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THE MUSIC DRAFT - DRAFTING THREAD

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S

swoon

Member
AlternativeUlster said:
Yeah, I am not sure on this issue actually and didn't think about allowing artists who change their names during their career. I am leaning towards you couldn't right now.
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yea though it's a different band with each name. i doubt it matters though - the only other person i could see this applying to would be howe gelb
 
V

vatstep

This poster pulses with an appeal so broad the typical restraints of our societies fall by the wayside.
I Push Fat Kids said:
Bjork - Post
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Well fuck, it's about time someone picked a Björk record. I've been considering it (wasn't gonna be this one anyway), and might still go for one later.
 
A

AlternativeUlster

Absolutely pathetic part deux
swoon said:
yea though it's a different band with each name. i doubt it matters though - the only other person i could see this applying to would be howe gelb
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Well, if it is a completely a different band with each name, I would see why not. I thought it was basically just the same players with everchanging band names. That would be allowed.
 
K

Kevtones

Member
vatstep said:
Well fuck, it's about time someone picked a Björk record. I've been considering it (wasn't gonna be this one anyway), and might still go for one later.
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It was either this or Homogenic... I just have more fun with Post :)
 
K

Kevtones

Member
AlternativeUlster said:
Post is easily my favorite Bjork record, even over anything by the Sugarcubes.
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I like all her records (even that new one) but Post seems catered to her strengths as an artist... Hyper Ballad was also my first Bjork song, so that helps :)
 
T

teepo

Member
asking me to pick my favorite bjork album between homogenic and post is the equivalent of asking me which one of my two future(?) children will live during a hostage situation. i just can't possibly do it.
 
T

teepo

Member
AlternativeUlster said:
Well, if it is a completely a different band with each name, I would see why not. I thought it was basically just the same players with everchanging band names. That would be allowed.
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what about split LP's like Faith/Void. i was debating on whether i should choose it or not...
 
N

NameGenerated

Who paid you to grab Dr. Pavel?
vatstep said:
I'm partial to Powerslave, but yeah, Number of the Beast is the one to go with.
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I'm not quite sure what to pick now, Reign In Blood was one of my big ones, but I was too slow.
 
Squirrel Killer

Squirrel Killer

Member
AlternativeUlster said:
You picked my all time favorite record dude. Congratuations.
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Remind me to get you a copy of my Round 10 pick. Least I can do for you hooking me up with Greg Gaffin doing a Bob Mould impression.
 
K

Karma Kramer

Banned
aphex_twin-druqks.jpg


Aphex Twin - Drukqs (2001)
 
C

Cyan

Banned
Squirrel Killer said:
Remind me to get you a copy of my Round 10 pick. Least I can do for you hooking me up with Greg Gaffin doing a Bob Mould impression.
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No clue who Bob Mould is, but that was a pretty crazy album. Not bad, but so not BR. Into the Unknown indeed.
 
T

teepo

Member
AlternativeUlster said:
The record is called I'm Wide Awake btw.. :p

This round killed me. I will do a list later of the biggest blows for me but Suicide and Recokning were heartbreaking to see let go. Ah well.
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suicide was listed as i was typing it up... though my next pick is similar to it, being anti-rock and all. it might strike a blow to you... maybe.
 
A

AlternativeUlster

Absolutely pathetic part deux
Cyan said:
No clue who Bob Mould is, but that was a pretty crazy album. Not bad, but so not BR. Into the Unknown indeed.
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Lead singer of Husker Du and Sugar.

But no problem SK. That record should be heard by all Bad Religion fans.
 
A

AlternativeUlster

Absolutely pathetic part deux
Deaf School - Don't Stop the World
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Paul Du Noyer said:
In the whole history of Liverpool music two bands matter most, one is The Beatles and the other is Deaf School. If that seems like a sweeping statement then consider this: after the pop revolution of the 1960s led by The Beatles and other Merseyside groups, it looked as if the city's music scene had dried up forever. But in 1975 there came a motley band of Liverpool art students called Deaf School. And they were the catalyst for the most dramatic revival since Lazarus. Their impact on the city is with us to this day.
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Song Sample: Taxi
http://www.youtube.com/watch?v=EWmiN4ih_rQ
Get the OOP album here:
http://www.raremp3.co.uk/2009/03/deaf-school-dont-stop-world-1977.html

