Many moons ago when I was yet a fledgling in the ways of metal I thought of you as nothing more than mediocre. But it is often when one starts their exploration of a particular genre of music that a number of bands contributions go misunderstood or unappreciated by the new listener. This was definitely the case for me with Vader.
How things change. A few days ago a good friend of mine recommended that I try out the Polish death metal outfits latest offering “Welcome To The Morbid Reich” and was pleasantly surprised with what I heard. Continue reading →
Introducing the newest in hater technology, OH GOD OH NO is an album commentary podcast made to… enhance the newest in shitty music.
So of course our first episode is dedicated to the hopefully last hurrah of internet hype, Lana Del Rey. This podcast is meant to be listened to in concert with the record, synchronizing as best as you can at the given point (around 4:06) in this case. Don’t feel bad if you miss the sync point- I don’t think we hit it right either.
Period: Home-recording, Drag City debut (1992)
After Sewn to the Sky, I could only wonder what madness I could expect on Forgotten Foundation. The experimentalism that was seen so early on in Bill Callahan’s career is interesting but only to an extent and by “an extent”, I really just mean Sewn to the Sky. The nature of it made sense in strange ways, but it was so grimy and harsh that it was perhaps an unintentionally original way to start a career, however, on Forgotten Foundation, it feels almost like repetition without any real inspiration. This is the worst point in Smog’s fifteen-year run. Continue reading →
Alcest kicks off my new year in musical discovery with “Les Voyages De L’Âme” (English: The Journeys of the Soul), continuing their mix of shoegaze and folk rock with the occasional black metal influence. But unlike many groups with a black influence, Alcest goes for a far away sound that made me feel like I was listening to someone else’s daydream in musical form. Continue reading →
I don’t like Can.
I can acknowledge that Can and krautrock as a whole are a huge influence on what Omar Rodriguez Lopez is doing with all of his recorded music. That doesn’t mean my opinion on it has changed just because I cite Omar as someone who influences me.
Please Heat This Eventually ends up coming off tailor made for Damo Suzuki. It was recorded as a live performance, as part of Omar’s 2005 touring with the ORL Group. As a digital file, it is one 24 minute track of improvised music. To the credit of Omar’s band, the majority of the song does sound like a Can piece. Presumably done to put Damo in his element instead of the acid-salsa attack of Omar’s normal style. Continue reading →
Sewn to the Sky is not an album that kicked off Smog into what Smog was. It was in fact, far from Smog in general, which is what makes Sewn to the Sky particularly interesting. Smog is usually labeled as somewhat of a mellow rock artist and in his debut release, he acts as a pioneer of the tape-recorded grimy lo-fi movement. This album is abrasive, bare-bones and frequently harsh to the ears, almost the opposite of Callahan’s general flow, and at the same time serves as something of a note for his future and growth. I’m going to be dead honest with you, Sewn to the Sky is not very good, but interesting on so many levels. Continue reading →
PERIOD: Amsterdam With the self titled, we’re into the first album of the Amsterdam period, and also the first publicly available sign that Omar was serious about recording as a solo artist. It does make sense, as apparently the record label contract for The Mars Volta requires an eighteen month gap between records, and since they don’t tour for that long, a burning mind like Omar’s had to be put to something. Still, I personally find self-titled records to be obnoxious. It presupposes a horrifying statement, that “This one recorded instance is this person.” And as Omar’s compositional and playing style expanded, his self-titled record seems like the fastest one to age. Continue reading →