Tag Archives: Sonic Youth

Chelsea Light Moving “S/T”

Chelsea Light Moving

“S/T”

[Matador; 2013]

Rating: 7.8

I was beginning to think Thurston Moore had gone soft on us.  Don’t get me wrong, his softer side is nothing to scoff about.  His two solo albums from the past five years have been intimate, atmospheric listens, and Sonic Youth’s two releases in the past decade have been much more stripped down in comparison to the days of Dirty and Goo.  But with his recent divorce with band mate Kim Gordon (and probable break-up of Sonic Youth), it seems Thurston has reconnected with his distortion pedal, stirring up the ashes of his bratty brand of disorder on his new project, Chelsea Light Moving.

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Lee Ranaldo “Between the Times and the Tides”

Lee Ranaldo

“Between the Times and the Tides”

[Matador; 2012]

Rating: 8

I thought I had Sonic Youth pegged. Thurston Moore is the melody maker, Kim Gordon brings a seedy punk-rock edge, and Lee Ranaldo produces the experimental explorations. Their powers combined result in the band’s distinctive sound. But on Ranaldo’s latest solo album, “Between the Times and Tides,” he has me rethinking everything. Not only is it not experimental, it is closer to traditional pop music than anything found within Sonic Youth’s 25 year catalog of music (yes, twenty-five years!).

Ranaldo’s past solo albums primarily consisted of soft, acoustic driven experiments.  This time around, Ranaldo uses his Jazzmaster to help escape the uncertainty surrounding Sonic Youth with the recent divorce of Moore and Gordon. And where does he escape to? The sounds of his youth.

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Honky-Tonk Angel

Every 4th of July that I’m back in Iowa, my mom and I take a trip over to Okoboji to peruse the flea markets.  This year was no different with my mom and I making the annual trip over to the lakes to walk past table after table of rusted signs, antique china, and baseball cards (a Texas flea market is much different in content, usually featuring used clothing, black market DVDs, and economy-sized boxes of Chiclets).

As a toddler I went with because I had to, as did my brothers, but as we got older, my siblings quit going while I continued tagging along with my mom.  While my mom has always gone in search of what ever rusty gold she can find, I’ve went over the years for different reasons. In middle school I searched for David Robinson cards to add to my collection (today, my 150 Robinson card collection is probably worth a buck fifty).  After college I still willingly went along, now searching for old pint glasses (Schlitz, PBR, Hamm’s, etc), but this collection petered out when I realized that pint glasses aren’t much fun without beer inside them.  The past few years I’ve gone with my mom just for tradition’s sake, but this year I had a new collection in the works: vinyl.

Writing this blog made me curious and I was pleasantly surprised to see that a Robinson rookie card goes for around 20 dollars.

You would think being a music enthusiast I would have jumped on the vinyl train long ago, but I always found myself blindly satisfied with CDs.  This of course all changed with the dawning of the i-Pod.  I found myself buying CDs that I’d rip to my computer and never touch again.  As much as it pained me, I realized I needed to move to MP3s. They’re more eco-friendly and don’t fill up shelves at the house. Despite this realization, I couldn’t make the switch. The idea of paying money for something you can’t tangibly hold in your hands didn’t set well with me. Plus, I couldn’t part with the experience of reading the liner notes, analyzing the lyrics, and exploring the artwork.

When I discovered many labels now include download codes with their vinyl, I found a solution: not only was I still getting the MP3s, but I got the added bonus of having a bigger package to adore. Plus, when listening to the music at home, I always opt to hear it on the record player because it just sounds so much more better.

This shift to vinyl soon became an obsession, and now I’ve slipped into the role of record collector.  Despite the lack of free MP3 downloads with used LPs by Charlie Parker, Run DMC, and Willie Nelson, I couldn’t help myself but to hear the classics in the form that they were meant to be heard.  Being a new hobby, this was my first year searching out old records at the flea market, and I left with 20 albums including Black Sabbath’s “Sabotage,” Stevie Wonder’s “Songs in the Key of Life,” and Jimi Hendrix’s “Smash Hits,” the album that changed my life as a 14-year-old kid.

