Statement from Martin Duffy’s family about the financial abuse and neglect he suffered while playing with Bobby Gillespie and Andrew Innes for Primal Scream
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its just not. project comes in pretty much formed with recurring side b and then achieves perfect harmony with LGM. after that it is a wave of diminishing returns as the project then becomes "jason pierce talks to you about the british health system and various medical woes and trying to live with god, weed, and girls named mary jane"; the promise of LGM is flat out gone. Songs in A&E happens to be a key point the project changes scope and sort of gets back to what I like best about pierce's songwriting over the overwrought shit on L&G; but dude peaked heavy on LGM and has failed very hard to ever get back to something as open armed and floaty, a true zero gravity listen. the last 3 albums? He's tried! All exceptional 6/10s that if you just took 12 cuts from across all 3 you'd have something nice but still, spiritualized catalog gotta be one of the most overwrought and overhyped experiences of cd and tape collecting i've ever gotten into
So Apollo is closing on the 30th…
I can only imagine all the other 3rd parties will follow. The greed on display is ridiculous. At this point the blackout should not have an end date.
This is grim. Was a huge Scream fan but this is beyond redeemable behaviour. Now I'm hearing on twitter they did similar to Denise Johnson. A lot of respect to Martin Duffy's son for giving this statement.
any details on Denise? At least in terms of money, I'm under the impression that she was a session musicians where that wasn't really the case for Duffy.
I've always hated Bobby Gillespie, always been a right dickhead and nothing that comes from his mouth is ever anything but a banal rock 'n' roll cliche.
Miki Berenyi of Lush doesn't paint an especially flattering picture of him in her book either.
Mixed on a lot of it. There's some good stuff out there (Just Mustard, Fully Body 2, Ringo Deathstarr are always reliable, Cloakroom, TAGABOW, etc.) but with some exceptions how other genres integrate shoegaze has always felt lacking, as if shoegaze is only defined by whisper vocals and reverb (or whisper vocals and fuzz). So there's more variety, but it's often paper thin and seems to move shoegaze into more general Alt Rock territory.
I figured the "The [Somethings]" naming came from bandleader + backing band name combinations. For example, Buddy Holly & The Crickets, Bill Haley & the Comets, etc. No idea about the specifics of why the names were eventually shortened, other than an implied democracy.
It's convenient because a far larger percentage of music was good. These days anyone can upload anything. In those days there was a baseline of quality with most stuff you were buying in a record store
I know there was plenty of bullshit back then, my point is that a greater percentage of popular music was good, and there wasn't a virtually infinite sea of mediocrity to sift through like there is today
The songs I like by Mazzy Star are incredible but I can never get through an album of theirs without getting a little bit bored
So Tonight is pretty much their best by a significant margin if only because the pacing is way better. I get why it would still be off-putting otherwise.
The 1994 Grammys rate should be really fun. I'd heard, but never gotten super into, In Utero, Automatic For The People, and Siamese Dream, was completely unfamiliar with Belly, and had never listened to Zooropa since my U2 experience was basically just The Joshua Tree and a few of their other radio hits. After my preliminary listen, my overall feeling is Automatic For The People > Star > Siamese Dream > In Utero > Zooropa with the first four being fairly closely bunched and Zooropa not being bad but not on the same level (which is funny since it actually won the very prestigious Grammy award). I'm curious to see what my final rankings will end up being and what the other 'heads think of each album.
Belly about to get crushed, except maybe Feed the Tree.
not sure I get Ozean as being that different from a lot of other shoegaze at the time. If you're looking for more lo-fi shoegaze, stuff like the
I'm sure many of you have submitted personal favorites to the Essentials Chart voting that you don't expect to have a chance of getting selected (I know I have). If that's you, I want to know a bit more about it!
A couple. At least one Flying Saucer Attack album ha a chance of getting in, but it probably won't. For relatively more obscure:
What is this lyric change referencing
on this note, i was surprised to see Transient Stellar, a sideproject of Lovesliescrushing and Astrobrite, had a ton of ratings on RYM. I assumed this project was super obscure yet its ratings eclipsed some of the releases of both of those bands. No idea where that attention came from as they're not on spotify and youtube stats aren't especially high.
