Record #972: The Knife – Silent Shout (2006)

Music is very tied to memory for me. Records dot my memories like snapshots of specific times and places. However, since I do most of my listening through physical media—which costs money—I can’t memorialize all of those snapshots. Invariably, some of the stuff I’m listening to at any given point ends up slipping through the cracks of my limited record budget.

But occasionally, a forgotten record will rear its head years after the fact. In this case, that record is Silent Shout by Swedish brother-sister duo The Knife, a record that was included in the deluge of new music I was exposed to by my roommates in Chicago. While I loved the record from first listen, it was crowded out of my to-buy list by bands like Neutral Milk Hotel, Kraftwerk, New Order, Deerhunter, Grizzly Bear, and so much more.

Then this past year, my dear friend Bryan ordered me a copy for my birthday, rectifying its absence on my shelf.

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Record #936: Bjork – Post (1995)

Bjork has become kind of a punchline in recent years. And if we’re honest, both the fae princess schtick and her increasingly experimental electropop are pretty rife for parody.
But before the swan dresses and coy word salad interviews, we have to remember why Bjork was thrust into the spotlight in the first place—and that reason is her brilliant sophomore record Post, an album sharpened to such a bleeding edge that it still sounds modern two decades later.

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Record #916: Braids – Euphoric Recall (2023)

As the ancient Greek philosopher Heraclitus once said, “Change is the only constant in life.” He probably wasn’t talking about the artistic trajectory of musicians, but it’s certainly applicable. Every artist’s career is destined to change—whether by the continued growth of experimentation or the stagnation from repeating once-fresh formulas until they decay. And as artists change, their fans also change, and often in different directions. It seems to me that many fans usually follow an artist for three albums before they each move beyond one another.

I say this because I’ve loved Braids since their 2011 full-length Native Speaker, a delightful piece of energetic yet thoughtful art rock. I even emailed the group to get a digital copy of their debut EP which has since been scrubbed from the internet. While I eagerly anticipated the more ambient Flourish // Perish, devouring the singles and preordering the disc (it remains my favorite of theirs), I somehow missed Deep In the Iris until months after their release. So when a promo for Euphoric Recall came across my inbox, I was surprised to find that it was actually their fifth record, having released Shadow Offering in 2020.

But listening to Euphoric Recall, I was instantly reminded why I fell for the band in the first place. And not because they’re still putting out carbon copies of Native Speaker (they aren’t), but because the careful balance of experimental sonic craft and hooky songwriting is still a fertile field for the harvest.

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Record #811: Autechre – Tri Repetae (1995)

Last week, while recording an episode on experimental music for my new podcast (oh yeah, I have a podcast now), I remarked that part of what makes Radiohead great is that they take the harsh weirdness of far more inaccessible bands and mold it into pop structures. “Radiohead would be the first ones to tell you, ‘just listen to Autechre,'” I said, and then I realized two things.

One: I didn’t know how to pronounce Autechre.

Two: I had never listened to them.

I promptly sought to correct that, and within half an hour of listening to their pioneering opus Tri Repetae, I ordered a copy. And now, I’m not sure which is harder to believe: that this record came out in 1995, or that humans had anything to do with its creation.

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Record #806: Mogwai – As the Love Continues (2021)

At this point, Mogwai has had a long and illustrious career. They were pioneers of guitar-based post rock, laying the groundwork for hundreds of other bands. As the Love Continues, their tenth album (not including numerous soundtracks and EPs), was released on the 25th anniversary of their very first single.

But even with such an iconic tenure, there’s one thing that’s eluded them: mainstream commercial success. And while they’re not going to be headlining TRL any time soon, that changed this year when a Mogwai fans (including Elijah Wood) started a viral campaign to get their new album to the number one spot of the UK charts.

It worked, but not just because of celebrity endorsement. If ever there was a Mogwai album to peak the charts, it was this one, perfectly encapsulating everything the Glaswegian post rockers do best.

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Record #790: Manchester Orchestra – The Million Masks of God (2021)

As I have mentioned many times before, I somehow went a decade and a half without hearing Manchester Orchestra, despite hearing their name constantly. I decided to change this last year and instantly became a fan.

And just in time too, because shortly after that point, they released The Million Masks of God, a dazzling technicolor spectacular that is as catchy, aggressive, lush, heavy, and emotive as anything they’ve ever released.

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Record #783: M83 – DeadCities, RedSeas&LostGhosts (2003)

Before the double-album pop masterpiece that was Hurry Up, We’re Dreaming brought them widespread acclaim, M83 was an obscure, mostly instrumental act that blurred the line between shoegaze, post rock, and electronica.

On paper, the transition from experimental instrumental band to Billboard Charting Pop Group seems like it would yield albums that sound like completely different bands. However, the group’s sense of composition gives Dead Cities, Red Seas & Lost Ghosts the same sort of emotional storytelling and cinematic soundscapes that made Hurry Up such a huge hit.

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Record #742: Beck – Hyperspace (2019)

Since scoring the megahit “Loser” nearly thirty years ago, Beck Hansen has established himself as one of the most inventive—and inconsistent—musicians in the mainstream.

His prolific career has run the gamut from Technicolor hip hop to cartoon funk to sparse singer-songwriter ballads to trippy electronica to psychedelic ring leader to fuzzy alt-rock (he wrote all of the Sex Bob-Omb songs in Scott Pilgrim vs. the World), grabbing elements from dub reggae, punk rock, jazz, and country music. The term “chameleon” is thrown around to a lot of artists, but Beck truly embodies that.

While he usually hits more than he misses, his extensive catalogue is not necessarily perfect. Identities are shed and revisited with varying success. But when he does it well, he really does it well. 

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Record #696: Massive Attack – Mezzanine (1998)

For years, I’ve had a fascination with trip hop. I became a huge fan of Portishead when Third was released, and later got into acts like Emiliana Torrini, Telepopmusik, and Air when my wife and I started dating. I’ve been a fan of Gorillaz since the beginning of their career.

But somehow, I’ve ignored the rulers of genre, Massive Attack, and their most celebrated album Mezzanine. Of course, I’ve known how great this album is, but much in the same way that I know that I’m breathing: it’s happening all the time, but I don’t usually give it very much attention.

Recently, I decided to change that. And boy, am I glad I did.

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Record #685: EOB – Earth (2020)

Love ’em or hate ’em, there’s no denying that Radiohead is among the most celebrated outfits in musical history. Much of the talk of their work is centered around two of the five members—singer Thom Yorke and multi-instrumentalist and composer Johnny Greenwood.

However, there is a hidden gem in their shadows in Ed O’Brien. For years, he has been relegated to the background, getting even less attention than Phil Selway, often mentioned in conversations of the best drummers in the world, and even Colin Greenwood, whose bass lines are undeniably groovy.

But now, he has emerged with Earth, his first solo record. And it’s pretty quickly apparent that we need to be apologize for ignoring him all this time.

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