Alternative Classics Pt. 1

Mudhoney- "Superfuzz Bigmuff"

Out of the plethora of bands coming out of the Pacific Northwest in the 1990s, Mudhoney distinguished themselves with their gritty, honest, dirty sound that perfectly blended punk, rock, blues, beauty, and ugliness. "Superfuzz Bigmuff" set the bar for every record of its kind that came after it, helped make Seattle the music capitol of the 90s, and set rock n' roll on a path, momentarily, toward salvation.


Sonic Youth- "Dirty"

"What? No Goo?" "Why not Daydream Nation?" Listen, those are undeniably classic records, but "Dirty" by Sonic Youth is certainly the band's most enjoyable record in my opinion. While it retains Thurston Moore's trademark "noisy ambience," the songs contain less fatty tissue which makes the album far more listenable in many ways without diverging from what fans love most about Sonic Youth.


Hum- "You'd Prefer an Astronaut"

Heavy, dark, serene, and well-produced, "You'd Prefer an Astronaut" was Hum's shining moment and one of the best albums of its era. It's really a shame that this band was never truly able to transcend genre tags in the way that their sound did.


Pixies- "Doolittle"

Perfection.



Vaselines- "Dying for It" E.P.

Eugene Kelly and Frances McKee shared their lives with their audience and made some of the loveliest and most honest songs ever recorded. Relatively unknown until Kurt Cobain paid homage to them, The Vaselines were, as he described them, "the Captain and Tennille of the underground."



Fugazi- "13 Songs"

Few bands contain a fraction of the integrity that Fugazi possessed. A musical powerhouse comprised of veterans of the D.C. punk scene which included bands such as Minor Threat, Teen Idles, Faith, and Void, Fugazi released this album during the apex of the "post-hardcore" movement. With the ethics of their past in tact (although better understood), Fugazi refused to succumb to the musical limitations and narrow-mindedness of "punk rock," an action that continues to inspire bands to this day.



- Joe

Faggot

-Novak

Shows

If you read this blog, chances are you're either in a band or go to shows to see ones. There's also an even greater chance that the band you're in or the band you're going to see sucks. It's not too late dorks. Read this and take good notes!

In a band? Cool. Just make damn sure none of this shit applies to you:


-Play your own music and get into it every time you play it. When you look bored, we're 10x as bored.

-Never do "shout outs". Your band sucks enough, don't slap your douchebag personality on top of the torture. 

-When opening for a big headliner, keep your set short and simple. That idea you had of playing every song hoping someone will be into at least one or two? No bueno.

-Don't call your band metal unless you're in a metal band. Just because that bald dude from Disturbed would be into it does not make it metal.

-If you play slap bass I'm breaking your fingers. 

-If you're playing a local show for your friends and your throwin out water bottles like there are 20,000 thirsty fans or you're spitting in the crowd you're going to get your face split wide the fuck open.

-Drummers with gloves are stupid.

-Unless you're an immortal music legend, don't fucking yell at the crowd to bring you a drink. Play your set and get it over with. We're the ones who needs the drink. 

-If you use a cordless microphone you better be in a Vanilla Ice cover band or be prepared to have beer bottles chucked at your head.

-Heckle the hecklers. You don't go into their Burger King job and heckle them, so why are they heckling you at yours?

-If you are putting more time into your outfit and or hair you should probably spend less time on stage. In fact, spend 0 time on stage. Stay at home with your ego and skinny jeans.

-Hair spinning is only allowed if your name is Beavis or Butthead. Knock it off morons.

Plan on going to a show? Don't leave the house without checking off at least every single one of these essentials:


-Stop texting!! You're at a show retard.

-Wearing a shirt of the band you're there to see. We know you're into them dude, you're at the fuckin show.

-Shouting out requests like they're your personal juke box is embarrassing to your whole city. Go home and don't come out until you're not a faggot.

-The merch guy is not your friend. He's hesitant to sell you a shirt because he knows you're going to embarrass the band. He's only talking to you because he thinks your girlfriend is hot.

-Sweaty fat dudes who take their shirts off? Come oonnnnnnn!!

-No one wants to see that 40 second video clip from your phone that you can't make out. And put your arms down asshole, your elbows in my eye.

-Yelling "free bird" is usually always funny. 

-If you run up for some lousy ass autograph while the bands half asleep, hauling their own gear in their van and you don't at least offer to help them - your balls are coming off. The band wants to pack up, go to slee,  and get out of your farm town. You're blowin it!

-Don't start fights. Take that shit to a gay bar.