I've tried a couple episode of I Think You Should Leave and found it abrasively unfunny. Like there's not much to the sketches other than the general concept, so there's nothing to do but have the main guy start shouting within 30 seconds, yet the sketch still lasts like another 5 minutes.
Aunty Donna appeals to my sketch comedy senses more than ITYSL.
That was another one I noped out of quickly. I don't quite remember why but, I guess absurdist comedy tends to turn annoying very quickly (especially when the humor hinges on the protagonist being annoying or offputting).
5 x 5
Is the vinyl tracklist the same but without the Beggar Lover?
the tracklist is rearranged too
interesting. I'll have a listen this way. Always confusing when bands do this
yeah I don't really get the intention. The vinyl sequencing splits the darker and lighter tracks and makes for a more coherent flow. I suppose he didn't want The Beggar Lover off on its own disc, though he could've just added Ebbing and No More of This to its disc while keeping everything else the same.
This is an underrated album IMO. I think the issue with, and generally an issue of a lot of rock albums of the 90s and early 2000s (lets call it the CD age) is the length. This album is around an hour and has some obvious songs that could have been cut. In Rainbows is one of their best albums and clocks in at the traditional LP length of 45 minutes. I think that does make a difference here. In Rainbows has some good B-sides but if they were on the album to fill it out to an hour like this one it would have been lesser for it. Most double albums have a ton of filler. I think more bands need to realize that 45 minutes is actually a good length for a record.
I can’t agree - with the exception of Codex they’re all built on loops and repeating textures. I think there’s a strong through line.
I guess I can see that in terms of composition yet the last few tracks are a pretty drastic drop in tempo. The Basement version transitions things a bit better but on record its like two separate EPs smooshed together.
Things Happen by Coil
I still struggle with the definition of “post-punk.” I know Wire qualify and I love the first three Wire records, but beyond that I’m at a loss. The first Wire album was definitely punk with the attitude and guitar crunch to go along with it, but the next two are more subdued and melodic. Am I getting somewhere with this example?
Post Punk is both an era and a sound. The sound involves a bit more than Wire as I would point to Joy Division and Public Image Ltd. covering a fairly large swath of the stuff most identifiable as post punk.
I never heard The Strokes being called “post-punk” until this thread and I was a young 20-something into that scene when they broke. I think it’s a straw-man made up by the op to push a this narrative.
OP is definitely making a strawman but Strokes being called post-punk isn't really one of them. Granted, I do think it involves revisionism as I don't recall the Strokes being lumped into that at the time (and probably extends mostly from being associated with the same scene as the other PPR bands).
CD revival has to figure out a way around the whole "cars and computers don't have CD drives anymore" problem before we can be taken seriously, alas
this but Beach House
I don't think I've ever seen this as a generally accepted truth except for the 60s (Beatlemania/Post-JFK assassination), 90s (Alternative), and sometimes the 00s (post-9/11). So events that seem to have led to mark a cultural before and after.
Yep. Constant infighting and purity tests fuck over the left consistently. There's also a ton of leftists who refuse to participate in the political system (at least in the U.S.) because there's not really any leftist representation here on a mainstream level, but the result of that is that it creates a self-fulfilling prophecy where leftists don't have representation because they don't vote and participate in the system. I get that it sucks voting for milquetoast democrats who would be considered right-wing by the standards of other countries, but when the alternative is the modern "openly embracing fascism and Nazism" GOP, we're kinda obligated to fight against that IMO. Also, if you vote in primaries and local elections you can help actual leftists gain power.
watched Crimes of the Future. Thoughts:
Cloakroom - Time Well
Pink Floyd’s early albums are by far their most daring. Piper At The Gates Of Dawn was the point at which psychedelic music fully embraced the avant garde and got weird with it (Sgt. Pepper could never). Their later discography definitely has a more refined and epic sound, but it’s arguable that smoothing out their edges for the sake of accessibility deprived them of the psychotic, stream-of-conscious genius that originally made them so pivotal in rock.