Listen to 1000 albums.

Rood said:
fair enough - never heard of them and have no idea what to expect - will give it a listen right now

Edit: Completely unexpectedly I actually quite liked it - psychadelic!
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Ivor Ballokov said:
Listened to this last night before bed and I didn't like it at all until the final track. The vocals reminded me of some of The Beatles stuff which possibly distracted me but I found my mind wandering to other things and hoping the songs would hurry up and finish.
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I was surprised with how much i liked it, i just seen it on a whim.
 
Future Sound Of London - Lifeforms (1994)

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Lifeforms - The Future Sound Of London - Spotify

Allmusic.com review:
Having indulged in more explicitly ambient realms with the Amorphous Androgynous side project, FSOL returned to full action with Lifeforms, a double-disc effort that ranks as one of the best experimental techno releases of the '90s. If not as immediately memorable on a song per song basis as, say, Aphex Twin's Selected Ambient Works collections, as an overall piece, Lifeforms makes for an inventive, fascinating aural experience, as rich and detailed as the Orb's best work. Where FSOL differs from that band in particular is the comparative lack of overt humor and less immediate desire to make people groove -- this is something to listen to rather than necessarily dance to. In comparison to Accelerator, this is an extremely subtle listen, with rhythms generally buried in the mix, serving the melodies rather than vice versa. In comparison to the upfront breaks and steady house beats just two years previous, here they're stuttered, echoed, often approaching dub in pace and impact. Meanwhile, the space-alien bubbles and noises and haunting tones take to the fore, making for a disorienting, evocative experience, a mix of natural sounds and artificial elements much like the band's own artwork. Even the singles, "Cascade" and "Lifeforms," play down the beat. The one for "Cascade" is barely there, swooping samples and soft synth hooks to the fore, while "Lifeforms," for its comparatively more direct impact, relies as much on its keyboard swell and chiming melody as much as the complex overlay of rhythms. There are a few guest appearances here and there, but they're mostly notable for how the band incorporate them instead of letting them stand out -- Robert Fripp's guitar on "Flak," Talvin Singh's tablas on "Life Form Ends," and Toni Halliday from Curve doing a "vocal texture" on "Cerebral."

I actually wanted to post Aphex Twin's Selected Ambient Works as the all time classic of this genre, but there are no Aphex Twin albums on Spotify so second choice was this. It is a double disc ambient extravaganza!
 
Future Sound of London - Not something I'd normally listen to, and I did find it a bit... lacking. But it made for good background music while working... Think it's the electronics I don't like, it just lacked any emotion for me, so it was kind of soothing without ever being pleasant.

Slayer - Definitely not for me, I like loud angry music but this was more aggressive than it was angry. It lacked beauty, and in a weird way it lacked energy, the lack of variation just made it all very dull quite quickly.

Galaxie 500 - Great album, though always preferred Today. Their live album, Copenhagen, is also wonderful.
 
I used to enjoy Today more, but I have gravitated towards On Fire over the years. I think it is their best record.

Do you have the DVD set they released?
 
Flying Lotus: Took me a while to get into this, a good 5 or 6 tracks before it started to resemble anything enjoyable if I'm honest, but when it did it was actually pretty good. Not great, and to be fair it probably suffered from me having to play each track rather than be able to just listen through in full (I get the feeling this album needs to 'flow' to get the full enjoyment), but it's something I think I'll try again. Maybe it just took me a while to click but, on first listen, the first 3 or 4 tracks sounded completely dispensable.
 
Death In Vegas: Another one that started poorly for me. It sounded very dated and quite boring early on but got more interesting about half way through. The last few tracks were much better.

The Walkmen: The sound reminds me of someone else but I haven't a clue who. Quite nice, although nothing really stood out as brilliant. Good enough to warrant another listen though, for sure.
 
decorativeed said:
I used to enjoy Today more, but I have gravitated towards On Fire over the years. I think it is their best record.