The album my mom found at the flea market

While scouring the tables of boxes, my mom looked around to pass the time. At one point she walked over to me with an album in hand.  “I remember this Kitty Wells album from when I was a kid. I used to love the song ‘Honky Tonk Angels.’ My brother used to play it all the time.”  The mention of her brother Gary caught me off guard. Gary drowned 13 days after his 21st birthday back in 1962.  My mom witnessed it. As you can imagine, this was pretty hard on her.  As always with music, that record brought memories back to the surface.

I encouraged my mom to buy the album, and she did.  As we walked on through the tables of antiques, mom continued discussing my uncle’s love of music. It seemed the sight of that old record had dusted off memories she’d not visited for a while. She talked about the huge collection of records he bought over the years with the money he earned as a barber. She remembered all the concerts he used to head into town to see: Johnny Cash, Conway Twitty, Patsy Cline.

My mom still has some of the signed photos he bring home for her as a kid including this Patsy Cline. Unfortunately, they got water damaged in a basement.

Something about it all seemed eerily similar, and I knew why.  The pile of records, the concerts, the love of music – it all added up. Driving home, one question haunted me: how could my Uncle Gary, a man I never knew, be so much like me?  Yes, his love of music rubbed off on my mom who raised my brothers and I on a steady diet of Joni Mitchell and Buffalo Springfield, but to the level that Uncle Gary did? The level that I do?

I began to question my thoughts.  How could I possibly even get my uncle’s music-obsession gene? Where did he even get it? My grandpa, who took over the farm at age 14, never seemed to be a music fanatic, and my grandma listened exclusively to the Statler Brothers (“Mama Sang Bass” will forever bring me back to riding in my grandma’s car).  Maybe the music-obsession gene skips generations and somewhere 100 years back one of my ancestors was as obsessed with John Phillip Sousa as I am with Sonic Youth.

Sonic Youth with Sousa on the drums.

Back at home, I continued thinking about Gary with my questions moving away from “Why?” to “What if?”.  What would he be like today? How would my life be different if I had known him? Would he have regaled me with stories of meeting Johnny Cash and Patsy Cline?  What would he have thought of Bob Dylan? Neil Young? Iggy Pop? All unanswered questions.

A week later, these thoughts would still circle my brain like a needle on a record. It didn’t help that my mom left the Kitty Wells record sitting on the kitchen counter, and each time I saw Kitty’s face looking back at me, I couldn’t help but think of Gary.  I finally decided to listen to the album that had raised so many memories for my mom and so many questions for me.

I put the needle on the vinyl like I’ve done so many times before, and listened to the crackling of the record. I wonder if he enjoyed that sound as much as me – the anticipation that comes with it.  And then Kitty Wells appeared.  Her voice wasn’t beautiful by any means. Nasally, a tad flat, yet it didn’t bother me. In fact, I liked it; there was substance to it. It had soul. And soon, that emotive voice filled the rooms and halls of my parents’ house while filling the void of uncertainty in my mind.  No, I never knew Uncle Gary; but in that moment, I knew that he still somehow lived within that music and within me – my honky-tonk guardian angel.

Uncle Gary with my mom and Aunt Sally up above on the rocks.

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Video Clip of the Week: St. Vincent does Big Black

Over Christmas, I met up with my friend SongsSuck for a few drinks, and our discussion got into books. He asked me to list my top 10 favorite books of all time.  As I tried coming up with my list, one book kept popping into my head: This Band Could Be Your Life by Michael Azerrad. At first, I resisted listing this title, trying to focus on the classics, but again and again the book kept creeping into my brain. I knew why. This one book had such a profound affect on me and my love for indie music, that I dare to say that this book could change your life.  It did mine.

