A few days ago I posted the first 20 in my Top 40 Albums of 2012 (check it out here). The first half of the list is always easier to compile than the final 20. With this, the top half of the list, I find myself swapping albums from one spot to the next, trying to refine my list to the perfect order. Of course, this “perfect order” is never truly found. On one day I’d much rather listen to my number 17 than my number 5 and vice versa. I can promise you, all of these albums are fantastic. In order to come up with a definitive order, I took into account the overall significance of an album, not just which has the best collection of songs, but which is the perfect album – the themes, the order of the songs, the cultural significance. Within those parameters, I had no doubt what would be the number one album of 2012. But I’m getting ahead of myself…
Around this time last year I posted the “Top 20 Summer Albums of 2010.” I understand this may sound like an awkward, convoluted list, but it essentially consisted of 20 albums that had been released to that point in the year, all featuring upbeat, summer-y songs. Readers generally enjoyed the list, and now in 2011, I feel I should follow it up with a sophomore effort. Yet I can’t.
At this point last year, dozens of upbeat albums filled my shelves (Vampire Weekend, Fang Island, Surfer Blood, etc). I had so many “summer albums” to list that several great releases didn’t even make the cut. But this year? Nothing. Setting out to write the summer list, I struggled to even make a top 10 list, let alone a top 20. For those that care, here’s what it would have looked like:
1. Toro Y Moi “Underneath the Pine”2. Beastie Boys “Hot Sauce Committee Part II3. Go! Team “Rolling Blackouts”4. Ponytail “Do Whatever You Want All the Time”5. Akron/Family “The Cosmic Birth and Journey of Shinju TNT”6. Dirty Beaches “Badlands”7. Fleet Foxes “Helplessness Blues”8. Danielson “Best of Gloucester County”9. Davila 666 “Tan Bajo”10. Cloud Nothings “S/T”
Even though I’m able to come up with this list, writing it would probably be painful simply because few of the albums are as near and dear to me as the ones that made up my list last year (although two of the albums above did make the list that I’m about to unleash on you…).
Don’t worry though. My love for great albums hasn’t waned. There are many albums that have already hit a chord with me, so much so that I feel I must write about them so that others can share in my joy. I’ve come up with a much more logical mid-year list: “The Top Albums of 2011 (So Far…)”. This will not only serve as a mid-term report on the year’s best, but it will also bring forward some great albums that probably won’t make the final cut on my year-end list (it pains me to leave wonderful albums out every December).
The rankings for this list are not to be treated as the end-all-be-all (I just don’t want to be held accountable if an album is 17th on this list and ends up in the top five at the end of the year). As you know, our experience with an album ebbs and flows; sometimes our adoration grows with time while in other cases, the thrill is gone after a month. Enough of this babbling. Time to get down to business.
“Dress Like Your Idols”
[Magic Marker; 2011]
The cover to “Dress Like Your Idols” says it all: a collection of album cover parodies, mostly focused on albums of the 90s. Yes, there is an homage to the Ramones and Velvet Underground, but you don’t have to go beyond the 90s to find BOAT’s biggest influences. A quick listen to BOAT’s music and the first band to come to mind for most is Pavement due to Crane’s everyday lyrics and straight-forward, disaffected vocal approach. If he needs to pay his electricity bill, he sings about it. If he is walking past a convenience store, he sings about it. If he’s listening to his walkman, he sings about it. But within these tales of commonplace, everyday occurrences, he weaves in heartfelt themes of isolation, helplessness, and loneliness. Instead of going full-emo, Crane uses humor to defuse the sadness of his stories, in turn, creating intelligent power pop that is immediate and reassuring.
There are other 90s elements at play here, whether it be the guitar squeals of Built to Spill or the quaint jangle of Folk Implosion, but I can’t simply tag BOAT as a 90s rehash. A band like Yuck! would better fit that category (as much as I love their music, their borrowing from Dinosaur Jr and Superchunk borders on criminal). BOAT on the other hand have learned from the music of their youth, and taken it into the 21st century, bringing their own fresh, slacker take on the new millennium.