Do you have the DVD set they released?
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No, was tempted when it came out but was a poor student. Did you ever get into any of Luna's stuff post Galaxie-500? Was a lot poppier, but The Days of Our Nights (in particular) had some good songs on it
 
SecondFig said:
Slayer - Definitely not for me, I like loud angry music but this was more aggressive than it was angry. It lacked beauty, and in a weird way it lacked energy, the lack of variation just made it all very dull quite quickly.
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It wasn't the best of choices to be fair. Slayer made far better albums in the year's that followed this rather average debut. And for anger and energy try Riot of Violence by Kreator from the same sort of period.
 
Opinions, that Slayer's album is the (only) one I like of 'em, "the antichrist", "die by the sword", "crionics" are masterpiece of thrash metal

Thrash metal was born with that album and Kill 'em all
 
...and you will know us by the trail of dead - Source Tags & Codes (2002)

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Spotify
Last FM

1. "Invocation" – 1:32
2. "It Was There That I Saw You" – 3:57
3. "Another Morning Stoner" – 4:33
4. "Baudelaire" – 4:16
5. "Homage" – 3:29
6. "How Near How Far" – 3:55
 7. "Life is Elsewhere" - 0:55
8. "Heart in the Hand of the Matter" – 4:48
9. "Monsoon" – 5:53
10. "Days of Being Wild" – 3:27
11. "Relative Ways" – 4:03
12. "After the Laughter" – 1:15
13. "Source Tags & Codes" – 6:08
14. "Blood Rites" – 1:58


Review from Pitchfork:
...And You Will Know Us by the Trail of Dead
Source Tags and Codes
10/10

Some music begs to be explored. Promising fascination and intrigue beyond your wildest dreams, its distant melodies beckon you towards it while you try your very best to discern every distinct element that presents itself to you. As you get closer and closer, you begin to relax, letting yourself become completely enveloped by the entrancing tones.

Of course, it's all a trap. Just as you begin to lose yourself, you become vaguely aware that the sound that soothingly beckoned you has now transformed into something vastly different-- something powerful, dangerous, and merciless. What was so beautiful at a safe distance is still beautiful, but what was once tranquil and peaceful has metamorphosed into a vicious, violent glory. Before you can even respond, you're flat on your back, pulverized by its sheer force.

Making music that is both delicate and dangerous requires a level of skill that most musicians can barely even fathom. While some bands, like the Microphones, succeed at capturing the simultaneous beauty and rage of nature, what And You Will Know Us by the Trail of Dead have encapsulated on their third full-length, Source Tags and Codes, is something distinctly human. Anger has always played a central role in the band's music, but with this record, they've finally managed to capture all the subtle shades of disappointment, melancholy, frustration and hope that often accompany it.

Of course, capturing all this with music is no small feat. Source Tags and Codes is massive in its execution, bursting with layered percussion, deftly arranged strings and, most importantly, songs that are simply epic. "It Was There That I Saw You" opens the album with squealing static and a clean guitar playing a simple, tickling figure. There's a palpable sense of excitement as the song suddenly explodes into a frenetic blast of crashing cymbals, screeching guitars, and thumping bass. Amidst the swell of sound, Conrad Keely's voice takes on a sharp, almost crystalline quality that cuts through the mix with biting force.

"Another Morning Stoner" mimics "It Was There That I Saw You" in its opening moments, but rather than exploding with pure energy, it builds slowly and deliberately to an absolutely astonishing finale. Melodic guitar lines ricochet back and forth, brought to new sonic elevations by soaring string arrangements. The call-and-response section that finishes the song, in which two members of the band exchange the phrases, "What is forgiveness?/ It's just a dream/ What is forgiveness?/ It's everything," is one of many absolutely indelible moments on Source Tags and Codes.

"Baudelaire" follows the haunting "Another Morning Stoner" with a blast of pure rock and roll. Catchy and incredibly sinister, "Baudelaire" builds upon a central, immensely powerful guitar and trumpet riff with handclaps, driving percussion, and barely audible voices engaged in conversation. Eventually, the song trails off into a single submerged guitar line accentuated by reverb-soaked bells.

