotta say, I don’t understand the dubstep thing at all. maybe i haven’t listened to it enough, but i just don’t see what’s behind it. feels like it’s doing its own think sort of, but it more confuses me than anything else.
i gotta say, I don’t understand the dubstep thing at all. maybe i haven’t listened to it enough, but i just don’t see what’s behind it. feels like it’s doing its own think sort of, but it more confuses me than anything else.
it really is
i really only meant to make a list of records i actually liked
it really is
i really only meant to make a list of records i actually liked
It’s funny, I’ve recently fallen for that Liars album. Their best by far.
Old Time Relijun – “Catharsis in Crisis” was a nice album from this defunct decade.
It’s funny, I’ve recently fallen for that Liars album. Their best by far.
Old Time Relijun – “Catharsis in Crisis” was a nice album from this defunct decade.
Plus The Grey Album
I think you’re on to something. I think quality of the sound had something to do with the initial “death” of the LP as the CD promised better sound (and portability) when the problem was really just that people, for the most part, had really shitty turntables. But, I see folks around these parts (college campus) rocking 100+ dollar headphones plugged into their ipods – which probably does make them sound a little bit better by disguising the poor quality of the MP3s with lots of bass, so even though it’s a little misguided, at least there are folks out there trying to have it both ways.
Here are some bands from the 00s that I think are quality bands: Aloha, Animal Collective, Hot Snakes, Battles, lots of great metal (Southern Lord bands, etc), Why?, Knot Feeder, but yeah, I can’t think of a ton.
Plus The Grey Album
I think you’re on to something. I think quality of the sound had something to do with the initial “death” of the LP as the CD promised better sound (and portability) when the problem was really just that people, for the most part, had really shitty turntables. But, I see folks around these parts (college campus) rocking 100+ dollar headphones plugged into their ipods – which probably does make them sound a little bit better by disguising the poor quality of the MP3s with lots of bass, so even though it’s a little misguided, at least there are folks out there trying to have it both ways.
Here are some bands from the 00s that I think are quality bands: Aloha, Animal Collective, Hot Snakes, Battles, lots of great metal (Southern Lord bands, etc), Why?, Knot Feeder, but yeah, I can’t think of a ton.
too many other bands to compare bands to these days, therefore they cancel each other out.
don’t mind sufjan, but can’t stand grizzly bear & vamp wknd. lo-fi = the new nu metal.
my albums of the decade include postal service, yankee hotel foxtrot, arcade fire & a bunch of punk stuff–
http://www.deckfight.com/2009/10/deckfights-top-albums-of-decade.html
Blake is right – the 90s were better. This could be because I ‘came of age’ in the 90s, but I also grew up in the 80s and agree that the 70s were more interesting musically. This is all opinion, but one problem with the 00s is that much of the music was about rehashing older musical trends – the 90s had this too, but I think there was more pushing forward and less looking back. Maybe my sample size is small, though. I could be wrong.
too many other bands to compare bands to these days, therefore they cancel each other out.
don’t mind sufjan, but can’t stand grizzly bear & vamp wknd. lo-fi = the new nu metal.
my albums of the decade include postal service, yankee hotel foxtrot, arcade fire & a bunch of punk stuff–
http://www.deckfight.com/2009/10/deckfights-top-albums-of-decade.html
Blake is right – the 90s were better. This could be because I ‘came of age’ in the 90s, but I also grew up in the 80s and agree that the 70s were more interesting musically. This is all opinion, but one problem with the 00s is that much of the music was about rehashing older musical trends – the 90s had this too, but I think there was more pushing forward and less looking back. Maybe my sample size is small, though. I could be wrong.
yes. dischord, touch and go (associated labels) etc. Don Caballero, Shudder to Think.
yes. dischord, touch and go (associated labels) etc. Don Caballero, Shudder to Think.
And I’d hold up Fugazi’s last record as being good as any of them. I was lucky enough to see them pretty much across their hole career and they were still as amazing live in 2001/2002 as they were in 1991.
Bon Iver and Vampire Weekend are both excellent bands.
And I’d hold up Fugazi’s last record as being good as any of them. I was lucky enough to see them pretty much across their hole career and they were still as amazing live in 2001/2002 as they were in 1991.
Bon Iver and Vampire Weekend are both excellent bands.
It IS harder to find good music now. I just figured it was because I was getting older. But maybe it really is that music has become boring, a reflection of our own boredom. “Life, friends, is boring. We must not say so. After all, the sky flashes, the great sea yearns, we ourselves flash and yearn, …”
and by hole I meant ‘entire’. ha.
It IS harder to find good music now. I just figured it was because I was getting older. But maybe it really is that music has become boring, a reflection of our own boredom. “Life, friends, is boring. We must not say so. After all, the sky flashes, the great sea yearns, we ourselves flash and yearn, …”
and by hole I meant ‘entire’. ha.
I’ve been thinking about At the Drive-In this weekend.
*I’d
I’ve been thinking about At the Drive-In this weekend.
*I’d
When I was in grade 7 that was all anyone would listen to. To me Korn is the epitome of terrible music in the nineties.
When I was in grade 7 that was all anyone would listen to. To me Korn is the epitome of terrible music in the nineties.
man, really? i couldn’t stand the Argument. I like that one song ‘Oh’ but overall I just felt tired. And they looked tired, the last time I saw them. The energy felt gone, and they were just kind of standing there. I got sad about it a little.
I have a hard time putting the Argument up to In on the Killtaker or Red Medicine or 13 songs. End Hits is where I stop, but that is an incredible one as well.
The problem is the fact that it takes about 10 years to let things sink in, to see which albums stand the test of time. I’ve only lately been discovering some of my current favorite music from the 80’s and 90’s. The good stuff gets buried among heaps of vomshit, and word of mouth will work it’s wonders in the upcoming years.
Cannibal Ox, The Scene Creamers, Edan, Interpol, The Walkmen, Black Lips, Slim Twig, The Creeping Nobodies, Tindersticks, The Flaming Stars (the last two are more 90’s leakovers)… tons more.
man, really? i couldn’t stand the Argument. I like that one song ‘Oh’ but overall I just felt tired. And they looked tired, the last time I saw them. The energy felt gone, and they were just kind of standing there. I got sad about it a little.
I have a hard time putting the Argument up to In on the Killtaker or Red Medicine or 13 songs. End Hits is where I stop, but that is an incredible one as well.
The problem is the fact that it takes about 10 years to let things sink in, to see which albums stand the test of time. I’ve only lately been discovering some of my current favorite music from the 80’s and 90’s. The good stuff gets buried among heaps of vomshit, and word of mouth will work it’s wonders in the upcoming years.
Cannibal Ox, The Scene Creamers, Edan, Interpol, The Walkmen, Black Lips, Slim Twig, The Creeping Nobodies, Tindersticks, The Flaming Stars (the last two are more 90’s leakovers)… tons more.
90s hip-hop was pretty great, but the 00s had plenty of great stuff. Def Jux stuff like Cannibal Ox, Ghostface, later Outkast, Jay Z’s The Blueprint, Clipse (though their new album is utter garbage), etc.
90s hip-hop was pretty great, but the 00s had plenty of great stuff. Def Jux stuff like Cannibal Ox, Ghostface, later Outkast, Jay Z’s The Blueprint, Clipse (though their new album is utter garbage), etc.
I’ve been listening to the Argument over the last couple days (mostly because the radio station here has been playing Fugazi non-stop for some reason) and I dig it – I like it better than End Hits, but I should re-listen to that, too. About the energy – the first time I saw them was with jawbox in 1991 and I remember just being frightened – of the crowd, jumping off of PA stacks, etc, of Ian yelling at the crowd, etc and the last time I saw them was either at Fort Reno or the 930 club close to the beginning of their ‘hiatus’ and yeah, I think you’re right – I think the band still had energy (although those 2000s shows were after a long break) but the audience, yeah, there was a lot of standing around. I think that has to do with Ian beating the dance out of DC, though.
