Record #712: CATERPILLARS – Where Shadows Go To Speak (2020)

A couple years ago, a friend invited me to join a Facebook group he had started called “Midwest Emoposting.” It has since grown to many thousand members, but in its humble beginnings, there were precious few of us.

As expected, the group didn’t just attract music fans alone, but also a number of musicians. Every so often, there would be a post by a member promoting their own band. Admittedly, I often ignored these posts, as the songs felt like lackluster American Football copies. But one day, a man named Stephen O’Sicky posted about his band, CATERPILLARS, and my first reaction was, “wait…this is actually good.”

Since then, a lot has changed. CATERPILLARS and my own band SPACESHIPS are now label mates on Friend Club Records, and we both released new full lengths a couple weeks apart (another friend from that group did the cover art).

Said full length is Where Shadows Go to Speak, a super solid collection of songs that are at once ethereal, emotive, and powerful.

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Record #710: June of 44 – Four Great Points (1998)

In the mid 1960s, a bunch of rock and roll bands discovered free jazz, and their minds were blown. The resulting explosion would lead to psychedelic and progressive rock, as seen in bands like The Byrds, King Crimson, and The Beatles, among others.

In the 90s, a similar movement happened with hardcore and punk bands experiencing similar mind-blowing revelations. Themselves inspired by jazz, Krautrock, and proto-post rock like Talk Talk or Bark Psychosis, they twisted the crashing catharsis of their native genres into what would be known as math rock (which is very different from the twinkly finger tapping that is called math rock today).

The most noted example of this shift is post-hardcore outfit Slint’s 1991 album Spiderland. But that album (or the mixture of influences that created it) was the forerunner of a much larger scene. And after Slint’s dissolution, June of 44 may have been one of the most respectable standard bearers for the movement.

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Record #710: Man Mountain – Infinity Mirror (2018)

One of the things I love about vinyl is that the medium allows additional space for creativity. I don’t often talk about packaging on this blog, preferring instead to talk about the music itself, but it’s one of my favorite things about records.

In fact, it’s one of the reasons I started collecting vinyl in the first place—even before I was convinced of the sonic superiority. There are things that a packaging job can do to enhance the aesthetic of an album that a digital copy of the artwork simply can’t. Die cut sleeves, spot gloss, colored vinyl, post cards, etc.

But Infinity Mirror has one of the more interesting packaging jobs I’ve seen in a long time. This pressing is released on a picture disc that, when spun on a turntable, creates an animation.

And even though I haven’t been able to experience it with the same success as that video (I still haven’t figured out the optimal frame rate), it’s not a complete loss, as the music is really enjoyable anyway.

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Record #686: Explosions in the Sky – The Earth Is Not A Cold Dead Place (2003)

As far as emotional, instrumental, climactic post rock is concerned, Explosions in the Sky is about as close to the Platonic ideal that you can get. Barring their most recent (and mostly electronic) The Wilderness, their catalog is filled with the kind of gorgeous, evocative, almost storytelling kind of music that Mogwai pioneered and throngs of post rock bands have tried to emulate.

But truth be told, as much as I love the albums on either side of this, I’m not too familiar with The Earth Is Not… In fact, I actually bought this one on accident. 

Given their nearly flawless track record though, I’m not mad about it.

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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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