My understanding of Genesis’ place in rock history is a little fuzzy, but if classic rock radio is any indicator, Genesis mostly served as a breeding grounds for two of the most dynamic and exciting solo artists of the 80s. And given that this is the group’s eleventh full length (released after Phil Collins’ debut solo record at that), it tells very little about the ideas that either Collins or Peter Gabriel were wanting to explore that couldn’t do so within the confines of Genesis. And given that everything I’ve read on Wikipedia states that it showcased the band continuing toward radio-friendly rock, it tells even less about their prog rock tendencies.
Month: April 2013
Record #185: The Flaming Lips – The Terror (2013)
Economics teaches us that the more abundant something is, the less appealing we will find it. For example, if you eat one cookie, it will be delicious, but if you eat 30 cookies, you will soon be sick of cookies. For another example, the Flaming Lips released their last record in 2009. Since then, they have released a song-for-song remake of The Dark Side of the Moon, a split with Neon Indian, a USB exclusive track available only inside of a marijuana flavored gummy skull, a 70 minute, 13 track collection of collaborations with everyone imaginable, covers of songs by Madonna, The Beatles, and more, a compilation of their first several records (along with those same vinyl reissues), a URL-exclusive twenty-four hour long psych-freakout track, twelve YouTube videos meant to be played simultaneously, live performances of The Soft Bulletin and Yoshimi in full, assorted car commercial singles, Wayne Coyne’s constant twitter feed, and on and on and on and on and on…
So, economically speaking, The Terror should simply fade in to the constant barrage of nonsense that Wayne Coyne & Co. is constantly spouting out.
But I guess The Flaming Lips don’t understand economics very well.
Record #184: Fugazi – The Argument (2001)
For most of my life, The Argument has been my favorite Fugazi album. And while that position has been threatened as I trudge deeper into their catalogue (I’m looking at you, Kill Taker), The Argument remains their most singular and refined statement.
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Record #183: Caveman – Caveman (2013)
It’s easy to dismiss Caveman as derivative, trendy, or safe. After all, even I, when asked what they sound like the other day, responded with, “they’re sort of like a mellower Local Natives.”
But criticizing this record for those reasons misses the point that (whispers) those are what makes the record kind of great. It may not stand up under strict strutiny, it’s the kind of record that, when I played it with a couple hip-hop loving 8th graders in my classroom, they perked up and said, “mister, I like this. This is relaxing.” And whenever I want to put something on to ease my mind instead of work it, I take peace in knowing that Caveman is there for me.
Record #182: Fugazi – End Hits (1997)
Across six albums and two EPs, Fugazi created some of the most fearlessly adventurous, boundless experimental post-hardcore ever released.
And even in the context of their full discography, End Hits is a strange beast. Continue reading
Record #181: Atoms for Peace – Amok (2013)
We interrupt your regularly scheduled Fugazi post for tonight’s purchase.
Any new Radiohead-related release is always treated with a heavily stirred mix of eagerness and dread. One the one hand, Radiohead (or Thom solo) has never released anything that was anything less than stunning (Pablo Honey excepting, and I’ll still fight anyone who knocks Hail to the Thief). But every time they release any new material, pressing play is always preceded by a moment of, “what if this is it? What if their talent has run out? What if this is the one where Thom gets too out there?” And given that two of my favorite releases of the two past years were the creeping, skittering King of Limbs and Nigel Godrich’s moody, grooving Ultraísta, my hopes for Amok were high. So high in fact that I purchased the record without being fully convinced that it was worth the money beforehand.
Record #180: Fugazi – In on the Kill Taker (1993)
From what I understand, anytime Steve Albini records something, the band is unhappy with the result and decides to change it (see: In Utero). In on the Kill Taker went through this process, and I’m glad they did, because this entire record is unmistakably Fugazi, and I would’ve hated for it to have sounded like someone besides Fugazi playing the songs. Continue reading
Record #179: Fugazi – Repeater (1990)
When it comes to putting words to Fugazi’s catalogue, it’s a difficult task. What can you say besides “they were the best, man, just the best” over and over again?
Each album only enforces that mantra, and Repeater, their third release and first full length, is no exception.
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Record #178: Fugazi – 7 Songs (1988)
Every so often, a band comes around that is simply the best at what they do, and there’s nothing anyone can do to argue against it. They carry the unstoppable combination of immeasurable talent and fearless experimentalism that makes them legends in their own right and inspire countless others to follow in their footsteps. The Beatles were that kind of band. Radiohead still is (I’ll fight anyone who says King of Limbs wasn’t great). And friends, if you don’t already know, Fugazi was that kind of band. If you know nothing about Fugazi, just know that Fugazi was the Radiohead of punk rock.
Record #177: Bruce Springsteen – Born in the USA (1984)
Not long ago, I referred to the streak of Born to Run to Nebraska as “The Only Springsteen Albums That Matter.” This was a reference to the Boss’s later catalog in general, but it held its snobby fingers out to Born in the USA in particular and said, “yeah, I’m talking to YOU.” Continue reading