I’ve been listening to the Argument over the last couple days (mostly because the radio station here has been playing Fugazi non-stop for some reason) and I dig it – I like it better than End Hits, but I should re-listen to that, too. About the energy – the first time I saw them was with jawbox in 1991 and I remember just being frightened – of the crowd, jumping off of PA stacks, etc, of Ian yelling at the crowd, etc and the last time I saw them was either at Fort Reno or the 930 club close to the beginning of their ‘hiatus’ and yeah, I think you’re right – I think the band still had energy (although those 2000s shows were after a long break) but the audience, yeah, there was a lot of standing around. I think that has to do with Ian beating the dance out of DC, though.
In Canada Nickelback is still considered a “joke.” There is a radio station in Calgary that refuses to play them, and most radio hosts seem to begrudge playing them (but they still do, I think it has something to do with Canadian Content regulations or something, though thinking about it, that seems wrong–why not just play other Canadian music?).
The fact that they win Junos and Grammys and that stupid Billboard thing just shows the ineffectiveness of those measures. In ten years, no one will listen to Nickelback, if they even still listen to them now. My theory is that most people who purchase their albums listen once or twice and then give up on them once they realise that every song is literally every other song, with no variations. Or they just purchase the singles because they’re everywhere (I assume this is a worse problem in the States re: radio stations) and only listen to them once every 5,000 songs so they don’t notice.
In Canada Nickelback is still considered a “joke.” There is a radio station in Calgary that refuses to play them, and most radio hosts seem to begrudge playing them (but they still do, I think it has something to do with Canadian Content regulations or something, though thinking about it, that seems wrong–why not just play other Canadian music?).
The fact that they win Junos and Grammys and that stupid Billboard thing just shows the ineffectiveness of those measures. In ten years, no one will listen to Nickelback, if they even still listen to them now. My theory is that most people who purchase their albums listen once or twice and then give up on them once they realise that every song is literally every other song, with no variations. Or they just purchase the singles because they’re everywhere (I assume this is a worse problem in the States re: radio stations) and only listen to them once every 5,000 songs so they don’t notice.
I see what you are trying to say about Dischord, but early Dischord invented whole styles of punk (including, sadly, emo). Bands like Rites of Spring and Minor Threat are beyond iconic in their genres in a way that those other bands never will be. A lot of the Touch and Go bands you named seemed to be as much 00 bands and 90s bands. Half of Don Cab’s albums were in the 00s and ditto with Blonde Redhead.
I don’t hate dance music as much as you do though.
I see what you are trying to say about Dischord, but early Dischord invented whole styles of punk (including, sadly, emo). Bands like Rites of Spring and Minor Threat are beyond iconic in their genres in a way that those other bands never will be. A lot of the Touch and Go bands you named seemed to be as much 00 bands and 90s bands. Half of Don Cab’s albums were in the 00s and ditto with Blonde Redhead.
I don’t hate dance music as much as you do though.
I’m not bored.
I’m not bored.
the only real don cab record in the 00s is american don. those other two are the fake don cab with just damon che, which is some of the horsiest horseshit ever recorded in the name of a great band.
blonde redhead does continue to put out good stuff, but they will always remain in my mind a 90s band.
yeah, thanks 80s dischord, for all that emo. thanks a lot.
the only real don cab record in the 00s is american don. those other two are the fake don cab with just damon che, which is some of the horsiest horseshit ever recorded in the name of a great band.
blonde redhead does continue to put out good stuff, but they will always remain in my mind a 90s band.
yeah, thanks 80s dischord, for all that emo. thanks a lot.
Here are two more arguments I will make regarding 00s versus 90s, both a result of online file sharing and the internet in general:
Growing up in the 90s, it was pretty standard to pigeon hole yourself into a specific genre. Not even like a “punk kid” or a “metal kid” but like a “sxe HC kid” or a “political crustpunk” or some other tiny subgenre. It was common for people to have music collections that were 90% metal or 90% hip-hop.
Today, there is much more crossover amongst music listeners I think. You are much more likely to have a varied music collection. Even mainstream fans seem more likely to flip between hip-hop, rock and dance music on their mp3 players.
Similarly, there was a lot of hype in the 90s about genre blending, but for the most part it didn’t really happen. You had a few Beck people, but most people were pretty stuck in their genres or if not the result was unberable (rap metal). The 00s saw better genre blending and new styles as a result.
Here are two more arguments I will make regarding 00s versus 90s, both a result of online file sharing and the internet in general:
Growing up in the 90s, it was pretty standard to pigeon hole yourself into a specific genre. Not even like a “punk kid” or a “metal kid” but like a “sxe HC kid” or a “political crustpunk” or some other tiny subgenre. It was common for people to have music collections that were 90% metal or 90% hip-hop.
Today, there is much more crossover amongst music listeners I think. You are much more likely to have a varied music collection. Even mainstream fans seem more likely to flip between hip-hop, rock and dance music on their mp3 players.
Similarly, there was a lot of hype in the 90s about genre blending, but for the most part it didn’t really happen. You had a few Beck people, but most people were pretty stuck in their genres or if not the result was unberable (rap metal). The 00s saw better genre blending and new styles as a result.
Also, I should say, love the Liars and Angels of Lights on your list! Both underrated acts.
For some reason I could never get into Madvillainy as much as Vaudville Villain and King Geedorah, although I still really liked it.
Yeah, Don Cab’s 00s records (post American Don) are Damon with some other dudes – talented musicians, but they don’t bring it. Not the same Don Cab.
I will admit to liking some of the late 90s early 00s ’emo’ – Promise Ring, Texas is the Reason.
Yeah, but for all the badness Rites of Spring, Embrace, etc gave us, I think they’re also at least partially responsible for bands like Nation of Ulysses and Shudder, so is ok by me.
Also, I should say, love the Liars and Angels of Lights on your list! Both underrated acts.
For some reason I could never get into Madvillainy as much as Vaudville Villain and King Geedorah, although I still really liked it.
Yeah, Don Cab’s 00s records (post American Don) are Damon with some other dudes – talented musicians, but they don’t bring it. Not the same Don Cab.
I will admit to liking some of the late 90s early 00s ’emo’ – Promise Ring, Texas is the Reason.
Yeah, but for all the badness Rites of Spring, Embrace, etc gave us, I think they’re also at least partially responsible for bands like Nation of Ulysses and Shudder, so is ok by me.
please don’t get me started about the black lips. ugh.
edan and interpol, tho, for sure, even tho interpol feels weird now.
scene creamers, i don’t know. ian svenonius just seems to be making fun of himself now. i miss the make up.
please don’t get me started about the black lips. ugh.
edan and interpol, tho, for sure, even tho interpol feels weird now.
scene creamers, i don’t know. ian svenonius just seems to be making fun of himself now. i miss the make up.
Cannibal Ox hasn’t gotten nearly enough love on the best of decade lists. That album is fucking sick as hell. I realize Ox broke up and their members went goofy, but that album on its own is massive.
Cannibal Ox hasn’t gotten nearly enough love on the best of decade lists. That album is fucking sick as hell. I realize Ox broke up and their members went goofy, but that album on its own is massive.
the ’00s were way better for music than the ’90s. what did the ’90s give to indie-lit nerds? neutral milk hotel, ok computer, and nirvana. am i missing anything? if you hate rap and pop and cross-genre music, then i guess the ’00s would be less fun for you, but there was still radiohead, wilco, the strokes, of montreal, spoon, mgmt, arcade fire (not a huge fan, but still), yeah yeah yeahs, etc. etc. it was a great decade for music. you also managed to pick the third best Of Montreal album of the decade (1. Hissing Fauna; 2. skeletal lamping). You were probably trying very hard to like atmospheric almost-songs by grizzly bear, animal collective, et al. If i was doing that i’d be frustrated too.
the ’00s were way better for music than the ’90s. what did the ’90s give to indie-lit nerds? neutral milk hotel, ok computer, and nirvana. am i missing anything? if you hate rap and pop and cross-genre music, then i guess the ’00s would be less fun for you, but there was still radiohead, wilco, the strokes, of montreal, spoon, mgmt, arcade fire (not a huge fan, but still), yeah yeah yeahs, etc. etc. it was a great decade for music. you also managed to pick the third best Of Montreal album of the decade (1. Hissing Fauna; 2. skeletal lamping). You were probably trying very hard to like atmospheric almost-songs by grizzly bear, animal collective, et al. If i was doing that i’d be frustrated too.