“Landlocked,” just one of many slacker tales of seclusion:
19. Twilight Singers
The Twilight Singers frontman Gregg Dulli is the epitome of the anti-auto-tune. No, his voice is not always perfectly on key, it is prone to crack, and at times he strains for notes that are just out of reach. Despite these deficiencies, he remains one of the best vocalists of the past 20 years due to his soulful approach, his shouts and howls that resound with anger, pain, and bitterness. His mistakes always further the vulnerability of his narrative, adding the forlorn character found within the tattered, frail city of “Dynamite Steps.”
While other voices of the 90s have faded, Dulli’s has only strengthened over the years. He has been keeping busy since the break-up of Afghan Whigs with the Twilight Singers, his solo work, and his collaboration with Mark Lanegan, the Gutter Twins. Despite this mass of music production, “Dynamite Steps” is the closest Dulli’s dipped back into the world of the Afghan Whigs in a while, more specifically, “Black Love” and “1965” era Whigs. These songs are just as funky, emotional, and dark as Afghan classics. Even the story on “Dynamite Steps,” lovers held back by the confines of their decrepit city, is eerily similar to the one found in “Black Love.” The only difference is that their answer isn’t to burn it all down as Dulli once suggested on “Going To Town”; instead, from what I can gather, he kills his lover so he can see her in his dreams where everything is beautiful again. So yeah, I guess you could say Dulli has matured.
Singing off-key has never sounded better than on “Last Night In Town”:
18. Times New Viking
I’ve been saying it for years now, “If only Times New Viking would clean up their production value…” Well, with the slow move away from the lo-fi movement, TNV finally granted my wish with “Dancer Equired.” Not to say that the production value is pristine, but the band has wiped away a bit of the fuzz to allow the listener a step closer into their pop palace.
TNV has always written infectious pop melodies, and finally they allowed the songs to be the centerpiece of an album. No longer is it about how bad we can make a great song sound, rather “Here’s a great song. Take it as you will.” One may suggest that the band has sold out by moving away from lo-fi, but they still keep their cred with most of “Dancer Equired” sounding like it was all recorded in one day. And really, that’s what makes TNV so great. In the past TNV’s songs were in your face: either the hook caught you or you got lost in the noise. On “Dancer Equired,” with much of the lo-fi trappings gone, the band takes time to unreel songs that aren’t as instantaneous. Instead, they allow their organ riffs and energetic shouts grow on you with each listen. I never want to hear a polished TNV album, but “Dancer Equired” has just enough shimmer to allow the melodies to shine their brightest.
This song is called “Fuck Her Tears”; I don’t think we need to worry about TNV selling out:
17. Panda Bear
For those that have followed my blog over the years, seeing a Panda Bear album this low on a best of list (let alone a mid-year list) is probably a bit alarming. “Person Pitch” is one of my all-time favorite albums, and I’ve conveyed my admiration of both Panda Bear and Animal Collective fervently over the years. So “Tomboy” at #17 might be a strange site on BDWPS, but then again, “Tomboy” is a pretty strange album. The first half is filled with the types of Beach Boy style melodies we’ve grown to love, all filtered through Panda Bears arsenal of squeaks and echos. Songs like “You Can Count On Me” and “Slow Motion” are just as enjoyable listens as anything on “Person Pitch.” I could listen to side A of “Tomboy” again and again (and I have).
Then there is side two. It’s far from bad, but the album definitely takes a peculiar turn. To this day I can’t comprehend exactly what is happening on side two, and part of me really likes that about this album. The alien approach makes it a challenge to figure out exactly what Panda Bear was trying to accomplish. It’s ominous, desolate, and almost frozen melodically. With each listen, I feel myself slowly cracking the surface of what Panda Bear is doing, and this slow and steady process of discovery is the reason “Tomboy” snuck onto this list. If all of “Tomboy” were like the first half, you’d probably find this album in the top 10, if not at number one, but as of now, I’m still familiarizing myself with the unexplainable hum of side two, with its obtuse offerings like “Scheherazade,” “Friendship Bracelet,” and “Afterburner.” Who knows, by year-end I might be singing a different tune (or chanting it like a Panda Bear monk).
“You Can Count On Me” is familiar territory from side one:
16. Thurston Moore
Kim Gordan is one lucky gal. Seriously, she’s married to Thurston Moore. How cool is that? Sure, she’s an indie goddess in her own right, but Thurston Moore! Thirst N’ More!!! Not only are his contributions to the indie scene immensely significant, but based off the songs on his solo album “Demolished Thoughts,” he makes a pretty loving husband. With exposed lyrics like “whisper I love you my darling” and “you stole his heart away,” Thurston holds back nothing when it comes to his gal Kim. I personally hate love songs, but with something this honest and forthcoming, I can’t help but feel an admiration for what this power indie couple has held together all these years (what is it now, 25 years?!).
