Record #949: The Cure – Standing On a Beach (1986)

I usually don’t put much stock in compilations. Most of them are cash grabs aimed at casual fans, and as someone who prefers to listen to songs in the context of their album, they offer little value to me.

There are, however, some exceptions. For instance, if a band has released a significant number of non-album singles—especially if those singles were as formative to the band’s career as The Cure’s non-album singles were.

While Standing On a Beach was, in fact, intended to introduce American fans to the Cure’s back catalog after the success of The Head on the Door, it remains the best collection of the singles that had a huge impact on their career despite never appearing on an album—even more than Japanese Whispers or 2001’s Greatest Hits, making it an essential bit of Cure history.

Continue reading

Record #948: WHIMZ – PM226 (2022)

I’m going to break the (self-imposed) rules of the blog for the moment and skip way ahead in the alphabet because I’m worried I’ll never get to this if I wait, and I have some feelings about this record.

A couple weeks ago, I was browsing the used section at a local record store and found a bit of cover art that intrigued me. After some quick googling and about thirty seconds on Spotify, I took a gamble on this record—largely driven by the term “sludge pop” that I saw in a review.

And boy, does this disc live up to every possibility that phrase put in my head.

Continue reading

Record #947: Depeche Mode – Violator (1990)

Speaking of gaps in my collection…before a few weeks ago, I’m not sure I ever intentionally listened to a single Depeche Mode song. Yes, I know this was a foolish move on my part. Yes, I know they’re regarded as one of the best bands of all time, casting a long shadow on pop culture that stretches from Marilyn Manson to Johnny Cash and beyond.

Fully aware of the huge mistake I had spent my life making, I bought Violator without hearing anything beyond the singles. It was a great decision.

Continue reading

Record #946: Body Void – Bury Me Beneath This Rotting Earth (2021)

They say music can soothe the savage beast. But what about the times when the music proves the more beastly of the two? The moments when the feral creature might run for safety from the music that is far more monstrous than it?

If you’re looking for the latter, consider Body Void’s Bury Me Beneath This Rotting Earth, a positively eldritch piece of sludge metal that leaves no wonder as to why anyone would call a genre that. It’s as black and thick as tar, and just like the thousands of specimens at Le Brea, there is no savage beast that bears a chance of survival.

Continue reading

Record #945: Drowse – Wane Into It (2022)

When Kyle Bates holed himself up in his Pacific Northwest apartment to record an album about isolation, grief, and personal traumahe had no way of knowing how universal those feelings would become by its release. On the other side of lockdowns, protests, and relationships frayed by the above, Bates’ examinations are endlessly relatable—however, they still sound deeply personal, almost as if he never intended to release it.

Continue reading

Record #944: The Antlers – Hospice (2009)

Elephant in the room: this is probably the biggest hole in my collection. I’m a huge fan of The Antlers, but my saying that has usually come with the caveat that I mean what they did after this record. I’ve listened to it, of course, and it’s been on my wishlist for over a decade, but as my tastes have gotten weirder and heavier, I’ve never pulled the trigger.

But sometimes you just gotta do what you gotta do.

Continue reading

Record #942: Lewis – Even So (2002)

I’m not sure anything contributed more to my music taste than Deep Elm’s Emo Is Awesome, Emo Is Evil compilation (maybe Songs From the Penalty Box 4, but that’s a different story). Like many a Millennial youth, I grabbed a copy after seeing it next to the register at Hot Topic. I didn’t recognize a single name on the tracklist, but it introduced me to a group of bands that showed just how diverse emo could be, like Red Animal War, Planes Mistaken For Stars, Logh, Benton Falls, the Appleseed Cast (still an all time favorite), and so many more.

Lewis was on that compilation, but their contribution didn’t grab me. I mostly ignored them until I got a copy of Even So in a $1 Random CD sale the label was having. It didn’t take much convincing for that disc to join my regular listening rotation.

Continue reading

Record #941: Braid – Frame and Canvas (1997)

I swear, sometimes it feels like I never had an emo phase at all. Despite how fully consumed I was by that scene from ages 15 to 18, I stumble upon foundational records that I’ve totally ignored with a startling regularity.

Add another tally for my ignorance, because even though I had listened to Braid’s seminal Frame and Canvas before this decade, I was still well into my twenties when I did hear it, and it took me until this past week to realize I needed it.

And yeah. I’m kicking myself.

Continue reading

Record #940: IST IST – Protagonists (2023)

Let’s talk about evolution for a second. As times change, organisms must adapt. These tiny adaptations build up over eons to create totally new lifeforms.

Musically though, that happens on a much smaller scale. A Mesazoic worth of evolution might happen in a decade, with primitive genres becoming more advanced and converging to form antecedents that bear little resemblance to their forebears.

But just as some lifeforms perpetuate for millions of years without much variation, some genres were perfectly adapted from their conception. Take for instance post punk, which has swum on the last few decades like a shark: its unblinking gaze, jagged teeth, and menacing presence as fit a metaphor for the sounds of the genre as any I can think of.

Manchester post punkers IST IST understand this, offering an album that delivers a brand of icy post punk that’s as close to the scene’s origins as any I’ve heard in the last few years.

Continue reading