There were three Silver Jews albums this decade- at least two of which are probably contenders on any bet-of list I’d make. And I know it’s not very cool to cop to being a Postal Service fan–especially since Ben Gibbard’s Deathcab work has been such a braindrain–but I think if you stop what you’re doing right now and put Give Up (2003) on, you’ll hear an album that sounds as fresh as it did seven years ago, despite having basically been mimic’d to death. It’s not a perfect record, but anything that can survive its own success the way that record did has to have some value to it. Plus, Sung Tongs by Animal Collective, War Party and Violence Has Arrived By GWAR (just to be an asshole about it), and Against Me!’s Reinventign Axl Rose and As The Eternal Cowboy. These are some of my own favorites, or at least the albums that impacted me the most, probably not the objective “best,” but I’m pretty OK with that. Bonnie Prince Billy’s Master And Everyone. Oh and Radiohead’s Kid A. That album was a major game-changer, and it’s still fantastic. I don’t even own it anymore, I don’t think, but if I was trying to be ‘objective’ I’m pretty sure that’d top my list.
There were three Silver Jews albums this decade- at least two of which are probably contenders on any bet-of list I’d make. And I know it’s not very cool to cop to being a Postal Service fan–especially since Ben Gibbard’s Deathcab work has been such a braindrain–but I think if you stop what you’re doing right now and put Give Up (2003) on, you’ll hear an album that sounds as fresh as it did seven years ago, despite having basically been mimic’d to death. It’s not a perfect record, but anything that can survive its own success the way that record did has to have some value to it. Plus, Sung Tongs by Animal Collective, War Party and Violence Has Arrived By GWAR (just to be an asshole about it), and Against Me!’s Reinventign Axl Rose and As The Eternal Cowboy. These are some of my own favorites, or at least the albums that impacted me the most, probably not the objective “best,” but I’m pretty OK with that. Bonnie Prince Billy’s Master And Everyone. Oh and Radiohead’s Kid A. That album was a major game-changer, and it’s still fantastic. I don’t even own it anymore, I don’t think, but if I was trying to be ‘objective’ I’m pretty sure that’d top my list.
Yeah, I’ve noticed the Black Lips have been committing career Hari-Kari with some of their ridiculous comments/ actions as of late. I still dig the music though. I love garage rock, and way too many bands these days are putting out noisy lo-fi, recorded-in-the-devil’s-asshole-sounding records. At least The Black Lips are decently produced.
Yeah, I’ve noticed the Black Lips have been committing career Hari-Kari with some of their ridiculous comments/ actions as of late. I still dig the music though. I love garage rock, and way too many bands these days are putting out noisy lo-fi, recorded-in-the-devil’s-asshole-sounding records. At least The Black Lips are decently produced.
good point. seems like most of the commenters here are into angsty, aggressive sounding, guitar-based rock, which may be another reason why the 00s felt lackluster to them. that stuff is dying, thank god.
though i do like a lot of rock music, there’s only so far you can go with guitars. for that reason, the most sonically interesting shit to me of not just the decade but the past 30 years is hip hop, dance, and experimental music.
another cool aspect of the 00s which ties into lincoln’s argument is greater access to music from all over the world. perhaps the real heroes of the decade are labels like sublime frequencies, analog africa, soul jazz, numero group, etc (not to mention the thousands of blogs dedicated to this shit).
seems like global sounds showed up in a lot of productions, especially of the late 00s, which is cool.
good point. seems like most of the commenters here are into angsty, aggressive sounding, guitar-based rock, which may be another reason why the 00s felt lackluster to them. that stuff is dying, thank god.
though i do like a lot of rock music, there’s only so far you can go with guitars. for that reason, the most sonically interesting shit to me of not just the decade but the past 30 years is hip hop, dance, and experimental music.
another cool aspect of the 00s which ties into lincoln’s argument is greater access to music from all over the world. perhaps the real heroes of the decade are labels like sublime frequencies, analog africa, soul jazz, numero group, etc (not to mention the thousands of blogs dedicated to this shit).
seems like global sounds showed up in a lot of productions, especially of the late 00s, which is cool.
I’m pretty into angsty aggressive guitar-based music myself, but I think there was plenty of awesome stuff like that in the 00s: Mastodon, Kylesa, Gorguts “Obscura,” Converge, etc.
The extreme ends of music got even more extreme in the 00s.
I’m pretty into angsty aggressive guitar-based music myself, but I think there was plenty of awesome stuff like that in the 00s: Mastodon, Kylesa, Gorguts “Obscura,” Converge, etc.
The extreme ends of music got even more extreme in the 00s.
Off top of me head (ie, not looking at home computer’s itunes or ipod), bands that use electronic elements etc in ways that really don’t suck:
The Books (all three albums offer totally organic use of sampling and electronics, mixed with cello, acoustic guitar, and smart lyrics)
Animal Collective (almost all albums, plus Panda Bear and Avery Tare side projects)
Boredoms (the new solar era + remixes)
Atlas Sound/Deerhunter (all of it)
Von Sudenfed (Mark E. Smith & Mouse on Mars)
Liars (as you said)
Manitoba/Caribou
Destroyer (Rubies, This Night – lyrics generated by hyperreferential computer?)
Dirty Projectors (Rise Above and the last one – not much electronics but nearly computerized in terms of brainy accuracy)
Bonny Billy (constantly reinventing his songs and sound – sans electronics)
Deerhoof (esp. “The Runners Four” – more rock than electronic)
and, of course, Radiohead’s Kid Freakin’ A, the Lips’ new one, and a few good Tortoise albums
Off top of me head (ie, not looking at home computer’s itunes or ipod), bands that use electronic elements etc in ways that really don’t suck:
The Books (all three albums offer totally organic use of sampling and electronics, mixed with cello, acoustic guitar, and smart lyrics)
Animal Collective (almost all albums, plus Panda Bear and Avery Tare side projects)
Boredoms (the new solar era + remixes)
Atlas Sound/Deerhunter (all of it)
Von Sudenfed (Mark E. Smith & Mouse on Mars)
Liars (as you said)
Manitoba/Caribou
Destroyer (Rubies, This Night – lyrics generated by hyperreferential computer?)
Dirty Projectors (Rise Above and the last one – not much electronics but nearly computerized in terms of brainy accuracy)
Bonny Billy (constantly reinventing his songs and sound – sans electronics)
Deerhoof (esp. “The Runners Four” – more rock than electronic)
and, of course, Radiohead’s Kid Freakin’ A, the Lips’ new one, and a few good Tortoise albums
oh christ, AND Yankee Hotel Foxtrot–duh!
oh christ, AND Yankee Hotel Foxtrot–duh!
Also, holy smokes, The Grey Album came out in the Oughts or Aughts or the O’s or whatever.
Also, holy smokes, The Grey Album came out in the Oughts or Aughts or the O’s or whatever.
I vote for all the post-Jim O’Rourke Wilco! Not to mention all the great Jim O’Rourke albums, particularly the last one, “The Visitor” — easily the album of the year for me.
I vote for all the post-Jim O’Rourke Wilco! Not to mention all the great Jim O’Rourke albums, particularly the last one, “The Visitor” — easily the album of the year for me.
i listened to the visitor 7 times yesterday–amazing.
i listened to the visitor 7 times yesterday–amazing.