While “Demolished Thoughts” sounds very similar to Thurston’s last solo album “Trees Outside the Academy,” both featuring an enchanting combination of acoustic guitar and strings, “Demolished Thoughts” has a production value that is far beyond his prior effort. Beck produced this album, and it is easy to figure out that he took his prowess from “Sea Changes” and implemented it here. The back-and-forth of the guitar and strings harken back to the sweet sounds of Nick Drake. But Drake’s guitars never sounded this clear, this personal, this serene. You won’t hear a better sounding acoustic guitar in 2011, and I doubt you will hear a more honest, charming album of love songs.
Just one listen to the guitars on “Benediction” and you’ll fall in love too:
15. Six Organs of Admittance
“Asleep On the Floodplain”
[Drag City; 2011]
A few years back, my friend SongsSuck burnt me a book full of CDs, mostly bands I’d never heard before. When presented with 200 new albums, it can be a bit daunting to trek your way through them. One of the albums in the multitude of CD-Rs was Six Organs of Admittance’s “Dark Noontide,” and although I enjoyed it, the album got lost in the mix over time. Upon seeing Six Organs had a new album this year, I jumped at the chance to revisit the band long forgotten. The problem is I didn’t recall what they sounded like, and for some reason, I got them confused with Godspeed You! Black Emperor (probably the long names caused my mistake). You can imagine my surprise when Organs experimental folk ramblings sounded nothing like GY!BE’s hypnotic chamber rock. As much as I enjoy GYBE, my rediscovery of Six Organs was a stirring experience.
On the droning, 12-minute “S/Word Leviathan” Six Organs could have been confused with GY!BE, but the rest of the album is folk meandering at its finest. You never know where Ben Chasny’s guitar will take you, but you know it is a warm and inviting place. While some might describe Six Organs as psychedelic folk, I feel it is the style of folk that John Fahey finger-picked long ago. This is an ancient journey, roaming about the fret board while staying grounded in Americana. Songs stop and start without warning, but the voyage never really ends. And when Chasny decides to offer up a traditional folk song with verses and a chorus, he shows that he could settle down if he wanted to. He just doesn’t want to (and that’s a good thing).
An acoustic guitar has never sounded as unpredictable as it does on “Above a Desert I’ve Never Seen”:
14. Dirty Beaches
Have you ever noticed how every Michael Moore film starts the same: the 1950s and 60s, American Dream, cheap health care, zero violence or poverty, and a booming auto industry? I enjoy Moore’s films as much as the next tree-hugger, but it does seem to be both an overused motif and an inaccurate portrayal of the time. Anyone who has watched “Mad Men” or read On the Road knows that life wasn’t necessarily all picket fences and apple pie back then (although Sal Paradise does intake massive amounts of apple pie en route to Denver). The Dirty Beaches “Badlands” is just another artistic take on how the innocent 50s is all a sham.
“Badlands” is all about its lo-fi production – unassuming drum, and mechanical bass lines that all fit within the 1950s musical mold. If you were to play a song off this album to someone and said it was a “golden oldie” they would undoubtedly believe you. But Dirty Beaches aren’t simply a warm nostalgia trip down better times lane. These songs feature a darker tone than those that they are borrowing from. The vocals are cloaked in reverb, yet you can still discern the baritone croon that will make you wonder if Nick Cave found a time machine. These are not songs of love and joy; they are songs of lust and despair. By the time the final two tracks arrive, “Black Nylon” and “Hotel,” there is little doubt that a film noir murder has taken place, although I doubt even Detective Samuel Spade could handle the dark depths of “Badlands” homicide scene.
“Horses” reminds me of Chris Isaak’s “Baby Did A Bad, Bad Thing”, except Isaak wasn’t nearly as convincingly sinister:
[Sub Pop; 2011]
Fans of old school Low might not like “C’Mon.” Not that it doesn’t resemble Low, but much of what made albums like “Long Division” and “I Could Live In Hope” popular are all but gone. The haunting spaces have been filled with sound, the instruments are no longer hiding in the shadows, and the self-loathing has turned slightly toward optimism. But the biggest difference are the vocals. In the past, Alan Sparhawk and Mimi Parker were ghostly figures, a part of the atmosphere,. On “C’Mon” their voices are up front and center thanks in part to the lush production of Matt Beckley. Not until first hearing this album did I realize what incredible vocalists the duo are. Sparhawk’s baritone is thick and hearty, and Mimi puts forth the best female singing I’ve heard this year with her dark lullabies that somehow lull the listener into a comforting dream.
