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Showing posts tagged with #song

In the late 1960's, Johnathan Richman was really into The Velvet Underground. After travelling to NYC and living in squalor for a while as he unsuccessfully attempted to break into the scene, he went back home to Boston and founded The Modern Lovers.

After recording two batches of demos in 1972, struggling for some time to find a label that would release their music, a trip to Bermuda inspired Richman to decide he didn't want to play hard rock music anymore and the band broke up. By 1976, he'd formed a new version of the Modern Lovers to channel his new mellower output, and luckily for us the label that accepted him decided to release those 1972 demos as 1976's The Modern Lovers.


My favorite thing about music, by far, is that there is so much of it. My taste, over the years, has slowly grown and shifted, and all along the way I keep finding more and more music that I enjoy. New music, or old music, there's always more of it for me.

I recently decided that my knowledge of punk music was severely lacking--considering I appear to be a person who will now have strangely colored hair perhaps for the rest of his life, I thought that it would be bet to remedy this.

Thanks to the playlists in Apple Music and on Spotify, it will be pretty easy for me to listen to lots of different kinds of punk, to pick out the stuff that appeals to me the most. This song, by The Undertones, is a classic I'd never heard before. The record version sounds slightly different from this live take, but that's alright, the important thing is that the song is great. I love the vocalist's voice, I was sure he was a woman on the recording, sort of like The High Strung's Luck You Got.


I really like this song a lot. Whenever it comes on, I end up thinking about how I want to write a "vampire novel", except a really clever one where being a vampire is a metaphor for being a jaded, cynical misanthrope. I love the first two lines:

at first it was different
and then it got boring

This is a somewhat local band, from Southern California, and yet I've never seen them live. That's disappointing.

Relatedly, a while ago when I staged an indie rock concert at a friend's house, this song came up in the mix I was playing between bands. I overheard some guy trying to impress a girl, talking over this song and misattributing it to Mikal Cronin, and then acting very surprised when the song just quickly fades out without a proper ending (on the recorded version, not the version in this video). I'll always think of that when I hear this song, too.


I want to say that this music video is too ridiculous, garish, and cheesy to be appropriate, but then I remembered what song I'm writing about. This song is ridiculous, garish, and cheesy, which is a big part of why my ears immediately perked up.

This is a modern song, and the first 14 seconds of it sound like they were legitimately transported forward in time from the late 70's slash early 80's. I really mean this, too, in the sense that there's a lot of bands that are clearly influenced by the 80's, and there's a lot of songs that sound like they're clearly stabbing toward sounding like an 80's song but just don't make it quite there. This song, on the other hand, plants a solid landing. This is an 80's track that has been influenced by modern production values, not the other way around.

Even the songwriting is appropriately groan-inducing, like the entire bridge which sounds like a rejected verse from Labyrinth:

oh honey now
don't you come crying to me
we're all gonna die here
but life will go on
down in the ocean of dreams

The rest of this Sylver Tongue EP is not very good, but this song is basically absolutely perfect as far as I'm concerned.


Probably my favorite album at the moment.

This Brooklyn trio’s sound certainly evokes the indie rock groups of the ’90s – most particularly Throwing Muses and the Breeders – with their post-punk pop music. Fronted by the twin guitar playing of Saara Untrecht Oakner and Glenn Van Dyke, BOYTOY crafts some pretty interesting tracks on their debut EP that borders between the angular guitar rock a la Television and a bit of bombast like an explosive Nirvana tune. NewBeats


The new METZ album is great. If you liked the first one, you should like this one. Pitchfork wasn't too thrilled about it, they seem to reject 'more of the same', but I think in the case of this METZ album there's just enough difference to make it memorable. No sophomore slump if you ask me.

In the run-up to II—the sophomore set from Toronto noisemakers Metz—frontman Alex Edkins promised three things: "We are not going to clean up our sound, we are not going to hire a big producer, we are not going to try to write a radio song." True to his word, II is another snarling beast of a record, 10 more all-lunging, all-screaming anti-anthems crammed into another chaotic, cloistered half-hour, every inch as grotty and combustible and unfriendly as its predecessor.


  • > These songs are not "catchy" by any traditional metric; they don't so much get stuck in your head as get lodged in your... : amiantos

I have to say that my favorite thing about the new Faith No More album is that it's an album almost entirely devoid of stereotypical "suburban white guy ennui" songwriting. Mike Patton is generally a songwriter who eschews the idea of the love or loss song, and I seemed to have forgotten how much I enjoyed listening to music that doesn't revolve around "I love you", or "I miss you" or even, for a lot of hard rock music, "I fucking hate you." Sure, a song like "Black Friday" (and "Motherfucker") takes a turn toward the political, with vague anti-capitalism sentiment, but that's just a little philosophical meat to balance out songs like "Sunny Side Up" (which is just straight up fun) and "Matador" which makes no sense at all but sounds really, really great. Yeah, still listening to this album all the time.


The new Faith No More album is pretty interesting. Latter half is better than the first half, I think, but I'm not sure yet. It's clearly Faith No More, sounds like Faith No More, feels like Faith No More. I just don't know if any of the songs are particularly great yet, though almost every song has a great moment or two in it. I think Sunny Side Up and Cone of Shame have the highest quantity of really great sections, very strong songs.

  • Really growing on me. "Black Friday" reminds me of The Dandy Warhols. "Sunny Side Up" reminds me of Electric Six. "Cone of... : amiantos
  • I saw Faith No More live in 1989. Whatever that is worth. : TractorPilot
    • That must have been fun. All-nasal Patton-era. I have not seen FNM live so far in my life, I did not expect their new album... : amiantos

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