Yeah – it’s one of those “gotta hear it 100 times before you hear it once” albums. 200 tracks – apparently a year of isolation in Japan in the making . . .
Yeah – it’s one of those “gotta hear it 100 times before you hear it once” albums. 200 tracks – apparently a year of isolation in Japan in the making . . .
I’m only bored sometimes, Andre, and I think Berryman was talking about the type of boredom that descends with personal gloom, like fog. It renders you static while everything around you seems like it’s moving all the time. In the poem, even the speaker’s dog leaves him for greener pastures. I think this phenomenon of paralysis is especially apparent in modern culture where everything really is moving all the time, every which way, nonstop, etc. etc.
I’ll stop talking now. I’m just trying to procrastinate.
I’m only bored sometimes, Andre, and I think Berryman was talking about the type of boredom that descends with personal gloom, like fog. It renders you static while everything around you seems like it’s moving all the time. In the poem, even the speaker’s dog leaves him for greener pastures. I think this phenomenon of paralysis is especially apparent in modern culture where everything really is moving all the time, every which way, nonstop, etc. etc.
I’ll stop talking now. I’m just trying to procrastinate.
I like Lee’s list. A lot. For me, what the 00’s did which the 90’s tentatively and warily began was to mix everything up so that guitars met samples met electronica met breakbeats met ambient met Bulgarian chanting met rock met everyotherfuckingthing under the sun and clashed wondrously. Of those that Lee names, I honestly think acts like The Books, Animal Collective, Atlas Sound, Deerhunter, Caribou, Deerhoof and, yes, Radiohead since post-OK Computer could *only* have existed in this decade. I can’t imagine, ten years ago, booting up iTunes and going from the dark dubstep of Burial straight into Daniel Johnston and then on into Thom Yorke’s Harrowdown Hill.
It’s interesting reading through all the comments above. From my UK perspective, everything seems to move much faster when it comes to music over here than in the US. That could, I guess, simply be down to the plain difference in the size of the population and the country. And don’t get me wrong, I don’t necessarily think that our speed of assimilating – and then inevitably tossing aside – music is a good thing. ‘Next Big Thing-itis’ is a terrible disease over here – in the ’90s we’d barely got our plaid shirts out to listen to grunge before we were replacing them with a sharper mod look and going (spit, retch) Britpop. But in the US, the development of music and the seeding of new ideas does seem to take quite a long time. As ever, a middle ground would be ideal …
I like Lee’s list. A lot. For me, what the 00’s did which the 90’s tentatively and warily began was to mix everything up so that guitars met samples met electronica met breakbeats met ambient met Bulgarian chanting met rock met everyotherfuckingthing under the sun and clashed wondrously. Of those that Lee names, I honestly think acts like The Books, Animal Collective, Atlas Sound, Deerhunter, Caribou, Deerhoof and, yes, Radiohead since post-OK Computer could *only* have existed in this decade. I can’t imagine, ten years ago, booting up iTunes and going from the dark dubstep of Burial straight into Daniel Johnston and then on into Thom Yorke’s Harrowdown Hill.
It’s interesting reading through all the comments above. From my UK perspective, everything seems to move much faster when it comes to music over here than in the US. That could, I guess, simply be down to the plain difference in the size of the population and the country. And don’t get me wrong, I don’t necessarily think that our speed of assimilating – and then inevitably tossing aside – music is a good thing. ‘Next Big Thing-itis’ is a terrible disease over here – in the ’90s we’d barely got our plaid shirts out to listen to grunge before we were replacing them with a sharper mod look and going (spit, retch) Britpop. But in the US, the development of music and the seeding of new ideas does seem to take quite a long time. As ever, a middle ground would be ideal …
Cul de Sac also springs to mind along these lines. “Death of the Sun” for the most organic in the way that, say, the Books are.
Cul de Sac also springs to mind along these lines. “Death of the Sun” for the most organic in the way that, say, the Books are.
I forgot about Kid A. Also the Silver Jews. Also Yankee Hotel Foxtrot. Yes yes and yes.
I forgot about Kid A. Also the Silver Jews. Also Yankee Hotel Foxtrot. Yes yes and yes.
Kid A took music backwards even more than the Beatles did, which is hard
i’m not saying that just to start a fight. i mean it.
Kid A took music backwards even more than the Beatles did, which is hard
i’m not saying that just to start a fight. i mean it.
Backwards how? I’d never heard anything like half the songs on that album when it came out. Sideways, maybe…but I can’t see backwards.
Backwards how? I’d never heard anything like half the songs on that album when it came out. Sideways, maybe…but I can’t see backwards.
that’s a fantastic point — so true
that’s a fantastic point — so true
yep
yep
’90s: Palace, Stereolab, early Belle & Sebastian, Cat Power, Sebadoh, Polvo, Califone/Red Red Meat, Tortoise, Trans Am, Sea & Cake (well, everything on Chicago labels like Thrill Jockey/Drag City/Perishable, etc), Don Cab, Godspeed You Black Emperor, Thinking Fellers Local Union 252, Yo La Tengo, on and on, and that’s not counting Pavement and Jon Spencer Blues Explosion and the Flaming Lips and the Sun City Girls and and and and and . . . not a bad decade.
’90s: Palace, Stereolab, early Belle & Sebastian, Cat Power, Sebadoh, Polvo, Califone/Red Red Meat, Tortoise, Trans Am, Sea & Cake (well, everything on Chicago labels like Thrill Jockey/Drag City/Perishable, etc), Don Cab, Godspeed You Black Emperor, Thinking Fellers Local Union 252, Yo La Tengo, on and on, and that’s not counting Pavement and Jon Spencer Blues Explosion and the Flaming Lips and the Sun City Girls and and and and and . . . not a bad decade.
Required reading re: Kid A on the Dalkey Archive site:
“Kid Adorno” by Curtis White
http://www.dalkeyarchive.com/article/show/84
Required reading re: Kid A on the Dalkey Archive site:
“Kid Adorno” by Curtis White
http://www.dalkeyarchive.com/article/show/84
skeletal lamping is one of the most painful albums i’ve ever listened to twice and then thrown from my car.
sometimes radiohead stops sucking their own anus long enough to make song worth hearing, but the rest of all those 00s bands you named leave me about as cold as a blue fork in a snow room
skeletal lamping is one of the most painful albums i’ve ever listened to twice and then thrown from my car.
sometimes radiohead stops sucking their own anus long enough to make song worth hearing, but the rest of all those 00s bands you named leave me about as cold as a blue fork in a snow room
yes, blake & matt k., yes.
yes, blake & matt k., yes.
Tim, Cul de Sac: yes. For me, the 00’s were: The Clientele, Animal Collective, Why?, Casiotone for the Painfully Alone, Joanna Newsom, Radiohead (I think In Rainbows honestly might be my second favorite Radiohead album), Xiu Xiu, Arab Strap, Okkervil River.
As “noise” grows poppier, I think we’ll start to hear really interesting stuff. Perhaps a no wave-revival or something. The Former Ghosts album from this year, for instance.
Tim, Cul de Sac: yes. For me, the 00’s were: The Clientele, Animal Collective, Why?, Casiotone for the Painfully Alone, Joanna Newsom, Radiohead (I think In Rainbows honestly might be my second favorite Radiohead album), Xiu Xiu, Arab Strap, Okkervil River.
As “noise” grows poppier, I think we’ll start to hear really interesting stuff. Perhaps a no wave-revival or something. The Former Ghosts album from this year, for instance.
Yeah, Skeletal Lamping was horrible. How and why did people like it? What the fuck?