You can’t help but be changed by the stories of bands like Sonic Youth, Minor Threat, The Replacements, and Black Flag and how they were able create music that was original and honest without any money backing their efforts. To this day I reference moments from the book, whether it be the tumultuous relationship between Lou Barlow and J. Mascis or the untimely death of D. Boon. This book shows you music at its rawest form and gives you insight into the trials and tribulations these kids dealt with as they took their four-track garage rock and made it into something legendary.  Our Band Could Be Your Life is the indie rock bible; no question about it.

Yesterday, to mark the ten-year anniversary of the book, a show was put on at the Bowery Room consisting of current indie bands covering bands from the book, just another testament to the staying power of the book.  While I enjoyed the clips from the show I saw of Ted Leo, tUnE-yArDs, and Titus Andronicus, it was St. Vincent covering Big Black that blew me away. I’ve never gotten any St. Vincent and never had any desire. What I’ve heard has never really peaked my interest, but after seeing their take on Big Black, I’m all in.

Their incredible performance “Kerosene”:

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Video Clip of the Week: Mike Watt joined on stage

I guess you could say that Mike Watt changed everything for me.  Back when I was 15, my older brother took me up to St. Paul, Minnesota to see Primus, and opening for Les Claypool’s band was a fellow master of the bass, Mr. Mike Watt and his band.  At the time I didn’t know who Mike Watt was, nor did I know of The Minutemen; my journey into the world of punk rock was in its early stages. Regardless, I still distinctly remember the opening boom of Watt’s bass as he violently punched his low E string with a resounding pluck of his finger.

My brother and I would both go on to purchasing Mike Watt’s star-studded “Ball-Hog or Tug Boat” featuring guest stars such as J. Mascis, Frank Black, Mark Lanegan, Sonic Youth, and Henry Rollins.  To say this was an introduction to the world of indie would be an understatement.

Since then, Watt’s released several more solo albums without the assistance of star power, but last week during a live performance in Seattle, Eddie Vedder, Dave Grohl, and Pat Smear, fellow “Ball-Hog or Tug Boat” guests, came onto the stage and performed a 10 minute jam version “Big Train” (a classic from the “Ball-Hog or Tug Boat” album). Despite the camera man’s incessent declaration of shock, it’s pretty cool to see these big names paying their respects to a true legend.

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End of Summer Albums 2010

Summer’s almost over.  But that makes this even more pertinent.  And it’s not like the value of these great albums will diminish in the first few days of fall—although we may have to do another one for autumn.  We decided to do this after Android50’s Best Summer Albums of 2010. Not that we hated the list or the music of 2010.  Our input just wasn’t asked for, like Android50 had some sort of monopoly on summer tunes.  So here is our list, no restrictions, just albums we have been listening to this summer.  Looking through it, it gets me all excited, as it just might turn some on to some new tunes.  As for me, Kid Kilowatt took my Jawbox (I love Novelty), but besides that Iggy Pop’s first two solo albums (Lust for Life & the Idiot) are great to bike around to and have been in heavy rotation, Yo La Tengo have made a huge comeback (I Can Hear the Heart Beating as One) would be perfect for this time of year and autumn, but it was played constantly this summer as well.  I got hooked on Will Oldham’s Palace incarnations, especially Viva Last Blues and Sleater-Kinney (especially One Beat & All Hands on the Bad One)  once again—it had been a while.  Oxbow, Beach House (an obvious pick), Smog, Destroyer (City of Daughters is soooooo good), Dinosaur Jr.’s Beyond, Guided by Voices, High on Fire, Modest Mouse (I think I have Songssuck to blame for this one, as he made me revisit Moon & Antarctica due to the 2000 list), My Morning Jacket (their first three, don’t talk to me about them after that), Neurosis, Mastodon, and the Woods made up the majority of my playlists this summer.

Of course the start of the summer saw me listening to nothing but Isis, Dio and Black Sabbath.  It was a sad time for a while.  But I said goodbye to Dio and Isis in my own way, but that doesn’t mean I don’t still miss them.  Lots of stuff to check and revisit (for some reason the 90s were in VERY heavy rotation this summer, hum), enjoy what’s left of the nice weather with these great picks!

