musicordie-blog

[musicordie-blog]

Track by tracking

Red Stars Theory’s

But Sleep Came Slowly

Rx Remedy, 1997

4, 7, 19

I first became aware of Red Stars Theory back in ‘13, when I was steadily diving deep into last.fm’s Similar Artists rabbit holes. Their album covers were what initially drew me in, and in a short time, their music would solidify my love for their (sadly) short discography. Their sophomore record, titled Life In a Bubble Can Be Beautiful, was in heavy rotation around that time. And although thinking back to those years brings fond nostalgia, I admittedly didn’t give much attention to their label debut, released two years earlier before their second. It’s sad to think that it took me six years to fully appreciate this masterpiece.

Preferring this record to their second is assumedly blasphemous, from the looks of the constant praise it’s predecessor receives still to this day. (Also note how iTunes and streaming services have most, if not all, of their Singles and EPs, and this record is nowhere to be seen. I had to purchase the physical copy from Sub Pop’s Marketplace to finally get a decent sounding recording of the album on my phone, and that’s just disrespectful.) Its sound and style isn’t too drastically different from their material onward, and some have argued that its “less musically adventurous” approach to their sound and style makes it a low point. If you ask me though, this record perfects the long practiced and huge combination of post hardcore and post rock. The longer tracks emulate the hypnotic and epic heights of Godspeed You! Black Emperor in their early years, and their emotionally driven and explosive shorter cuts take the best pages from the books of the early pioneers of emo.

Track One,

Heavyweight January

A beautifully delicate and driven opener to this album. The swirling violins mixed with the soft yet loud lead guitars set a serene landscape for the soft spoken vocals that glide through the backing tracks crevices. The emotional heights of the booming chorus section are a great foreshadow for the rest of the track list. It’s really nice to drive down your friends old neighborhoods and hangouts with this on.

Track Two,

I Thought About You

A simultaneously hopeful and depressed jam of swaying guitars and strings. The consistent mellow mood with moments of emotional clarity peppered throughout this longer track makes it incredibly easy to get lost in. Coupled with the single line of lyrics that rise from the fog on the back half of the piece that are followed by a gorgeous climax, shows that this track is a great example of their masterful songwriting.

Track Three,

Perfection Is

A great entry into the infrequent practice of experimental/progressive post hardcore. The beginning verses come off casual and calculated, only to then morph into a cacophonous dark prog. bridge that employs shouted confessions over a looming and large folly of guitar feedback and never ending cymbal crashes. The chorus juxtaposes these sections perfectly, with a low tide tumble of plucked melodies and a retreated statement of love. One of the genres most valuable hidden jewels.

Track Four,

Becomes for the Kind

Scenic post rock with psychedelic undercurrents. The lead guitars and ascending drum patterns transport you to a cross country like trip that consistently evolves and shines. The second half of the track begins to involve xylophones and sirens in a misty smother that slowly begins to drown and distort the back instruments, making the end of your trip hazy and brilliantly weird.

Track Five,

Nitetime Memories of the Coastline

A hand-in-hand stroll through a strangers memory lane that grips and nuzzles into the romantic everydays of lost teenagers on shorelines. The lyrics list out fragments of images, feelings and friends that come forward scatterbrained, yet not incomplete. They’re softly sung overtop beautifully sad violins and straddling guitar chords with a scarce yet powerful back beat. The second main section of the track dips below the murky waters to find a despairing undertow of breezy and elegant strings and long winded guitar strums that bring a dose of reality to the daydream right before it. One of the best works, period.

Track Six,

Broken Neck

A tried and true emo masterwork. The opening melodies bring melancholy and looming darkness to the strained lead vocals that tell a story of red flags and concerned conversations that hold you on its every word. These sections eventually explode into a sunset colored roar of guitars and high notes that shout to the heavens, leaving you in awe of its sheer weight. It’s followed by an rising action instrumental section with a fast paced second climax that heroically tightens the tie up of the track, which in all leaves the listener feeling as if they’ve witnessed a fight between star crossed lovers with nothing but damage left in its wake. A musical triumph.

Track Seven,

Thick with the Paint Swaying

The long and winding closing number that builds higher and higher until it reaches the stratosphere. Again, the band flexes their post rock expertises with drifting guitar melodies and gorgeous singing from frequent collaborator Lois Maffeo. The drums become the growing backbone for the piece in the second half once the softer first half fades out into the ever evolving landscape, leading the rising guitar chords upwards and outwards. The minute you feel like you’ve settled into the fast paced rhythms, you’re dropped into a cloudy headspace of free flowing chimes and strums, only to then become suddenly shocked by a lightning strike of blasted guitars and a louder-than-hell drum freak out. The album ends with everything crashing to the ground from enormous heights, akin to the sound of a Red Giant somewhere in another galaxy dying and falling in on its self, leaving a deafening silence in its aftermath. Truly the only proper way to finish out this incredible record.

(You should be able to find this whole album on YouTube. If not, there’s still physical copies available online!)