Yeah, Skeletal Lamping was horrible. How and why did people like it? What the fuck?
good link Lee, i like the curtis white article, but i don’t think that he gets it all. my reasons for disliking the album aren’t the same as hornby’s (which are plainly idiotic), but more so that the effect is not equal to the sum of its parts for me. this is a long argument, one not worth getting into here. i’ve actually warmed up to certain tracks on Kid A, but i think the far better songs from that period are on Amnesiac, and when they really lost their balls and minds is on ‘Hail to the Thief,’ which I think is one of the most warmed over pieces of supposed ‘experimenting’ ever put on tape.
In Rainbows felt like they were actually figuring themselves out again. i was glad to hear it. i hope the integration continues.
good link Lee, i like the curtis white article, but i don’t think that he gets it all. my reasons for disliking the album aren’t the same as hornby’s (which are plainly idiotic), but more so that the effect is not equal to the sum of its parts for me. this is a long argument, one not worth getting into here. i’ve actually warmed up to certain tracks on Kid A, but i think the far better songs from that period are on Amnesiac, and when they really lost their balls and minds is on ‘Hail to the Thief,’ which I think is one of the most warmed over pieces of supposed ‘experimenting’ ever put on tape.
In Rainbows felt like they were actually figuring themselves out again. i was glad to hear it. i hope the integration continues.
basinski’s disintegration loops
basinski’s disintegration loops
Now. Wavves wrote this.
httpv://www.youtube.com/watch?v=9YxFeMLJcj8
That is nothing but good.
Now. Wavves wrote this.
httpv://www.youtube.com/watch?v=9YxFeMLJcj8
That is nothing but good.
you should have been in my garage when i was 18, you would have shit your pants
you should have been in my garage when i was 18, you would have shit your pants
Oh, Amber. You have so easily dismissed the band that produced The Curtain Hits the Cast. How could you?
Oh, Amber. You have so easily dismissed the band that produced The Curtain Hits the Cast. How could you?
I was and I did.
I was and I did.
Untrue by Burial I get. Beyond that I don’t think I need anymore dubstep.
Untrue by Burial I get. Beyond that I don’t think I need anymore dubstep.
And Things We Lost in the Fire. That album. Goddamn.
And Things We Lost in the Fire. That album. Goddamn.
I could definitely lose most of those bands and not feel too bad. Godspeeds’ biggest album was 2000 and Cat Powers best stuff is in the 00s as well.
Can’t really fuck with Viva Last Blues, though overall Will Oldham has done better stuff int he 00s. (actually I just looked it up and I see a darkness was 99 so maybe he is more split between the two decades.)
90s certainly weren’t devoid of good music, but I think both the 00s and 80s were better.
I could definitely lose most of those bands and not feel too bad. Godspeeds’ biggest album was 2000 and Cat Powers best stuff is in the 00s as well.
Can’t really fuck with Viva Last Blues, though overall Will Oldham has done better stuff int he 00s. (actually I just looked it up and I see a darkness was 99 so maybe he is more split between the two decades.)
90s certainly weren’t devoid of good music, but I think both the 00s and 80s were better.
No, no–don’t get me wrong, I like Low a lot. I meant I hate how every other indie band has to have a similar, low-fi vibe now. Low’s the original, no doubt.
No, no–don’t get me wrong, I like Low a lot. I meant I hate how every other indie band has to have a similar, low-fi vibe now. Low’s the original, no doubt.
Though, Lee, The Flaming Lips released Yoshimi in 2002. Belle and Sebastian is also split, yeah. Not sure why I’m typing these words. hah
Though, Lee, The Flaming Lips released Yoshimi in 2002. Belle and Sebastian is also split, yeah. Not sure why I’m typing these words. hah
Yeah, I think most Radiohead fans try to forget about ‘Hail to the Thief’.
Yeah, I think most Radiohead fans try to forget about ‘Hail to the Thief’.
No one has mentioned Hot Fuss. It’s still a great album, despite it being totally overplayed and The Killers completely sucking afterwards.
No one has mentioned Hot Fuss. It’s still a great album, despite it being totally overplayed and The Killers completely sucking afterwards.
I was seventeen when it came out, though. Might be biased. It seemed seminal. I thought they’d go on to do great things. (Whoops.)
I was seventeen when it came out, though. Might be biased. It seemed seminal. I thought they’d go on to do great things. (Whoops.)
And the point is that Deerhunter, Caribou & Deerhoof suck. How many fucking ungulate species can one decade tap for band names? Ugh
And the point is that Deerhunter, Caribou & Deerhoof suck. How many fucking ungulate species can one decade tap for band names? Ugh
agreed. i could lose all of those listed except for belle & sebastian, the flaming lips and cat power, and all three released their best albums in the ’00s. i would also like to go on the record that i don’t like pavement at all and i don’t get what anyone sees in them. lame as hell (also white as hell), bad singing, mediocre or worse songwriting.
agreed. i could lose all of those listed except for belle & sebastian, the flaming lips and cat power, and all three released their best albums in the ’00s. i would also like to go on the record that i don’t like pavement at all and i don’t get what anyone sees in them. lame as hell (also white as hell), bad singing, mediocre or worse songwriting.
kevin barnes intentionally made the song structures unusual and unpredictable, but they still manage to be insanely catchy pop songs. are we hearing the same music? “an eluardian instance” is one of the greatest and most touching of their songs. “gallery piece” is catchy and wonderful (brilliant and unexpected use of distorted guitar)—didja miss that one? “nonpareil of favor” is another of montreal classic (are you serious guys?!) “beware our nubile miscreants” is a genius production and funny. “wicked wisdom” is a sweet little song and then morphs into something unhinged and bizarre. i swear if you listen to it enough, even the wackiest songs start to make musical sense, and you realize that kevin barnes can do Whatever He Wants as a songwriter. the album is playful, it has creativity for days, it can be tongue-in-cheek one moment and then perfectly earnest the next. if you’re new to of montreal, you do have to adjust to the disco-in-a-bag surface aesthetic that is his bread and butter nowadays, but once you do, these are such great and unique songs. and “hissing fauna, are you the destroyer?” is an even better album. of montreal isn’t for everyone, i guess, but if you do like them at all, they produced two near-masterpieces in a row at the end of this decade. as jon brion put it: “i think he [kevin barnes] is the best thing going these days…he’s laying out his neuroses and things he would think are uncool as well as the things he thinks are cool…there aren’t that many things where you hear it and you go, ‘oh, this isn’t just your impression of the archetype of being an artist’…by far the best thing coming out in the world right now.”
http://www.youtube.com/watch?v=qnhbHFgagIM
kevin barnes intentionally made the song structures unusual and unpredictable, but they still manage to be insanely catchy pop songs. are we hearing the same music? “an eluardian instance” is one of the greatest and most touching of their songs. “gallery piece” is catchy and wonderful (brilliant and unexpected use of distorted guitar)—didja miss that one? “nonpareil of favor” is another of montreal classic (are you serious guys?!) “beware our nubile miscreants” is a genius production and funny. “wicked wisdom” is a sweet little song and then morphs into something unhinged and bizarre. i swear if you listen to it enough, even the wackiest songs start to make musical sense, and you realize that kevin barnes can do Whatever He Wants as a songwriter. the album is playful, it has creativity for days, it can be tongue-in-cheek one moment and then perfectly earnest the next. if you’re new to of montreal, you do have to adjust to the disco-in-a-bag surface aesthetic that is his bread and butter nowadays, but once you do, these are such great and unique songs. and “hissing fauna, are you the destroyer?” is an even better album. of montreal isn’t for everyone, i guess, but if you do like them at all, they produced two near-masterpieces in a row at the end of this decade. as jon brion put it: “i think he [kevin barnes] is the best thing going these days…he’s laying out his neuroses and things he would think are uncool as well as the things he thinks are cool…there aren’t that many things where you hear it and you go, ‘oh, this isn’t just your impression of the archetype of being an artist’…by far the best thing coming out in the world right now.”
http://www.youtube.com/watch?v=qnhbHFgagIM
there’s nothing wrong with incorporating existing ideas into a new artistic whole, blake, you know that. joyce and a million others did it in literature, and radiohead did it with Kid A. so i don’t see how they are taking music backwards. aphex twin already existed when the album came out, and thom yorke liked them and borrowed from them—that doesn’t mean he took music backwards, that means he did what all great artists do—he poured what he liked and parts of himself into his work. and the beatles, while rightfully in thrall to, variously, blues, rock ‘n roll, Indian, and many others styles of music and individual artists and bands, nonetheless took music forward, if you really must use that terminology for music. there is no actual artistic progress forward, you know that. it’s all cycles and it’s all one. what’s significant is when a work of art strikes you just so, when it does something that does something to you, when it’s emotionally true or technically clever or yadayada. i can understand if Kid A didn’t do it for you, and amnesiac does have great and more conventionally appealing songs, but i think what people appreciate with radiohead is the thrill of an almost meditative sensibility in music—especially on “Kid A” and “In Rainbows,” Radiohead sounds like a sad human being floating in the astral ether or racing through a technological wasteland, sometimes gentle sometimes angry, but always unmistakably human.