Magik Markers - I Trust My Guitar, Etc
review_id-2151.jpg

Doug Mosurock of Dusted Magazine said:
Magik Markers have channeled into the same path of obscure, gray light that dragged the Dead C. out of kiwi tar and led Harry Pussy from the neon swamp, the one that the Wiggins sisters shuddered beneath the covers in hopes that it would go away, that came out accidentally on the first Shaggs recordings. Capt. Beefheart captured this light in a bottle and shot it into his neck, then went and shot it into the Magic Band. Swell Maps got it in their eyes in 1972 and look what happened to them. Half Japanese got the stuff and painted their house with it. Magik Markers freebase it off tin foil with a glass stem like Topher Grace in Traffic. I use this reference, instead of say, a crack addict freebasing, to prove a point; this group of Markers marks their noise from a wholly internal, cultural frame of reference, from things that we all remember, have experienced as shared feelings, memories, thoughts, reminiscences. Whatever’s the new “Breakfast Club.” Repeating what we hear. Staying up all night. Movies and TV shows and records we all remember as soundtracks to dry humping and awkwardly molten teenage gropefests in a wood-paneled basement rec room past 11 on a school night. The first time you got it wet or got it in you. The anxiety like something’s going to spurt from your chest cavity and never stop. Parents getting divorced; smashing up our bedrooms or cars or lockers at school or some kid’s fucking face in the rage of it all. The band is probably in their twenties by now but the musk of pubescent heat stains their music indelibly; it’s as if that “permanent record” that administrators and cops hold against you actually matters after you turn 18.
It’s hard to weigh any track here as a song, and yet there are cue lines all over side 1. And why not? That’s the more song-based side anyway. Racing, breathless dirges, at one point dissipating into white noise (one of the most exciting things on the record). Nothing ever peaks; it keeps building and building sonically and can’t let go. This would be extremely frustrating if the sounds they were making weren’t so impossibly complex as to sound loose and free, but I’m not buying that. These kids made their minds up about this record when they came into the studio. They make their minds up about everything they do. As for side 2 (“Straight A’s In Love”), it’s the new “Driver UFO”. This record is every bit as important as Harsh 70s Reality was to 1991 or Harry Pussy was to 1996. The new rock-as-noise-clatter paradigm has been set. Deal with this record head on. Learn to love or hate it. It’s a dividing line for the new noise scene.

In all honesty, I Trust My Guitar, etc. would have been my teenage fantasy. Something like it lives in the heart of every young freakbot who has found an outlet; it’s just that these three have the record out.
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Get OOP album here:
http://experimentaletc.blogspot.com/2009/05/magik-markers.html

Pylon - Gyrate
j12601lpkji.jpg

Stewart Mason of AllMusic said:
Pylon's first album, although it doesn't contain masterworks on the level of the first single "Dub" or the later single "Crazy," is considerably more consistent than the comparatively spotty Pylon!! and Chomp. This is Pylon at their purest, mixing the spartan angularity of Gang of Four with a playfulness missing from similar U.K. bands like the Au Pairs or the early Mekons (or indeed from Gang of Four themselves) as well as the irresistible danceability of their Athens, GA, compatriots the B-52's. Yet Pylon never quite sounded like anyone except Pylon; their naïve instrumental style — guitarist Randy Bewley claimed that he didn't even know the names of any notes or chords — and singer Vanessa Briscoe's inimitable voice (moving from a flirtatious coo to a Meredith Monk shriek in the space of a line) and inscrutable lyrics are so idiosyncratic that they probably couldn't sound like anyone else any more than another band could tackle a Pylon song. (Remember the botch R.E.M. made of "Crazy"?) Highlights here include the spirited opener "Volume," the evocative instrumental "Weather Radio" (probably the prettiest song on the record), and Briscoe's impassioned "Feast on My Heart." Later pressings of this album replace the first track on side two, "Driving School," with "Recent Title." Both tracks are available on the 1989 compilation Hits.
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List to it on Myspace:
http://music.myspace.com/index.cfm?...lbums&artistid=18431993&ap=0&albumid=10557066

Plastic People of the Universe - Egon Bondy's Happy Heart Club Banned
Plastic+People+Of+The+Universe+-+Egon+Bondy%27s+Happy+Hearts+Club+Banned.jpg

John Dougan of AllMusic said:
Sounding like a meeting between Zappa, Henry Cow, and Allen Ginsberg, this is a wild, politically charged chunk of avant-garde agit-prop. Egon Bondy's poetry may not be the most lyrical you've ever heard, but his imagery is striking in its desperation and anger. Lots of honking saxes courtesy of Vratislav Brabenec, who is a big-time blower in the style of German free jazz player Peter Brotzmann. For those whose love for late-'60s/early-'70s progressive rock is boundless, this is absolutely essential. But, even if you're squeamish about anything labeled art rock, don't pass this by; the raw emotions and intense idealism in the face of oppression, despite their being sung in a language you don't speak (there are English lyrics on the LP jacket), are very moving.
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Song Sample: Magické noci
http://www.youtube.com/watch?v=YBOnDwxuLaE
Get OOP album here:
http://krishnasgoldendopeshop.blogspot.com/2009/02/plastic-people-of-universe.html