Emitt Rhodes

s/t
(ABC/Dunhill Records: 1970)

8.6

Being a big Paul McCartney fan I was hesitant to try Pthestudp’s recommendation of this album. I started to hear about it in other places, and Pthestudp insisted we listen to it.  Forgive me, I should have proponent of Emitt long ago.  The McCartney comparison is unavoidable, as even his voice sounds like Sir McCartneys.  But unlike Paul’s work with Wings, these songs never veer towards overkill and are brilliant.  His four solo albums have been re-released, but it was his self-titled debut that one HAS to have in their collection.  Perfect summer listening.  – Suzy Creamcheese

Unwound

Fake Train/New Plastic Ideas/The Future of What/Repetition/ Challenge for a Civilized Society/Leaves Turn Inside You
(Kill Rock Stars: 1993/94/95/96/98/01)

Really I could have picked any Unwound album (and I did).  They are all fantastic.  Start with the beginning, (93’s Fake Train) if you wish.  I have always told people Unwound are Sonic Youth plus Fugazi.  And I don’t fucken lie about shit like that.  So fucking underrated it pisses me off. – Songssuck


Gandalf

s/t

(Capitol Records: 1969)

8.4

Psychedelic, poppy, spooky—this one, in a sea of lost 60’s artifacts, stands out as being legit. No hype here, these guys have it.  I dig it out every summer and it is a required listen on summer road trips, with no one I have played it for not being enchanted and won over. – Willie Rambo Strider


Fennesz

Endless Summer

(Mego: 2001)

9.1

I play this album over and over again.  Guitars processed & distorted beyond recognition.  The sounds come from summer, but not summer on this planet.  Summer in a much better time and place. Summer somewhere, when it rains, it rains drops of warm sunshine.  Though maybe, this place is just a summery state of mind. – Tyrannosaurus Banks

Leo Cuypers

Heavy Days Are Here Again

(BVHaast: 1981)

AK-47

I wanted to highlight this one during our ‘Best of 2000’ list, but Songssuck said absolutely no reissues.  So here we are, with an unheard of classic from 1981.  Have you ever seen those ‘Live, Laugh, Love’ posters/decorations?  Well, those schmucks should just hang this LP on their wall instead, because this album is just bursting at the seams with the exuberant energy from those three entities.  Pthestudp described it as Schroeder’s soundtrack to Charlie Brown losing his virginity on a roller coaster to Lucy.  Fuck yah! –Tyrannosaurus Banks

Band of Horses

Cease to Begin
(Sub Pop: 2007)

8.5

I did me some listening to the Band of Horses this summer.  Reminds me a bit of old My Morning Jacket, lots of grandiosity, lots of reverb, guitars making the night sky seem small.  Pretty great.  –Dr. Anonymous

Borbetomagus

Barbed Wire Maggots
(Agaric: 1982)

AK-47

Fierce.  Free.  Uncompromising.  Because something has to be.  The problem is most people go into this album looking for jazz.  This ain’t jazz.  It’s the sound of a herd of wild stallions that have never seen a harness.  And the fuck if these ones ever will. –Kid Kilowatt

Cold Sun

Dark Shadows
(World in Sound: 1973)

Deserves its Holy Grail status.

Roky Erickson fronting Pavement.  Captain Beefheart jamming with the Grateful Dead.  Good shit. – Ho Chi Unser Jr.

Jawbox

Novelty/For Your Own Special Sweetheart
(Dischord Records: 1992/Atlantic: 1994)

These are classics, one cannot rate a classic.

For these two, Jawbox may have become mightier than their labelmates, Fugazi.  Some songs on these two remind me of The Jesus Lizard, but Jawbox were always Big Blackier then Minor Threaty.  I like Novelty better than their major label debut (I know, I know, probably wouldn’t have been possible without major label money, but I would like to hear it with more balls), but both are essential 90s documents.  Make sure you take them both with you when rock climbing.  –Kid Kilowatt

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Top 100 Albums of 2000 (100-81)

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


3 Some things never change.

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