“Yesterday I woke up sucking a lemon…Everything in its right place” There’s a start for a great short story.
there’s nothing wrong with incorporating existing ideas into a new artistic whole, blake, you know that. joyce and a million others did it in literature, and radiohead did it with Kid A. so i don’t see how they are taking music backwards. aphex twin already existed when the album came out, and thom yorke liked them and borrowed from them—that doesn’t mean he took music backwards, that means he did what all great artists do—he poured what he liked and parts of himself into his work. and the beatles, while rightfully in thrall to, variously, blues, rock ‘n roll, Indian, and many others styles of music and individual artists and bands, nonetheless took music forward, if you really must use that terminology for music. there is no actual artistic progress forward, you know that. it’s all cycles and it’s all one. what’s significant is when a work of art strikes you just so, when it does something that does something to you, when it’s emotionally true or technically clever or yadayada. i can understand if Kid A didn’t do it for you, and amnesiac does have great and more conventionally appealing songs, but i think what people appreciate with radiohead is the thrill of an almost meditative sensibility in music—especially on “Kid A” and “In Rainbows,” Radiohead sounds like a sad human being floating in the astral ether or racing through a technological wasteland, sometimes gentle sometimes angry, but always unmistakably human.
“Yesterday I woke up sucking a lemon…Everything in its right place” There’s a start for a great short story.
but you don’t like dance music or the beatles, and that, plus like prince, basically equals of montreal. man, i feel really bad for someone who doesn’t like the beatles or dance music but likes “post-hardcore” bands.
but you don’t like dance music or the beatles, and that, plus like prince, basically equals of montreal. man, i feel really bad for someone who doesn’t like the beatles or dance music but likes “post-hardcore” bands.
deerhoof doesn’t suck at all. evidence below. but agree on the annoying overuse of animal species in band names this decade (also see: wolf).
http://www.youtube.com/watch?v=dEjO6qbDIfs
deerhoof doesn’t suck at all. evidence below. but agree on the annoying overuse of animal species in band names this decade (also see: wolf).
http://www.youtube.com/watch?v=dEjO6qbDIfs
more evidence for the greatness of Deerhoof:
http://www.youtube.com/watch?v=M7Iv97BS8EQ
http://www.youtube.com/watch?v=V8zbx_VIPNU
http://www.youtube.com/watch?v=RO72lyZO-_Q
more evidence for the greatness of Deerhoof:
http://www.youtube.com/watch?v=M7Iv97BS8EQ
http://www.youtube.com/watch?v=V8zbx_VIPNU
http://www.youtube.com/watch?v=RO72lyZO-_Q
Sun City Girls’ “Torch of the Mystics” (1990), “Kaliflower,” (1993), and “330,003 Crossdressers from Beyond the Rig Veda” (1995) are unbeatable — some of the most uniquely ecstatic ethnoforgery freak rock of any decade, especially Torch of the Mystics, which won’t leave anyone cold as blue fork:
http://experimentaletc.blogspot.com/2007/12/sun-city-girls-pt1-8495.html
The first track off Kaliflower, “X + Y = Fuck You”:
http://www.last.fm/music/Sun+City+Girls/_/X%252BY%253D%2BFuck%2BYou
Sun City Girls’ “Torch of the Mystics” (1990), “Kaliflower,” (1993), and “330,003 Crossdressers from Beyond the Rig Veda” (1995) are unbeatable — some of the most uniquely ecstatic ethnoforgery freak rock of any decade, especially Torch of the Mystics, which won’t leave anyone cold as blue fork:
http://experimentaletc.blogspot.com/2007/12/sun-city-girls-pt1-8495.html
The first track off Kaliflower, “X + Y = Fuck You”:
http://www.last.fm/music/Sun+City+Girls/_/X%252BY%253D%2BFuck%2BYou
Complete SCG discography, mostly ’90s:
http://experimentaletc.blogspot.com/search/label/Sun%20City%20Girls
Complete SCG discography, mostly ’90s:
http://experimentaletc.blogspot.com/search/label/Sun%20City%20Girls
Deerhoof is fantastic. Caribou is pretty good too.
Deerhoof is fantastic. Caribou is pretty good too.
I think that on the indie rock/alternative/hip-hop front, Blake, you’re completely correct. All of 00’s great music in those genres has it’s true referent in the 90’s.
But to ignore or not really address dance/electronic music in the 00’s is to miss out on a awful lot. 00’s got the best Daft Punk album, got Dubstep, the re-emergence of two-step, jungle, and house, which then all got mashed together so violently and chaotically that those signifiers don’t mean shit anymore. French house, a la justice, daft punk, air, etc, all came into a big spotlight. Grime got big – we got Dizzee Rascal out of it.
Some of these electronic movements may have started in the nineties with D’n’B, but they hit their stride in 2000’s, and are extremely far removed.
Orchestral/Chamber pop, for better or worse, was kind of a unique invention for the 00’s. Gave us Arcade Fire, Grizzly Bear, Antony and the Johnsons, etc. What about Noise?
The word “raw” is kind of nonsense. I love the nineties, they were my formative years for music I think, but to say that the 90’s were more original and raw-er (or even better) than the 00’s is to ignore large genres and subgenres. And you can not like them, and you can disagree with the aesthetics of ’em, absolutely, but to say that music in this decade involved less work and is “blanker” is to immediately discount electronics, noise, grime, dubstep, a whole lot of really good metal, a whole new approach to pop music, an entirely new construction of dance music, and so much other stuff. and that might not be a judgment I can take seriously.
p.s. goddamn is skeletal lamping an awful fucking album
I think that on the indie rock/alternative/hip-hop front, Blake, you’re completely correct. All of 00’s great music in those genres has it’s true referent in the 90’s.
But to ignore or not really address dance/electronic music in the 00’s is to miss out on a awful lot. 00’s got the best Daft Punk album, got Dubstep, the re-emergence of two-step, jungle, and house, which then all got mashed together so violently and chaotically that those signifiers don’t mean shit anymore. French house, a la justice, daft punk, air, etc, all came into a big spotlight. Grime got big – we got Dizzee Rascal out of it.
Some of these electronic movements may have started in the nineties with D’n’B, but they hit their stride in 2000’s, and are extremely far removed.
Orchestral/Chamber pop, for better or worse, was kind of a unique invention for the 00’s. Gave us Arcade Fire, Grizzly Bear, Antony and the Johnsons, etc. What about Noise?