-Having conversations during the entire show is one hell of an expensive hang out for you and one lousy fucking show for me. Eat a gun

-Hey! Tall dude in the front! Fuck you.

-If the mic gets handed to you and you don't know the words, pass the mic. Don't just scream and moan like a retard. Pass it to someone who came to the show for the band, not scene points.


-Novak

Men of a Certain Age

People often love it when a singer or songwriter conveys a story, when they express specific feelings in such a manner that they can be understood in a unique and fresh way. Once these voices are heard and the feelings expressed are contextualized, the connection between artist and listener becomes so profound that the voices converge, becoming one in the same. It is at this moment that the listener can speak through the voice of the artist. The voices and songs of two specific blues artists, Mississippi Fred McDowell and Howlin' Wolf, connected with me at a specific period in my life when I was studying the Black American historical experience, when an uplifting voice was necessary for me to overcome feelings of tremendous loss and anguish, and when the voices of so many artists I love were growing stale. So much has already been written and said about the blues that it makes it extremely difficult to articulate the passion and appreciation I have for this genre on any musical, personal, or historical level. This is the root of nearly every style of music that exists, a voice of the oppressed during turbulent times, and probably the most genuine form of musical expression to ever exist. I hope you enjoy the clips that I have provided and make a similar connection with this music.

- Joe


"The guitar say everything that I say, you see, it's like we got the same voice." (Mississippi Fred McDowell)

"I wasn't interested in nothin' else but the blues, you know? Course now I ain't gon' pour no water on somebody else 'cause he like jazz, how-high-is-the-moon and whoo-bop-a-dop, that's his business." (Howlin' Wolf)

Great Norwegian Black Metal Albums

After I finished digging through some old death metal classics, I decided to make a similar (albeit much shorter) list for Black Metal bands. Although I find this genre of music to be full of uncreative bands with inarticulate philosophies, there remain some albums that I feel are innovative and worth listening to.

Burzum - "Filosophem" (1996)

Varg Vikernes' last record before his imprisonment for murder and church burnings (how cute) may be one of Black Metal's finest moments. The opening track "Dunkelheit" (Darkness) could very well be my favorite song ever made in this genre, with its atmospheric riff and noticeable doom-metal influence. As for the rest of the album, it contains longer songs with a stronger emphasis on structure and a wider arrange of instrumentation.

Ulver- Nattens Madrigal (1996)

Ulver's third record showcased the band's mastery of "primitive" black metal production. Falsely rumored to have been recorded in a forest (an idea so lame, if it were true I wouldn't even be discussing this record), the production displays an adherence to a raw sound while remaining listenable and clearly demonstrative of the band's musical talent. While many black metal bands disguised their lack of talent with raw production, this album proved that Ulver was superior to their peers in virtually every aspect. Eventually this band's sound would transcend the limitations of "true Norwegian black metal," which should not have surprised anyone.


Emperor- "In the Nightside Eclipse" (1994)

The first proper full-length album by Emperor still gives me chills. Quite possibly the darkest record in the early history of black metal, it assaults the listener with its speed, creates a wonderfully hypnotizing atmosphere with its subtle melody, and reigns supreme for having never been duplicated by the countless imitators it produced.

Immortal- "At the Heart of Winter" (1998)

Immortal has always been, in my opinion, one of the most musically eclectic bands in their genre. Their incorporation of thrash metal and death metal into the Norwegian black metal sound complimented their impressive guitar playing and truly set them apart from their contemporaries throughout the 1990s. "At the Heart of Winter" best exemplifies the band's diversity and uniqueness.

Carpathian Forest- "Black Shining Leather" (1998)

Shamelessly nonconformist, Carpathian Forest mixes the abrasiveness of punk with the heaviness of black metal to create a sound that is instantly recognizable and memorable. "Black Shining Leather" demonstrated that CF certainly was not afraid to venture into territories that other band's feared, that black metal's protagonists had taken themselves and their ascetic ad absurdum, and that even The Cure was fair game for black metal parody.



- Joe

Experiment

 

So the idea behind the facebook page isn't what you think. We're not trying to have our posts flood your facebook home pages. It's actually the complete opposite. If you "like" the page on facebook, you have the ability to post pictures, videos, and links all over that facebook page. So post a link to a song you can't stop listening to, an interesting interview, an upcoming show, whatever.

----->We run this site - you guys run the facebook page!<-----

Sounds cliche, but I'd love to build a music community through this. Where people come to check out bands they haven't heard, shows they didn't know where happening, or how uncomplicated Woods and I have been getting as of late.

