Tag Archives: Facebook

14
Sep

If you get why this is funny, your nerd runs deep AF.

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27
Jun

So much attentive. Much focus. Give lettuce.

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26
May

Everyone loves a good cushion.

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24
May

Thought of the day. Thanks, OGLAF.

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23
May

Watching TV with her, and she’s potatoed up proper. Took the muzzle off, and she’s doing fine. Only putting it on when she’s loose but unattended – same for Aeqo when they are together, for now. Aeqo has been sucking up to us big time, and is super protective of the cats, which is funny.

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6
May

Day 10: The Pogues: Hell’s Ditch This was the first Pogues album I heard- it’s not my favorite, and it’s not even one of their best. But If I hadn’t heard this album, I might never have bought their earlier albums… and everything that came after. See, here’s the thing… Most of the ‘Irish’ music I had been exposed to up to this point was either Danny Kaye lounge bullshit, or stuff that had come out of the folk revival on the American side, and thereby had been sucked dry of its vitality. There’s a reason no-one ever cites the Kingston Trio as a primary influence. The one exception this, really, had been Planxty’s work, which had great versions of a lot of trads, but was more often than not overproduced to the point where it sounded like mediocre acoustic-prog – in a way where the production aesthetically hurt the performance. I loved what Planxty had done, but there were industry expectations about how nearly every record should sound in the 1970s that sterilized it. However… the production and presentation of Hell’s Ditch, and really, most of the early Pogues material is more out the punk and rock tradition. This album showed me a mode of performance where battle hymns and fight songs felt like a fight, not some sterile lounge act unenthusiastically rehashing a standard. So, despite not being a favorite album, it *is* an album that stuck with me, and has had a huge and enduring impact on me – but as an entrypoint, rather than than masterwork. I’m not tagging anyone in on this – instead, I’m just tagging everyone. If you want to play along, post a record a day for 10 days that has stuck with you for a long time.

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5
May

Day 9: The Cult – Sonic Temple. I’ve been listening to this album since it came out. It’s in my top 5 for most listened to records. The production and mixes are amazing everything has space to breathe, and yet it stay right in your face. It’s so much more than I was expecting from a Cult record at the time – they were wandering back and forth between psychedelia and a slightly post-punk gothic sound that thematically flirted with indigenous religions and vague mysticism á la the Doors. Their first 3 albums were unsettled and lacked cohesion. Sonic Temple is a great album that begs for end-to-end playthroughs. It deserves the kind of attentive listening people seem to reserve for give Pink Floyd’s “The Wall”. But really, I need to talk about Billy Duffy’s guitar playing. Mr. Duffy manages to make everything sing, across the whole album. Every tone is carefully sculpted, every note feels right- taken as a whole, this album is a virtuoso performance from one of the 1980s most under appreciated guitarists. Phenomenal album. Absolutely worth spending some time with. Tagging in Frederick Eugene Feeley Jr. and Paul Hoogeveen

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4
May

Day 8: Sieben – Ogham inside the Night/Sex and Wildflowers 10 or so years back,I heard a track from this album, and immediately went and bought this as a double album becuase not only was the song good, but the methodology was fascinating. Matt Howden, the performer of “Sieben”, plays the violin, and a bunch of loopers and effects pedals. Sieben is about live performance, and seriously, he makes it all happen real time. Basically, he builds his songs by stacking musical phrases on top of each other, and performing other manipulations of those passages along the way. The approach is fascinating, but his songwriting is unbelievable. Each of the Sieben albums is written around a unifying theme, and he’s one of those rare musicians whose lyrics often stand up as poetry on their own. He’s amazing to watch perform: https://www.youtube.com/watch?v=FKRKqCV1QfA

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2
May

Day 7: The Smithereens – Especially for You This is the most perfect rock-n-roll album of the 80s and 90s. This is the album that I’ve bought at least a dozen times because I keep giving it away to people. This is an album everyone should listen to. My love for this record is endless, and it’s influence on the way I hear music, particularly baselines, was transformed by this record. I was maybe 10 when I first heard it. I still listen to it end to end several times a year, and I always find something new to love about it.

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2
May

Day 6: Arch Enemy – Anthems of Rebellion If there’s one thing you can say about metal, it’s that it’s had a long term hormonal imbalance when it comes to major acts. With only a few exceptions in 40 years, it’s been a male dominated genre from the stage. By the mid-1990s, the technical excellence was over the top, but the genre as a whole was suffering from a lack of conviction and drowning in middle-class suburban testosterone. So, it’s 1995 and you put together an extreme metal supergroup, you know, like you do. All the pieces are there, but somehow, it just doesn’t work right. Your album is insanely aggressive, intensely musical, and everything your fan base expected. It’s a solid album but something’s off. It’s all weirdly middle of the road. You push two more albums out, and they do well, but they just aren’t killing it. So, 4 years in, your bass becomes a revolving door, and then your vocalist bails. You look for a professional who can get up to speed, do the job, and hopefully gets what you’ve been trying to do. And that’s when you accidentally redefine your sandbox. Because the person who you’ve been looking for turns out to be a German woman with a massive voice and huge charisma. There’s a lot of media noise and it’s all treating your band like a like it’s become a novelty act. So, you head into the studio, make a record, and put that novelty treatment in the grave. Then you follow it up with new recordings of tracks from the first three albums, and that wraps that novelty coffin up in battleship chains. Because 5 years of well-written metal is suddenly being delivered with real conviction by someone who means it. Gossow completely transforms these songs from an exercise in middle-class suburban escapism to something convincing and real. This is where Arch Enemy started a renaissance in the genre. Because Angela brought back conviction to the music. This is where Angela Gossow changed the game in extreme metal. This is why, in 2018, Arch Enemy is still female-fronted, and women are increasingly significant to the survival of the art form. And if you want your metal to be something more than a pose, you need to listen to the women. Because that’s where you find real frustration, rage and injustice.

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