[musicordie-blog]

3, 24, 19 - Radiohead’s Top 20 best songs. (Response to Red Bull sorta)

Google had suggested me Red Bull’s “Top 20 Radiohead Tracks” list via my news feed this morning. I’ve seen a few of these types of lists throughout the years, but this one in particular stood out to me with its more well rounded and considerate approach to their overlooked material. But still, as is often the case, I could not bring myself to agreeing with it overall. (Is giving regards to their mainstream successes really worth the focus of these writers if it keeps bringing “Creep” into the equation? I’m sorry, but despit its legacy, it hasn’t aged well.)

Admittedly, Radiohead has been my personal favorite band since ‘09. I simply have not heard a single better band since my friend Louis showed me “Pyramid Song” off of his 4th gen. iPod Nano that summer. (I’ve before hand become aware of Radiohead’s exsistence from my parents copy of the Grammy Nominees 2001 comp. with the track “Optimistic”, alongside the high probability of hearing “Creep” somewhere along those lines.) I’d say my knowledge of their catalogue at this point is deep enough to take an honest swing at a list of this magnitude, and give some sort of justice to the truly artistic sides of their discography. Either that, or I’ll wind up sounding pretentious in reality. My follower count is currently too low for me to care either way.

(Don’t expect a novel for all of these notes. It’s getting late and I work tomorrow, plus this list is subject to change either by tomorrow morning or directly after I post the list. I may redux this type of list in the future with further explanations, but for now, here’s this.)

20. “Staircase”

An often criminally underrated TKOL b-side. The grooves are insanely addictive and the mystical aura of this track makes it unique and singular amungst their other more danceable cuts.

19. “Jigsaw Falling into Place”

A well loved IR track for good reasons. It captures the band in a rare state of disenchanted romantic story tellings, alongside of the extraordinary guitar work.

18. “Morning Bell/Amnesiac”

It’s the better version. Get over yourself.

17. “Daydreaming”

A stunningly beautiful reminder of the band’s delicate side late into their career. One of their most transportive pieces to date.

16. “Sit Down. Stand Up.”

Why are all the discussions I see for this song only on the misheard lyrics from the climax? This track is a grand testimate to the group’s capabilities of being able to control suspense and give incredible payoffs in return for the listeners patience.

15. “The Tourist”

More than just a sad ending tear jerker, this song flexes its perfect balance of having some of Thom’s best singing performances with outstanding moments of clarity from Ed and Johnny’s roaring guitars.

14. “How to Disappear Completely”

Their one track that always manages to make me either very emotional or can drive me to tears with each listen. Oh the memories of young sadness.

13. “House of Cards”

Gorgeously soft and loving sounds from a previously thought “only sad songs” band. A hypnotizing and mature take on everyday couple interactions.

12. “Scatterbrain”

I never see enough love for this tune. Some of Thom’s best lyricism coupled with playful, yet loomingly sad guitar melodies just always manages to send me elsewhere for its short runtime.

11. “Lucky”

A truly massive track with epic heights and desperately hopeful lows; again, well loved for a reason.

10. “Go Slowly”

Another overlooked classic b-side. This is honestly one the groups greatest acoustic ballads, with a gripping set up leading up to a momentous climax of subtle beauty.

9. “Sail to the Moon”

Human beings wrote this? For real? (This tracks gravity is only best explained through listening to it, so go do that.)

8. “You and Whose Army?”

An incredible achievement in using the most out of a short runtime. A calm yet menacing first half explodes into a total overthrow, with a masterful combination of Thom’s larger-than-life chords he pounds away at on his grand piano, with Johnny’s wall of sound lead guitar.

7. “Bloom”

Holy hell, this track still fucks my head up with its compositional ambitions and planet sized lead vocals. Again, this track’s full power can really only be grasped by hearing it. Go on then.

6. “Reckoner”

An early favorite of mine that still holds its magic to this day. I don’t know of any other band that could possibly create something so light, yet so emotionally heavy. Only a group with this amount of inter connected talents could produce a masterpiece like this one.

5. “Life in a Glasshouse”

People who say “Radiohead attempting jazz at the end of Amnesiac was cringe” are the kind of people who would unironically enjoy some Billie Eilish on the way back home after their yoga class. While this may not inherently be a bad thing, it IS something I don’t fuck with normally.

4. “Knives Out”

These top 4 tracks are interchangeable on most days, but to list it in stone (for now, at least,) this golden egg falls in fourth. The fact that this track never fell into their greatest hits conversations baffles me. The multiple melodies here played over one another on 3 different guitars is some of the best music I’ve ever heard. This one really helps to prove the never ending genius of this band.

3. “Down Is the New Up”

“Why the fuck was this b-side not on In Rainbows?” is, what I’d like to imagine, the question I’d ask any of the 5 band members if I ever have the opportunity to do so. The energy this track brings is so infectious that I nearly crash my car everytime it comes on, and that kind of shit should be illegal to release to the public.