The word “raw” is kind of nonsense. I love the nineties, they were my formative years for music I think, but to say that the 90’s were more original and raw-er (or even better) than the 00’s is to ignore large genres and subgenres. And you can not like them, and you can disagree with the aesthetics of ’em, absolutely, but to say that music in this decade involved less work and is “blanker” is to immediately discount electronics, noise, grime, dubstep, a whole lot of really good metal, a whole new approach to pop music, an entirely new construction of dance music, and so much other stuff. and that might not be a judgment I can take seriously.
p.s. goddamn is skeletal lamping an awful fucking album
Yep, the whole damned Carnival Folklore Resurrection series, esp. “Libyan Dream” is amazing, not to mention the ridiculously eclectic “Box of Chameleons,” not to mention all the videos that bring out the performance elements, masks and instruments gathered from all over the world.
Yep, the whole damned Carnival Folklore Resurrection series, esp. “Libyan Dream” is amazing, not to mention the ridiculously eclectic “Box of Chameleons,” not to mention all the videos that bring out the performance elements, masks and instruments gathered from all over the world.
I think I like the 00s just fine because I’ve enjoyed trading in most of my straightup rock sounds for intricate, fey hybrids. And there was a steady diet of interesting (and even great) music, even if, perhaps, fewer towering monuments of musical achievement. Artists of earlier decades who arguably did their best work in the 00s: Boards of Canada, Fennesz, Bill Callahan, The Mountain Goats, Radiohead, Broadcast, Mouse on Mars. It’s a bit of a bloodless group, but you couldn’t really say that about Kevin Drumm or Prurient (or Jenny Toomey, Jack Rose (RIP), or the Reigning Sound). There was blood, just not everywhere.
Jim O’Rourke could be the epitome of the 00s in some sense — a technically accomplished musician and producer of self-conscious, mongrel, semi-improvised forms. Music became more fine-tuned in the 00s, as it ceded most of its large-frame cultural relevance to the rush of celebrity and to television and commercial advertising. It became more of a fragmented, niche product because of the internet. So, english-language pop-alt music may have been diminished in ability to achieve monolithic greatness, but has come to fill a more fine-grained space. Time will tell the impact of this atomization, and the generation’s (and its music’s) inclination to self-consciousness, but then this too shall pass.
I think I like the 00s just fine because I’ve enjoyed trading in most of my straightup rock sounds for intricate, fey hybrids. And there was a steady diet of interesting (and even great) music, even if, perhaps, fewer towering monuments of musical achievement. Artists of earlier decades who arguably did their best work in the 00s: Boards of Canada, Fennesz, Bill Callahan, The Mountain Goats, Radiohead, Broadcast, Mouse on Mars. It’s a bit of a bloodless group, but you couldn’t really say that about Kevin Drumm or Prurient (or Jenny Toomey, Jack Rose (RIP), or the Reigning Sound). There was blood, just not everywhere.
Jim O’Rourke could be the epitome of the 00s in some sense — a technically accomplished musician and producer of self-conscious, mongrel, semi-improvised forms. Music became more fine-tuned in the 00s, as it ceded most of its large-frame cultural relevance to the rush of celebrity and to television and commercial advertising. It became more of a fragmented, niche product because of the internet. So, english-language pop-alt music may have been diminished in ability to achieve monolithic greatness, but has come to fill a more fine-grained space. Time will tell the impact of this atomization, and the generation’s (and its music’s) inclination to self-consciousness, but then this too shall pass.
You could also say that David Sylvian has done his best work in the 00s (and followed the trajectory I outlined above). If you don’t agree, then the 00s may not have really worked for you.
You could also say that David Sylvian has done his best work in the 00s (and followed the trajectory I outlined above). If you don’t agree, then the 00s may not have really worked for you.
man, this curtis white article—while it has good points and rightfully takes nick hornby to task for his review of Kid A, which apparently totally missed the boat—this article has that misguided, smug disdain for “philistines” that seems to be Dalkey Archive’s personal trademark. i agree that many people read and listen to and watch entirely too much crap if they any interest in being moved and transformed by art in this lifetime. but the Adorno idea that “whoever concretely enjoys artworks is a philistine” is, quite simply, bunk. yes, there are “surface pleasures” and “deeper pleasures.” yes, some people (theoretically) “don’t get” art like other people “get art.” but the charge of philistinism in this manner is really silly, like the art-world equivalent of McCarthyism. i will never understand how so many people who are well-read and thoughtful and progressive in so many other ways still have this need to smugly dismiss huge swathes, in fact nearly everyone, from the Great Table of True Art. one begins to wonder what would constitute “real, uncompromising art” for these people. and what’s the point of making or appreciating such art? illusory supremacy over the mere mortal philistines who go to an art movie, and OH MY GOD, enjoy it! that’s so hilarious that they enjoyed the Wong Kar-Wai movie, they’re philistines! so far my mental checklist for Real Art includes the following: 1. If it can be “actually enjoyed,” it’s not Art; 2. If it’s for sale, it’s not Art; 3. If it’s politically engaged in a direct way, it’s not Art… And there are lots more rules. Some other Dalkey friends, like William H. Gass, will also tell you that the art doesn’t or shouldn’t say anything or mean anything but just be words on a page artfully done (although he contradicts himself both in critique and example throughout his career (and Gass’ favorite author ever, more or less, Rainer Maria Rilke, had sooo much to say and meant a whole lot by what he wrote)).
man, this curtis white article—while it has good points and rightfully takes nick hornby to task for his review of Kid A, which apparently totally missed the boat—this article has that misguided, smug disdain for “philistines” that seems to be Dalkey Archive’s personal trademark. i agree that many people read and listen to and watch entirely too much crap if they any interest in being moved and transformed by art in this lifetime. but the Adorno idea that “whoever concretely enjoys artworks is a philistine” is, quite simply, bunk. yes, there are “surface pleasures” and “deeper pleasures.” yes, some people (theoretically) “don’t get” art like other people “get art.” but the charge of philistinism in this manner is really silly, like the art-world equivalent of McCarthyism. i will never understand how so many people who are well-read and thoughtful and progressive in so many other ways still have this need to smugly dismiss huge swathes, in fact nearly everyone, from the Great Table of True Art. one begins to wonder what would constitute “real, uncompromising art” for these people. and what’s the point of making or appreciating such art? illusory supremacy over the mere mortal philistines who go to an art movie, and OH MY GOD, enjoy it! that’s so hilarious that they enjoyed the Wong Kar-Wai movie, they’re philistines! so far my mental checklist for Real Art includes the following: 1. If it can be “actually enjoyed,” it’s not Art; 2. If it’s for sale, it’s not Art; 3. If it’s politically engaged in a direct way, it’s not Art… And there are lots more rules. Some other Dalkey friends, like William H. Gass, will also tell you that the art doesn’t or shouldn’t say anything or mean anything but just be words on a page artfully done (although he contradicts himself both in critique and example throughout his career (and Gass’ favorite author ever, more or less, Rainer Maria Rilke, had sooo much to say and meant a whole lot by what he wrote)).
There is quite a bit here to be discussed.
I realize this is predominatly a Rock thing that’s going on, but to mention a few events.
Rap in the 90’s it’s commercialism and integration of now.
the indie movement who’s ground-zero lies in Cali, where they constantly proclaim themselfs as authentic, and “accept everything” without good knowledge of any particular.
“electro-pop-rap-rock-cali mash-up.”
The sophistication of electroinc sounds, and evolution of the music. which I am glad that
There is quite a bit here to be discussed.
I realize this is predominatly a Rock thing that’s going on, but to mention a few events.
Rap in the 90’s it’s commercialism and integration of now.
the indie movement who’s ground-zero lies in Cali, where they constantly proclaim themselfs as authentic, and “accept everything” without good knowledge of any particular.
“electro-pop-rap-rock-cali mash-up.”
The sophistication of electroinc sounds, and evolution of the music. which I am glad that
Jon touched upon and who’s list I found quite tasteful.
There’s alot there to talk about.
sorry about the split post.
Jon touched upon and who’s list I found quite tasteful.
There’s alot there to talk about.
sorry about the split post.