Low still ventures into the dark tones of the past, but it all seems more dramatic, more ambitious and persistent. I’m not dogging on that slow core sound that the band mastered decades ago; I’m just celebrating a band who has found a way to continue thriving, evolving all the while.
Although it contradicts my portrayal of the album as a positive venture, “Majesty/Magic” is one of the most incredible tracks of the year thus far. Try not to get chills:
12. True Widow
“As High As the Highest Heavens and From the Center to the Circumference of the Earth”
Don’t worry about slow core dying with Low my friends; others are now carrying the torch. On first listen, the trio of True Widow may not resemble Low and others of the slow core variety, but upon closer look you’ll find the same wall of ethereal droning as the back-bone of True Widow’s sound. True Widow refer to themselves as a “stonegaze” band, yet the approach is the same. Like a slow, dismal march through a storm, “As High As the Highest Heavens and From the Center to the Circumference of the Earth” trounces from track to track at a steady pace, always teetering on the verge of a distorted explosion that never comes. This is what makes this album so great; it works like a Henry Ford era machine, constantly turning and grinding away with Nikki Estill’s angelic voice countering the crunching sludge of Dan Phillip’s guitar work. The combination is both terrifying and rousing, causing one to feel both depressed and inspired at the same moment.
Last year I couldn’t get enough of Quest For Fire’s “Lights From Paradise,” and in 2011 True Widow have continued this obsession with this plodding sound. Maybe I’m just going through a stone-gaze-phase and this album isn’t nearly as incredible as I find it, but I doubt it.
“Skull Eyes”- always on the verge of an eruption that never comes:
11. Colin Stetson
“New History Warfare Vol. 2: Judges”
The fact that I loved “New History Warfare Vol. 2: Judges” before even seeing Colin Stetson’s incredible live show assures me that my judgment wasn’t blinded by the experience. Probably because “New History” contains some pretty magical, innovative stuff. I’m not sure I’ve ever heard anything like what Stetson does here. I don’t even need to focus on the difficulty found in his abilities to play a saxophone riff endlessly without taking a proper breath AND singing with his howling vocal chords at the same time. Impressive, yes, but Stetson also writes some brilliant songs, both mystifying and enlightening.
The album was recorded with dozens of microphones, located in various parts of the room and on different parts of his sax (including the innards). As a result, you are brought into an atmosphere never explored in music (to my knowledge): the belly of the beast; the heart of the saxophone. The bass saxophone echoes and squeaks from within as the pads pound out a slurpy beat (spit valves are for wimps) while Colin’s constant circular breathing blows through the cavern like a chilling wind. This is an album for any kid in beginner band who ever wondered what it sounds like inside their instrument. The answer? Remarkable.
“Clothed In the Skin of the Dead” is just a taste of life inside a saxophone:
Finally the countdown begins. Get in touch with us if you want to know where to get ahold of the album legally. Again, an asterisk next to the album’s title signifies Android50’s approval. – Songssuck
2000: the year I really began paying attention to music not heard every day on the radio. This should be fun. – Ho Chi Unser Jr.
