Reviews

Record #599: The Moody Blues – On The Threshold Of A Dream (1969)

/ Nathaniel FitzGerald

The hardest part of creating a groundbreaking masterpiece is what you do once it’s changed everything.

The Moody Blues were nobody special before the release of Days Of Future Passed. Then they released an album that transcended pop music and practically invented a whole new musical language (see: prog rock).

And then they continued their career? It’s one thing to carry on after a career-defining record several albums into your catalog. It’s quite another to practically start there. But listening to On The Threshold Of A Dream, their second post-Days offering, it feels like they weren’t too daunted by the task.

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Record #598: The Moody Blues – Days of Future Passed (1967)

/ Nathaniel FitzGerald

Across the history of pop music, there are certain years that feel more momentous than others. Moments in time where the social conversation, artistic trends, and brightest minds converge to create a hotspot of musical innovation that stands out among the arbitrary dividers of time.

One of those years is 1967, a year of psychedelic mastery that continues to unfold new masterpieces to me.

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Record #597: The Fire Theft – The Fire Theft (2003)

/ Nathaniel FitzGerald

After emo godfathers Sunny Day Real Estate disbanded (again), three of the four original members started a new band called The Fire Theft.

They said often and loudly that they were a completely different project, inspired more by rock bands like Led Zeppelin and Pink Floyd than the punk bands that inspired SDRE.

But listening to the record, it’s pretty clear that the distinction is almost purely nominal—especially considering that this vinyl reissue uses the exact same typeface as Diary and The Rising Tide (and the same producer as Diary and LP2).

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Record #596: Mono – Hymn to the Immortal Wind (2009)

/ Nathaniel FitzGerald

One of the most common characteristics among post rock bands is the complete denial that they are a post rock band. Explosions in the Sky insists that they are “cinematic rock.” This Will Destroy You defiantly calls themselves “doomgaze.” Mogwai calls the term “lazy” and says they’re just experimental rock.

And Mono, from Japan, themselves sneer at the label, insisting that they are a neo-classical group.

But as pretentious as that might sound, Hymn to the Immortal Wind leaves no room for doubt. Continue reading →

Record #594: Mogwai – Rave Tapes (2014)

/ Nathaniel FitzGerald

Across their storied career, Mogwai have been no strangers to experimentation. Their sonic palette has stretched from cinematic post rock to Krautrock to heavy metal to indie rock.

But rarely do their experimentations last an entire record. But on 2014’s Rave Tapes, the Scottish post rock demigods decided to set aside their trademark bombast and spend an album practicing restraint.

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Record #593: Mogwai – Hardcore Will Never Die, But You Will (2011)

/ Nathaniel FitzGerald

Mogwai’s discography is a bit difficult to sort out. With an enormous catalog and the mythos to match, it can be difficult to get a handle on which records stand out from among the rest of their output.

But I’ve noticed two matters of consensus among the Mogwai fanbase. First, that Young Team is their best album. Second, that Hardcore Will Never Die, But You Will is absolutely fantastic.

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Record #590: The Appleseed Cast – Peregrine (2006)

/ Nathaniel FitzGerald

For as long as I’ve been familiar with the Appleseed Cast, I’ve never done a deep dive into their discography. Ten years passed between hearing them on Deep Elm’s Emo Is Awesome/Emo Is Evil compilation and purchasing Low Level Owl. It’s taken me six years to buy anything else in their catalogue.

And when it comes down to it, I basically purchased Peregrine at random while looking at the severe lack of Appleseed Cast in my collection and deciding I needed to do something about it.

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