Just as the hypnotic ending to "Baudelaire" pulls you into a trance, "Homage" picks you up by the hair, smacks you around, spits in your face, and leaves you gasping for breath, before imploding into a symphony of static. "How Near How Far" and "Heart in the Hand of the Matter" are the highlights of Source Tags and Codes' center, utterly alive with energy and texture. "How Near How Far" uses vocal harmonies and strings to reinforce a sense of violent melancholy, and the unforgettable chorus to "Heart in the Hand of the Matter" ("I'm so damned, I can't win") is enlivened by the contrast between gritty guitars and clear, ringing piano.

After another expertly produced segue, "Monsoon" pulls together the rock swagger of "Baudelaire" and the sentimentality of "Heart in the Hand of the Matter" to wonderful effect. The songwriting on Source Tags and Codes is inconceivably elegant-- never predictable, but never gratuitously dissonant. Parts of songs wind seamlessly into each other, each one full of brilliant sonic nuances that are every bit as compelling when taken as part of the entire song as when examined individually. Fragmented feedback heralds the arrival of "Days of Being Wild," a song that hosts some of the most creative instrumental interplay to grace this album, before building to yet another utterly awe-inspiring finale.

Source Tags and Codes is an album big on finales-- thus, it makes sense that its three final tracks are quite possibly its best. "Relative Ways," which was released earlier this year as a single, is the most exquisitely constructed song here. Conrad Keely's voice breaks and spits as he pleads, "It's okay/ I'm a saint/ I forgave/ Your mistakes." An unexpected chord shift heightens the dramatic tension of the song just in time for it to return to its original theme and fade into "After the Laughter," the only segue on Source Tags and Codes to be given its own track. A stunning concoction of dreamy vocal harmonies, radio noises, pianos and strings, "After the Laughter" is wonderful in its own right, but taking into account the fact that the song perfectly bridges the melodies of "Relative Ways" and the album's closer, "Source Tags and Codes," it seems utterly brilliant.

As with any epic album, Source Tags and Codes demands an epic closer, and the record's title track delivers masterfully. Both a lyrical and melodic high point, "Source Tags and Codes" captures the complex emotions of the album in a brief glimpse of pure paradoxical beauty. A perfect arrangement of the guitars, piano, strings, bells, and percussion that help make this record so intricate and powerful, the song sounds almost like a bittersweet reunion with old friends. A few seconds after last guitar has faded, a string ensemble plays a brief, gorgeous piece that is at once hopeful and somber. The strings end in unison on a single note, which is sustained for a few moments before fading out. The impact is immediate: you know without a moment's doubt that you have just heard something that is absolutely classic.

And while Source Tags and Codes does seem to carry with it a certain knowledge of its own brilliance, it never tries to cheaply impress. Simply put, it doesn't need to. Dense, beautiful, intricate, haunting, explosive, and dangerous, this is everything rock music aspires to be: intense, incredible songs arranged perfectly and performed with skill and passion. Source Tags and Codes will take you in, rip you to shreds, piece you together, lick your wounds clean, and send you back into the world with a concurrent sense of loss and hope. And you will never, ever be the same.

— Matt LeMay, February 28, 2002
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Burndogg said:
Just heard these guys for the first time a few mins ago, gonna listen to bthe whole album now, join me.


Tame Impala

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mate sent me it last year, think its a great EP...cant wait to hear the album which he has just sent also....repetitive riff psychedelia is my type of thang though..
 
Pop Will Eat Itself: This was ok. Nothing really stood out about it though. There were a few moments where I thought there was something good developing but it never really happened.

Malcolm Middleton: Was a little distracted while listening to this one, but there was definitely a lot I enjoyed there. 'A Happy Medium' was surprisingly delightful, despite the downbeat lyrics. I'll listen to this again.
 
Off to see them next week BD. Good choice.
 
Yup. 15 quid for a few horse races followed by Alabama 3. Good times.
 