100. Badly Drawn Boy – The Hour of the Bewilderbeast *
I checked out this album because of Damon Gough’s soundtrack to the movie, About A Boy. Whether you like this album as well as the music to that movie depends on your tolerance for eccentric self-indulgence and experimentally laced White Album length pop album. – Kid Kilowatt
99. Death Cab for Cutie – We Have the Facts and We’re Voting Yes
The first band on this list I checked out because of Built to Spill comparisons. Even though they are probably now the biggest/most popular of the Pacific Northwest bands, they have never gotten that many plays at my crib, they’re usually too mopey and depressing. But this is their best album, it has some great songs and if you’re in the mood it hits the spot. – Songssuck
98. Go-Betweens – The Friends of Rachel Worth
I’m not that cool, so this was the first Go-Betweens album I heard. I had read about how great their 80’s output was, but had never dived in to find out for myself. Actually, it was hearing that Elliot Smith, Sam Coomes and the ladies from Sleater-Kinney were the backing band that made me check it out. I was at first disappointed as it was only on 3 songs I could tell S-K was involved, the riffs on “The Clock” and “German Farmhouse” were clearly S-K’s doing, and Corin Tucker sings on “Going Blind” even though she is so subdued one cannot tell it is her. It was the Australian duo’s first album after disbanding in 1989, so it should have been a disaster, but these two clearly know their way around a pop song. — Pthestudp
97. Burmese – Monkeys Tear Man to Shreds, Man Never Forgives Ape, Man Destroys Environment
Literally probably the aural equivalent of the album’s title. Two basses, no guitar create some intense noise with lots of low end crushing with spastic drumming. – Dr. Anonymous
96. Grandaddy – The Sophtware Slump *
I remember buying this album based solely on comparisons to the Flaming Lips and Radiohead. I could never hear the Radiohead, but listening to it now it does remind me of the Lips a bit. – Kid Kilowatt
95. Eels – Daisies of the Galaxy *
The Eels’ Daisies of the Galaxy is an album you put on to lay back, chill and drink an ice cold beer. This album has attitude, despite being the Eels’ softest album. The attitude can be summed up with the chorus of the closing track: “Goddamn right, it’s a beautiful day.” Mark E’s vocals and overall simplistic style make this album worthy of any music lover’s collection. — Mondo Topless
94. Mouse on Mars – Niun Niggung
Oftentimes when an artist releases an album that has a lighter, happier feel than their previous works, it is dismissed as a lesser or somehow trivial work. (I’ve often said that Radiohead only need to release a “party” album to get horrible reviews). For some reason, playful and fun albums are seldom considered as significant; when is the last time one heard one described as “timeless?” So even though Niun Niggung probably isn’t as good as Iaora Tahiti or Idiology it is not because of its bouncy playfulness and it is worthy to sit along side them in the Mouse on Mars canon. – Suzy Cream Cheese
93. Two Lone Swordsmen – Tiny Reminders
Small aide memoires? More like bitch slaps to the face (delivered via fucked up electro, call it techno if you must). – Songssuck
92. Sonic Youth – NYC Ghosts & Flowers
NYCG&F’s tribute to beat poetry, bohemian New York, and avant-garde noise was recorded shortly after all of Sonic Youth’s inimitable, custom-tweaked & tuned guitars were stolen. Pretty much the redheaded stepchild of the SY discography (it was given an unwarranted ‘0.0” by Pitchfork). – Dr. Anonymous
91. Idlewild – 100 Broken Windows *
Really these songs could be on any alternative/modern rock station. But I keep coming back to it after all these years and I wasn’t even expecting to like this anymore when I listened to this again for this list. But I did. I’ve heard them compared to Nirvana and R.E.M. a lot, though I don’t hear it. But something about it makes it impossible for me to describe so I’ll go with it. It’s like Nickelback + Green Day with awesomer guitars and a better vocalists. No one is going to want to hear it after that comparison. – Pthestudp
90. Cave In – Jupiter
In high school all one had to say was “Slayer” to get my attention.3 So when I heard about this band who equaled an addition of Radiohead + Slayer (even though I am pretty sure all I knew about Radiohead was that “Creep” song) I had to check it out. I fucken loved Until Your Heart Stops, and couldn’t wait for their next album. What I got next was a shit sandwich: it was obvious to me that Jupiter was a full-scale sellout. Soaring falsetto vocals, ornate poppy melodies fit for arenas, this shit was an obvious attempt to get on MTV (and I do believe I was right, after this they signed to a major label). Revisiting it years later I began to like it, and now; 10 years later I can appreciate what they were trying to do (it’s called making money. I cannot appreciate it as much as I appreciate their metal albums though). – Songssuck
89. Zion I – Mind Over Matter