“Jim O’Rourke could be the epitome of the 00s in some sense”
– excellent point
o’rourke’s ’95 record “tamper” also pre-dated a lot of the minimalism and soundscaping to follow in the late 90’s and early 00’s–and in my mind no on really improved on it, except maybe keith fullerton whitman.
“Jim O’Rourke could be the epitome of the 00s in some sense”
– excellent point
o’rourke’s ’95 record “tamper” also pre-dated a lot of the minimalism and soundscaping to follow in the late 90’s and early 00’s–and in my mind no on really improved on it, except maybe keith fullerton whitman.
KFW’s “playthroughs” would be on my top 10 of the 00’s for sure
Just alot. I don’t think I could decide. even if we were only speaking of “bands”
It really is just too much, alot of which I have neglected to mention.
KFW’s “playthroughs” would be on my top 10 of the 00’s for sure
Just alot. I don’t think I could decide. even if we were only speaking of “bands”
It really is just too much, alot of which I have neglected to mention.
And KFW’s Mimaroglu online record store is also pretty darn important in its own way. Record store of the 00s?
And KFW’s Mimaroglu online record store is also pretty darn important in its own way. Record store of the 00s?
Ah. Okay. Then I forgive you, Amber.
(Though, I actually think For Emma, Forever Ago is a really wonderful album. And Grizzly Bear’s Yellow House is, too.)
Ah. Okay. Then I forgive you, Amber.
(Though, I actually think For Emma, Forever Ago is a really wonderful album. And Grizzly Bear’s Yellow House is, too.)
I feel the same as Blake. Everything Lee has said also holds.
Over saturation of music is affecting our ears. Every store you walk into, ever commercial, every free moment is colored with a pop song, our new ears.
I feel the same as Blake. Everything Lee has said also holds.
Over saturation of music is affecting our ears. Every store you walk into, ever commercial, every free moment is colored with a pop song, our new ears.
Pavement are a hoax.
Pavement are a hoax.
God bless basic comment-board agreeance, Mr Tim.
“fuck em down a one-way throat / I deal a stick / yeah just gimme some of that / hitler coke / I deal a stick yeah ya better believe it”
God bless basic comment-board agreeance, Mr Tim.
“fuck em down a one-way throat / I deal a stick / yeah just gimme some of that / hitler coke / I deal a stick yeah ya better believe it”
and Lux Interior from The Cramps died. That sucks too.
and Lux Interior from The Cramps died. That sucks too.
point well taken. i was just being antagonistic. thanks stephen (let’s start a band: antlerhornhoof)
point well taken. i was just being antagonistic. thanks stephen (let’s start a band: antlerhornhoof)
A few albums from the oo’s:
Battles: Mirrored
Sunn 0))): Monoliths and Dimensions
Animal Collective: Merriwether Post Pavilion
Both HEALTH albums.
Thought these were all pretty sweet.
A few albums from the oo’s:
Battles: Mirrored
Sunn 0))): Monoliths and Dimensions
Animal Collective: Merriwether Post Pavilion
Both HEALTH albums.
Thought these were all pretty sweet.
I just found the energy to read through this. How did no one mention The Moon & Antarctica? (Modest Mouse). Not everyone loves their post-Antarctica work and fair enough, but come on people. Come on.
I just found the energy to read through this. How did no one mention The Moon & Antarctica? (Modest Mouse). Not everyone loves their post-Antarctica work and fair enough, but come on people. Come on.
A few scenically overlooked, at least here.
-Steve Wynn’s “Here Come the Miracles”–insanely sprawling double-bill, all things Americana twitching and seething (sample lyric: “We’re gonna raise up the ghosts of the Topanga Canyon freaks”).
-Hannah Marcus’s “Desert Farmers”–Take Godspeed orchestral stuff and enclose it in a room with singer-songwriter folk-strum (Rick Moody wrote a bunch of the lyrics, taken from Purple America).
-The National’s “Alligator.” Yes, I know they’re fairly mainstream. But still. (favorite lyric: “Idle idle idle idle. Protect the nest, protect the title.”).
-TV on the Radio’s “Desperate Youth, Blood Thirsty Babes.” If you’re going to have one or two chords repeat through your songs, you’d better be doing plenty of other stunning things. They do. (sample lyrics: “Oh loiterers united / Indivisible by shame / Hungry for those diamonds /Served on little severed bloody brown hands / Oh the bling drips / Oh the bling drips down /Fallin’ down just like rain.”
-I’m Not Jim’s “You Are All my People.” Well I’ll be, Jonathan Lethem is in a band. And the music is simple and straightforward, and amazing, and varied. ‘Course Lethem brings his word-stuff: I’m gonna floss ’til my gums bleed /I’m gonna sit where the cat peed.”
It’s all good.
A few scenically overlooked, at least here.
-Steve Wynn’s “Here Come the Miracles”–insanely sprawling double-bill, all things Americana twitching and seething (sample lyric: “We’re gonna raise up the ghosts of the Topanga Canyon freaks”).
-Hannah Marcus’s “Desert Farmers”–Take Godspeed orchestral stuff and enclose it in a room with singer-songwriter folk-strum (Rick Moody wrote a bunch of the lyrics, taken from Purple America).
-The National’s “Alligator.” Yes, I know they’re fairly mainstream. But still. (favorite lyric: “Idle idle idle idle. Protect the nest, protect the title.”).
-TV on the Radio’s “Desperate Youth, Blood Thirsty Babes.” If you’re going to have one or two chords repeat through your songs, you’d better be doing plenty of other stunning things. They do. (sample lyrics: “Oh loiterers united / Indivisible by shame / Hungry for those diamonds /Served on little severed bloody brown hands / Oh the bling drips / Oh the bling drips down /Fallin’ down just like rain.”
-I’m Not Jim’s “You Are All my People.” Well I’ll be, Jonathan Lethem is in a band. And the music is simple and straightforward, and amazing, and varied. ‘Course Lethem brings his word-stuff: I’m gonna floss ’til my gums bleed /I’m gonna sit where the cat peed.”
It’s all good.
I get really tired of the ‘sleepy indie’ shit.
I get really tired of the ‘sleepy indie’ shit.
Converge has put out some mediocre stuff this decade. “No Heroes” was very disappointing to me, and the for me the best track on “You Fail Me” was an acoustic tune, but “Jane Doe” (2001) is probably their opus. It’s pretty intense and poetic from beginning to end.
Gorguts deserves mention, but I am very partial to The Dillinger Escape Plan. They seem to always be a band in transition, but they have put out some solid stuff, particularly the EP with Mike Patton, and “Ire Works.” They are probably best known for “pioneering” the “math metal” sound, but I find that genre designation to be stupid, and they weren’t the first to push the envelope, but they certainly do it well.
I think Pig Destroyer’s “Terrifier” is a great piece of sonic art. That is if you enjoy grind.
On a different note, Q-Tip’s much delayed project, Kamaal the Abstract:
http://en.wikipedia.org/wiki/Kamaal/The_Abstract
… has finally seen the light of day, and it’s one of my favorite records ever.
Converge has put out some mediocre stuff this decade. “No Heroes” was very disappointing to me, and the for me the best track on “You Fail Me” was an acoustic tune, but “Jane Doe” (2001) is probably their opus. It’s pretty intense and poetic from beginning to end.
Gorguts deserves mention, but I am very partial to The Dillinger Escape Plan. They seem to always be a band in transition, but they have put out some solid stuff, particularly the EP with Mike Patton, and “Ire Works.” They are probably best known for “pioneering” the “math metal” sound, but I find that genre designation to be stupid, and they weren’t the first to push the envelope, but they certainly do it well.
I think Pig Destroyer’s “Terrifier” is a great piece of sonic art. That is if you enjoy grind.
On a different note, Q-Tip’s much delayed project, Kamaal the Abstract:
http://en.wikipedia.org/wiki/Kamaal/The_Abstract
… has finally seen the light of day, and it’s one of my favorite records ever.