Record #808: Can – Tago Mago (1971)

Few musical movements are as weird, wonderful, and influential as Krautrock, a collection of West German bands in the 1970s that pushed the boundaries of what music could actually do to its extremes. The movement had an incredible influence on post punk, progressive rock, new age, shoegaze, and the birth of post rock. The shape of modern, electronic leaning pop music can be traced back to Krautrock, specifically the synthpop pioneers Kraftwerk.

But perhaps no band in Krautrock was more influential than Cologne’s Can, whose sprawling jazz-and-funk jams, improvised vocals, psychedelic exploration, tape editing techniques, and ambient experimentation went on to define Krautrock and influence everyone from David Bowie to Radiohead to Joy Division to the Flaming Lips to Kanye West.

Among their monstrous catalog (they recorded ten albums between 1969 and 1979), most fans and critics agree that the pinnacle of their career was the trilogy of records featuring vocalist Damo Suzuki, which includes the criminally underrated Future Daysthe seminal Ege Bamyasiand this, the eldritch, immense Tago Mago.

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Record #799: Godspeed You! Black Emperor – F♯ A♯ ∞ (1997)

Few bands have such celebrated reputations as  Godspeed You! Black Emperor. They are inarguably one of the pillars of the post rock movement—and rightly so. Their body of work is marked by a fiercely uncompromising vision, their albums filled with lengthy compositions that make no effort to be accessible. At this point in history, fans and critics alike revere their experimental ethos and artistic stubbornness.

But debuting with that sort of vision without the benefit of the legacy is a different sort of monster. The legendary post rock collective might be able to get away with releasing an album with two twenty-minute songs with multiple movements and no lyrics, but as a debut? That’s a bit more difficult to sell as an introduction.

Lucky for us though, Godspeed didn’t let pesky things like marketability or accessibility get in the way of their debut record.

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Record #794: The Armed – Ultrapop (2021)

Genre alchemy gets into diminishing returns pretty quickly. While fusion was once incredibly revolutionary, the internet has hastened the pace of these reactions so that there’s almost no crossover that hasn’t been tried.

We’re almost two decades past the advent of Girl Talk, whose genre-defying mashups saw acts like Fleetwood Mac, Ludacris, The Ramones, Lil Missy, Radiohead, Jay-Z, and Metallica featured on the same track. Babymetal debuted eleven years ago. Ill-conceived chimeras like crunkcore and emo rap are now old enough to vote. Then you have the entire crop of bands blending metal with shoegaze, post-rock, spirituals, and even Azerbaijani folk music.

Genre-bending alone isn’t enough to make compelling music.

So it’s a good thing that Ultrapop has much more to its credit, because this is one of the freshest takes on genre fusion in a long time.

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Record #785: Lantlôs – Wildhund (2021)

Lantlôs is German for “homeless,” or “without homeland,” and that name is certainly apt. Throughout their career, chameleonic German metal band has been stretching the borders of heavy music, unconcerned with citizenship in any genre. Their earlier albums, such as .neon and Agape were indelible entries in the blackgaze canon, featuring Alcest’s Neige on vocals. 2014’s Melting Sun was a transcendent work that shed itself of any of heavy music’s trope to create an album that was blissful while still being entirely heavy.

Seven years later, Lantlôs returns with Wildhund (German for “Wild Dog”), an album that uses all the same sonic textures to create what is almost a pop record. And even with all the band names they’ve dropped in the press materials, Wildhund sounds as without peer or homeland as they ever have.

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Record #728: Marriages – Kitsune (2012)

Speaking of Emma Ruth Rundle…among the long list of projects in her genre-spanning CV, one of my favorite releases is Salome, to date the only full-length project of the experimental group Marriages, featuring fellow Red Sparowes member Greg Burns.

Salome has entranced me since I was introduced to its chameleonic, at times eldritch, blend of post rock, alternative, and metal sensibilities. But that chimeric quality is perhaps even more prominent on Kitsune, the EP that preceded their full length by three years.

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Record #724: Jónsi – Shiver (2020)

For the last twenty-three years, Sigur Rós frontman Jón Þór Birgisson, better known as simply Jónsi, has traversed the deepest nearly every span of the human experience, from the glacial joy of Agaetis Byrjun to the isolated chill of Valtari to the dense grief of Kveikur to the bounding, pastoral joy of Með suð í eyrum við spilum endalaust. And that’s all without mentioning Sigur Rós’ more abstract works or the work of Jónsi & Alex, his ambient collaboration with his partner.

And while his first solo outing, Go, shared a lot of the acoustic, rambling mischievousness of his band’s Með suð while shying away from the amorphous, rolling ambiance of their earlier works, Shiver finds him indulging in his every instinct. He does not restrain himself from any of his tendencies toward atmosphere, preciousness, electronic weirdness, or joyful dance music. The result is an album that feels the most varied and comprehensive of anything he’s ever done.

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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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Record #680: Battles – Mirrored (2007)

When you’re exploring new music, occasionally you come across love-at-first-site records—albums that immediately latch themselves to your psyche when you first hear them. Then, there are slow burns—records that take a little more exploration, but fully envelop you in their sonic arms.

Then, there are great, unknowable beasts: eldritch albums with a hundred eyes and a thousand tentacles that never stop swirling long enough for you to get a good look at them. You are left only with a roaring, gaping impression of the unearthly monstrosity. Every glance uncovers additional layers, peeling themselves away endlessly to unrecognizable shapes until it isn’t the album you thought you listened to the last time.

Mirrored has been one of these albums for me: an ancient, Lovecraftian record that changes color and shape with every repeated listen. But after a decade of trying to wrap my head around it, I’ve finally embraced the madness.

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