Old school loops and beats, but totally off kilter, smooth but hiccupping and rapid fire. But frankly, at 21 songs and almost 75 minutes this is a bit too much of a good thing, even if most of it is catchy and funky. – Dr. Anonymous
88. Damien Jurado – Ghost of David *
Sometime in 2003 I burnt Android50 a bunch of cd-rs. He reviewed a lot of them. Here is what he had to say about Ghost of David: “The first time I listened to this CD I almost cried… literally. It was a rainy afternoon, had a rough day at school, and stuck this in on the way home. Not bad… sniffle sniffle… pretty good stuff… sniffle sniffle… You’re SO right Damien! His lyrics are great; they tell a story yet they still have that emotional edge that is sometimes lost in the narrative song.” That’s Android50’s ’03 take and to that I would add, “it’s pretty folky and there are some really good songs.” — Songssuck
87. Giant Sand – Chore of Enchantment
Convertino and Burns of Calexico fame join Howe Gelb for his 10th or so album as Giant Sand. The desert always attracts a certain type of person, and that explains where this music comes from. It will be interesting to see where Songssuck ranks this one with Calexico’s offering from this year, but for my money I’ll take Chore of Enchantment. Add even more drugs to Neil Young’s more deserty albums or Meat Puppets’ II and one can begin to put their ears around this one. Like tequila, an aquired taste. – Suzy Creamcheese
86. Six Organs of Admittance – Dust and Chimes
Sunny and druggy, ragga influenced, vocal chants coming from some hallucinogenic otherworlderness. John Fahey, Robbie Basho and early Tyrannosaurus Rex are all good reference points. Ben Chasny is an amazing guitarist who also plays with Comets on Fire. Should check it out if you are a fan of the acoustic guitar. – Willie Rambo Strider
85. Ryan Adams – Heartbreaker*
Android50 and Suzy Creamcheese are the Ryan Adams fans of the BDWPS writers and the only Whiskeytown I own is a cd-r he gave me. But I’d say this is his most country album and is overrated in my opinion. Having said that, it has two of my all time favorite songs on it: “To Be Young (is to be sad, is to be high)” and “Come Pick Me Up.” I could talk shit on Ryan all day long (and used to) but it would be worthless when he is capable of writing two songs like that (in fact that is why I picked up this album, after finding out that song on the movie Old School was on this album). I listened to “Come Pick Me Up” four times in a row first time I listened to this album and once more after the record was spinning. – Dr. Anonymous
84. Eternal Elysium – Spiritualized D
Japanese doom band carrying the torch of earlier Japanese heavy psych bands, like Flower Travellin’ Band, Blues Creation, Speed Glue & Shinki, and Flied Egg. – Ho Chi Unser Jr.
83. Yo La Tengo – And Then Nothing Turned Itself Inside-Out
Everyone who knows knows that YLT is one of my all time faves. But I must say this album still throws me for a loop. You see, this album is completely devoid (except for the excellent “Cherry Chapstick”) of distortion, noise and hard rocking anthems. It is what I call their ‘wussy’ album. I mean the songs are great, but they are all gentle lullabies. We have heard songs like these before from these guys, but where is the diversity YLT are known for? I realize that they were going for something else on this album, but it just doesn’t do it for me. Still, a good album (and a critic’s favorite by the way), but I have a feeling it is one of the maybe three on this list my mother might like. – Songssuck
82. Frogs – Racially Yours
Supposedly this album was finished in ’93, but no one would release it due to the controversial cover and lyrics. If you are not familiar with the Frogs, they are two brothers from Milwaukee who had previously written It’s Only Right and Natural an album about being gay (by two straights). Racially Yours is sung from different first person perspectives: a slave, a slave owner, a racist, a revolutionary minded black man, a slave trader, and other various characters. The controversy over this album is overstated, it is an indictment of racism, anyone who cannot figure that out has their head way too far up their ass. I understand if one thinks this album is too irreverent, offensive or absurd, but it is hard to actually listen and find it actually racist. Whether this is insulting or thought provoking depends on one’s viewpoint. The actual music is wonderful (although out of 25 songs there are some duds), real lo-fi, glammy, melodic, lush and fun. The lyrics are not as funny as on past releases. Pearl Jam, Kurt Cobain, Kim Deal, and The Smashing Pumpkins are all bands I remember championing them back in the day. – Dr. Anonymous
81. Boredoms – Vision Creation Newsun
How much you like this album will depend upon whether you like chaotic, spastic noise punk anthems Boredoms or cosmic hippie psychedelic trance Boredoms, Vision Creation Newsun being one of the latter. Everyone choose sides. –Wille Rambo Strider
Boredoms?! Better than At the Drive-In “Relationship of Command”!? What a disgrace. – Android50