The Mekons - Fear and Whiskey
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Thom Jurek of AllMusic said:
Released in 1985, Fear and Whiskey is credited as the album that began the alt-country marketing category. True or not, it shouldn't be held against one of the greatest records ever. The Mekons were one of the most loved and hated bands on the late-'70s/early-'80s punk scenes in England. In 1984 they began touring with drummer Steve Goulding (Graham Parker & the Rumour) and bassist Lu Edmonds (PIL, Damned), who joined John Langford, Tom Greenhalgh, and Kevin Lycett. To record Fear and Whiskey they added fiddler Suzie Honeyman and guitarist Dick Taylor. The original disc was issued on the band's own Sin Records to much ballyhoo by critics like Greil Marcus. A few years later, Rough Trade reissued it with a few EPs added and called it Original Sin. This version is the original, completely remastered by the band. Musically Fear and Whiskey is awash in the delirium of the Reagan and Thatcher '80s. Country melodies collide into reggae rhythms and drones to create a forlorn tale in "Trouble Down South"; the title track is pure Hank hillbilly with lyrics that may not be as simple and poetic but do the job, as the tune creates a base from which to pick up the bottle or dance. But it's not all country and roots, unless those roots still include the dynamic of shambolic punk rock, which is the core of "Hard to Be Human Again." Despite its country melody line, which falls apart constantly, the guitars blare and falter, the drums pound on needlessly, and the band cavorts the tune like it's the end of the gig and it only track three. Seriously, there isn't a song on this disc that Langford and Greenhalgh don't turn into some epic repudiation of capitalism, depersonalization, greed, and social engineering. The fact is, these serious topics are dealt with in a piss-take way to music that carries everything from honky tonk, hillbilly, rockabilly, reggae, punk rock, and folk melodies all entwined with each other in a myriad of ways so complex, so drunkenly passionate, you just have to laugh — as you dance, that is. A bona fide classic.
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And a glowing 9.7 review from Pitchfork:
http://pitchfork.com/reviews/albums/5208-fear-and-whiskey/
 
A

AlternativeUlster

Absolutely pathetic part deux
R.e.m. - Reckoning
picked by Squirrel Killer in Round Six
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Stephen Thomas Erlewine of AllMusic said:
R.E.M. abandoned the enigmatic post-punk experiments of Murmur for their second album, Reckoning, returning to their garage pop origins instead. Opening with the ringing "Harborcoat," Reckoning runs through a set of ten jangle pop songs that are different not only in sound but in style from the debut. Where Murmur was enigmatic in its sound, Reckoning is clear, which doesn't necessarily mean that the songs themselves are straightforward. Michael Stipe continues to sing powerful melodies without enunciating, but the band has a propulsive kick that makes the music vital and alive. And, if anything, the songwriting is more direct and memorable than before — the interweaving melodies of "Pretty Persuasion" and the country rocker "(Don't Go Back To) Rockville" are as affecting as the melancholic dirges of "Camera" and "Time After Time," while the ringing minor-key arpeggios of "So. Central Rain," the pulsating riffs of "7 Chinese Bros.," and the hard-rocking rhythms of "Little America" make the songs into classics. On the surface, Reckoning may not be as distinctive as Murmur, but the record's influence on underground American rock in the '80s was just as strong.
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Song Sample: Pretty Persuasion
http://www.youtube.com/watch?v=nwC-yK28czw