Phrenology by The Roots
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Spotify link: Phrenology by The Roots
Metacritic Rating: 87/100

Allmusic: "If this really is the future of hip-hop, then the sky is the limit."
Mojo: "The Roots have created another masterpiece."
Blender: "Phrenology is a celebration of self-determination, a nonstop joyride through some very complicated brains."

Genre: Hip Hop
Release Date: November 26, 2002
Running Time: 60:47

Track list:

1. Phrentrow - 0:18
2. Rock You - 3:12
3. !!!!!!! - 0:24
4. Sacrifice - 4:44
5. Rolling with Heat - 3:42
6. Waok (Ay) Rollcall - 1:00
7. Thought @ Work - 4:58
8. The Seed (2.0) - 4:27
9. Break You Off - 7:27
10. Water - 10:24
11. Quills - 4:21
12. Pussy Galore - 4:29
13. Complexity - 4:47
14. Something in the Way of Things (In Town) - 7:16

"They say a record ain't nothing if it's not touching, gripping, draw you in closer make you want to listen to it" -- Black Thought in the album's centerpiece, 'Water'. I would personally rate The Roots as one of the best bands around today, regardless of genre, and this is my favourite of their albums. In the last 17 years, they've consistently released albums of excellent quality (9 albums to date), reaching out to Neo Soul, Jazz, Funk and Rock for inspiration. I've highlighted some of my favourite tracks from the album.
 
Rood said:
Great album - is this the first hiphop album posted in this thread?
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I think I remember somebody posting their latest album actually (which is also excellent), but they posted it during a day when an album had already been posted, so it wasn't counted.
 
Must have missed that - havent heard the newest stuff either - all their albums are well worth a listen in my opinion
 
Rood said:
Must have missed that - havent heard the newest stuff either - all their albums are well worth a listen in my opinion
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Hmm looks like the post has been deleted ... Or I just imagined it? Either way, you should give that one a listen. It's a more calm and subdued effort than their previous couple of albums, but has some of their best production and probably their most accessible collection of songs. The title track is a catchy tune, with some surprisingly good singing from Black Thought;

 
Still nowhere near catching up at the moment, but gave Tame Impala a try, was ok. Very Beatles like vocals at times. Nothing particularly interesting overall though.
 
Are we doing the "only posting albums mon-fri" thing?

And if so, are we not posting an album tonight? (I.e. is tonight Saturday morning or Friday night)
 
I think we should go for that yeah, everyone seemed pretty happy with the concept. It'd make it much easier for people who are struggling to keep up, but we still get plenty of albums over the course of the week.
 
Right since we are on a break, he is some comments on stuff I listened to and liked enough to add to my own collection ...


Ivor Ballokov said:
Album 5: Born under a bad Sign by Albert King
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My knowledge of stuff from before my time is pretty limited. I like this type of blues but just wouldnt know where to start so it is good to discover some classic stuff like this in the thread.


SecondFig said:

Astronautalis - The Mighty Ocean & Nine Dark Theaters
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This is decent - not really that original as Beck had been doing the same hiphopindie thing 10 years earlier but still worth a listen.


Doogie said:
Chemical Brothers - Further (2010)
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Was a big fan of the early Chemicals stuff but then havent really heard their recent stuff as it all got a bit boring.
However this new release is top quality - a complete album that slowly builds with a coherent vibe all the way through - they seemed to become reliant on a few big singles or guest names to sell their last few albums but this is completely different and much better for it.


decorativeed said:
Charles Mingus: Mingus Ah Um
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Like the blues, I do like a bit of jazz and havent really got a clue what to listen to so appreciate the recommendations of stuff like this for when I am in that type of mood.



SecondFig said:
Nero's Day At Disneyland - From Rotting Fantasylands (2009)
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Never heard of this but it is right up my street - experimental electronic madness - love it !


I have listened to a whole of other stuff but Burndogg needs to update the OP as I cant be arsed to go and check back through all the thread to remember it all!!​
 
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