2. “Pyramid Song”

This track’s always near the tops of these sort of lists for a reason. The chord structures, Thom’s incredible singing range, Johnny’s string sections on the final half and Phil’s fucking incredible intro halfway through the song are simply incomprehensible. Again, human beings wrote this??

1. “Cuttooth”

Fuck yes.

[musicordie-blog]

Wiki

Wikispeaks (Music Video)

Before RATKING’s underground takeover in 2014, the young Wikset’s 2011 mixtape “1993” was letting off ripples through the NYC scene. This track & music video are precursors to his now wider industry status, as well as proves his worth as an enigmatic MC from the jump.

(His early material was fairly ahead of its time. RATKING posted the link to his 1993 mixtape on Twitter, so plz no one take it down thanks love ya)

http://t.co/I7DR34J1HQ

(lmk if the link goes down please 🎧)

[musicordie-blog]

Beck

Debra (Live at 2 Meter Sessions, 1999)

Can everyone in the current music world just stop denying the genius that is Beck? How many more musical hats does this man have to rock before he starts getting all of his dues? Outside of his 2 major Grammy wins (which, if you haven’t already gathered by now, means bollocks) and his multiple radio hits, most of his discography has flown under the radar.

True Beck fans already know how criminal this is, but, for the uninitiated, all one would have to do is listen to Midnight Vultures in its entirety to understand our plights. Or, if your evening is already booked, simply give this video a watch.

I would take this time to describe what makes this video so great, but, in all honesty, if you don’t catch onto his insane musical talent effortlessly melting into his unique post-ironic sense of artistic identity, then you may be better off bumping those new Vampire Weekend singles.

Or it may just not be your cup of tea, which is okay. I still love you.

(lmk if the link goes down please) 🎧

[musicordie-blog]

3, 10, 19 - 6 albums I’m currently listening to.

I saw some other blogs doing this recently and wanted to join in. I wasn’t tagged in some other 6 albums post, so instead of pretending like I did, I thought I’d start a chain off myself.

Top left (first) is Crystal Castles’ st

Top middle (second) is Bear in Heaven’s Beast Rest Forth Mouth

Top right (third) is Built to Spill’s There is No Enemy

Bottom left (fourth) is Yellow Swans’ Going Places

Bottom middle (fifth) is Big Red Machine’s st

Bottom right (sixth) is Playboi Carti’s st

I recommend all of these records highly! I’ll tag @freespiritandabadinfluence to do it next!

(Was going to post links to tracks from these records for anyone unfamiliar with them, but I don’t want this post to be pages long so here are some recommended tracks and rough guesses at whatever their “genres” are.)

Crystal Castles’ st -

Experimental Electronic, Synth-pop, Digital Hardcore, House Music

Best tracks are Knights, Alice Practice, Vanished and Magic Spells

Bear in Heaven’s Beast Rest Forth Mouth -

Indie-pop, Experimental Rock, Psychedelic Rock, Synth-pop

Best tracks are You Do You, Deafening Love, Wholehearted Mess and Fake Out

Built to Spill’s There is No Enemy -

Indie Rock, Alternative Rock

Best tracks are Good Ol’ Boredom, Planting Seeds, Things Fall Apart and Hindsight

Yellow Swans’ Going Places -

Ambient, Drone, Noise

Best tracks are Opt Out, Going Places, Limited Space and Foiled

Big Red Machine’s st -

Folktronica, Indie-pop, Folk Rock, Experimental Electronic

Best tracks are Hymnostic, Lyla, OMDB and I Won’t Run from It

Playboi Carti’s st -

Cloud Rap, Trap

Best tracks are Location, Other Shit, New Choppa (feat. A$AP Rocky) and wokeuplikethis* (feat. Lil Uzi Vert)

[musicordie-blog]

The Antlers

Director (Live in London, 2014)

This track, along with the rest of Familiars, is honestly close to perfection.

“Wow, quite the statement you made there,” one might say. Listen to Familiars and get back to me on that. Or if your day’s a tad busy, watch this live performance of one of its best tracks, Director.

Peter Silberman will never cease to amaze me live; he effortlessly soaks in the breezy flow of each track he sings. Micheal Lerner’s playing is incredibly tight here, and Darby Cicci’s multitasked performances are quite stunning. (I’m still upset with Darby for leaving The Antlers earlier in 2019, but credit will always be given when it’s due.)

(lmk if the link goes down please) 🎧

[musicordie-blog]

Radiohead

Knives Out (Live at Top of the Pops, 2001)

One of the best performances of this song. Thom’s snarky attitude and the band’s clearly uncomfortable postures completely embody the atmosphere and lyrics of this legendary song.

Their pissy demeanors are apparently due to having to play TOTP in the first place; their hatred for highly marketed music programming has never exactly been a secret, so that checks out. The results were inadvertently perfecting this song live, so maybe we should torture them with more TV performances in the future.

Note Thom’s singing on the bridge- “for the money, only for the money.” Glorious.

(lmk if the link goes down please) 🎧