Suicide - Suicide
picked by Vatstep in Round Six
c46618dj82f.jpg

Heather Phares of AllMusic said:
Proof that punk was more about attitude than a raw, guitar-driven sound, Suicide's self-titled debut set the duo apart from the rest of the style's self-proclaimed outsiders. Over the course of seven songs, Martin Rev's dense, unnerving electronics -- including a menacing synth bass, a drum machine that sounds like an idling motorcycle, and harshly hypnotic organs -- and Alan Vega's ghostly, Gene Vincent-esque vocals defined the group's sound and provided the blueprints for post-punk, synth pop, and industrial rock in the process. Though those seven songs shared the same stripped-down sonic template, they also show Suicide's surprisingly wide range. The exhilarated, rebellious "Ghost Rider" and "Rocket U.S.A." capture the punk era's thrilling nihilism -- albeit in an icier way than most groups expressed it -- while "Cheree" and "Girl" counter the rest of the album's hard edges with a sensuality that's at once eerie and alluring. And with its retro bassline and simplistic, stylized lyrics, "Johnny" explores Suicide's affinity for '50s melodies and images, as well as their pop leanings. But none of this is adequate preparation for "Frankie Teardrop," one of the duo's definitive moments, and one of the most harrowing songs ever recorded. A ten-minute descent into the soul-crushing existence of a young factory worker, Rev's tense, repetitive rhythms and Vega's deadpan delivery and horrifying, almost inhuman screams make the song more literally and poetically political than the work of bands who wore their radical philosophies on their sleeves. [The Mute reissue includes "Keep Your Dreams" and the "Cheree" remix that appeared on previous versions of the album, along with live versions of "Las Vegas Man," "Mr. Ray," and "23 Minutes Over Brussels"; though the extra tracks dilute the original album's impact somewhat, they're worthwhile supplements to one of the punk era's most startlingly unique works.]
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Song Sample: Ghost Rider
http://www.youtube.com/watch?v=a224CkygvR4
*note: There are 2 self-titled Suicide records but I am assuming Vatstep picked the first one while both of them are quite excellent.

Jethro Tull - Aqualung
picked by DieNGames for his Round Three pick
d29151895ja.jpg

Bruce Eder for AllMusic said:
Released at a time when a lot of bands were embracing pop-Christianity (à la Jesus Christ Superstar), Aqualung was a bold statement for a rock group, a pro-God antichurch tract that probably got lots of teenagers wrestling with these ideas for the first time in their lives. This was the album that made Jethro Tull a fixture on FM radio, with riff-heavy songs like "My God," "Hymn 43," "Locomotive Breath," "Cross-Eyed Mary," "Wind Up," and the title track. And from there, they became a major arena act, and a fixture at the top of the record charts for most of the 1970s. Mixing hard rock and folk melodies with Ian Anderson's dour musings on faith and religion (mostly how organized religion had restricted man's relationship with God), the record was extremely profound for a number seven chart hit, one of the most cerebral albums ever to reach millions of rock listeners. Indeed, from this point on, Anderson and company were compelled to stretch the lyrical envelope right to the breaking point.
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Song Sample: Aqualung
http://www.youtube.com/watch?v=u1xY7Heaqg8

United States of America - United States of America
picked by DataStream in Round Five
d06988c224o.jpg

Richie Unterberger of AllMusic said:
Originally released on Columbia in 1968, The United States of America is one of the legendary pure psychedelic space records. Some of the harder-rocking tunes have a fun house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self-conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic.
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Song Sample: Stranded in Time
http://www.youtube.com/watch?v=zg6Fd9nGppk

Slint - Spiderland
picked by n0b in Round Three
c3930949tci.jpg

Dean Carlson of AllMusic said:
More known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by everybody from Lou Barlow to Mogwai, the album's emotional gelidity has done more to move away from prog-rock mistakes than almost any of the band's subsequent disciples, and it's easy to hear how the term "Slint dynamics" has become an indie categorization of its own. Most interestingly, however, is how even a seething angularity to songs like "Nosferatu Man" (disquieting, vampirish stop-starts) or "Good Morning, Captain" (a murmuring nod to "The Rime of the Ancient Mariner") certainly signaled the beginning of the end for the band. Recording was intense, traumatic, and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album. Spiderland remains, though, not quite the insurmountable masterpiece its reputation may suggest. Brian McMahan softly speaks/screams his way through the asphyxiated music and too often evokes strangled pity instead of outright empathy. Which probably speaks more about the potential dangers of pretentious post-rock than the frigid musical climate of the album itself. Surely, years later, Spiderland is still a strong, slightly overrated, compelling piece of investigational despair that is a worthy asset to most any experimentalist's record collection.
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Song Sample: Good Morning Captain
http://www.youtube.com/watch?v=xoH5MPIgM7c
*fun factoid, Will Oldham is the one who took the famous album art photography
 
A

AlternativeUlster

Absolutely pathetic part deux
Cosmic Bus said:
Y'know, I've only heard one R.E.M. album. Should probably do something about that.
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Reckoning is my favorite but if you haven't heard Murmur, I would start with that. Then the 3 best out of the Warner Bros years for me are Monster, Automatic for the People, and New Adventures in Hi-Fi. I was thinking about making a thread at one time of the 100 best R.e.m. songs in which I would love them all.
 
M

Meliorism

Member
I prefer The Boy with the Arab Strap, but B&S is usually pretty consistent and IYFS is more prolific.

I'm listening to that Lift to Experience album that was picked earlier.

It's interesting.
 
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