Have fun with it. Over do it actually. I want to see that facebook page flooded with link after photo after video from all kinds of kids and genres. Help keep music alive. Use facebook to vent and explore music, not to piss and shit all over everyone's home pages about your lousy life. 


-Novak

Death Metal Oldies

Woods’ post earlier this week inspired me to compile a list of some of my favorite “old-school” death metal releases. I hear the term “old-school” thrown around in a lot of music subcultures, but death metallers seem to carefully distinguish newer bands from older ones with more conviction than most. Since I am unfamiliar with their methodology for differentiating old school bands from newer (“new-skewel?”) bands, I just didn’t mention any records after 1994. This would make sense, seeing as how the now infamous New Academy of Death Metal was built in 1995 in Tampa, Florida. If you haven’t figured out that the last sentence was sarcastic by the time you’re finished reading this sentence, never view this blog again. That all being said, I wish I had the time or energy to discuss each record below individually, for each is significant and special in its own way. Pungent Stench and Autopsy provide the gorey goodness, Entombed and Dismember dish out the buzzsaw riffage, and acts such as Morbid Angel and Deicide are responsible for more children leaving the Catholic Church than pedophile priests. I am sure there are some surprises on this list, but I encourage everyone who reads it to check out the albums or dust them off and rediscover why you fell in love with this style of music in the first place. 

Pungent Stench – “Been Caught Buttering” (1991)

Dismember- Like an Everflowing Stream (1991)

Autopsy- Acts of the Unspeakable (1992)

Entombed- Left Hand Path (1990)

Morbid Angel- Covenant (1993)

Death- Leprosy (1988)

Hypocrisy- The Fourth Dimension (1994)

Grave- Into the Grave (1991)

Deicide- Legion (1992)

Athiest- Unquestionable Presence (1991)

Cynic- Focus (1993)

Unleashed- Where No Life Dwells (1991)

Edge of Sanity- Unorthodox (1992)

Obituary- Cause of Death (1990)

Carcass- Necroticism (1991)

Suffocation- Effigy of the Forgotten (1991)

Bolt Thrower- The IVth Crusade (1992)

Cannibal Corpse- Tomb of the Mutilated (1992)

Amorphis- Tales from a Thousand Lakes (1994)

Pestilence- Consuming Impulse (1989 / 1990)

Possessed- Seven Churches (1985)

Repulsion- Horrified (1986)

Napalm Death- Harmony Corruption (1990)

Benediction- Subconscious Terror (1990)

Darkthrone- Soulside Journey (1991)

Bonus: Thanatos- Realm of Ecstasy (1992)


 - Joe 

Neurosis Reissues

Over the last twenty-five years, Neurosis has continuously transcended genres, labels, and any essentialist interpretations with their quintessentially inspirational brand of post-metal / post-punk / post-modern ditties. If there ever could be a definition for experimental heavy music, Neurosis would certainly exemplify said definition. Neurot Recordings is finally doing the world (and especially younger fans) a favor by re-issuing two classic albums from the band's catalog that have, especially in recent years, become increasingly difficult to find. In order to appropriately appreciate and contextualize the evolution and progression of one of the most influential and innovative musical acts of this or any era, the ownership of these two records is crucial.

Originally released in 1992 on Alternative Tentacles, "Souls at Zero" (the band's third full-length record) is widely regarded as "the first proper Neurosis record" and the beginning of the band's transcendent journey beyond punk into the abysmal territory of experimentation where they would reign supreme. Aggressive crust combined with no-wave, folk, and heavy metal to create layered compositions that alienated many but inspired many more in the early 1990s. Certainly ahead of its time, the noticeably longer songs and sophisticated structures paved the way for new opportunities in heavy music. Tracks such as "Sterile Vision" and "To Crawl Under One's Skin" showcased this new sonic endeavor while "Zero" and "The Web" assaulted listeners with well-placed samples and powerful guitar riffs. Atmospherically, this album sounded more like a testament to the end of times and less like another independent record on Jello Biafra's label in 1992. The 2011 reissue contains remastered versions of all the original tracks, demo versions of "Souls" and "Zero," and a very impressive live version of "Cleanse III," making this album even more impressive and essential than it has ever been before.

In 1993, while MTV was still managing to capitalize on the commodification of "grunge" music, Neurosis released a visceral, heavy, and dark album that demonstrated not only a comfort with their new experimental musical approach, but also commitments to lyrical integrity, conceptual innovation, and purposeful clarity. "Enemy of the Sun" continued the band's progression and included a prominent emphasis on experimental percussion that would become known as the "tribal drum sound." While certainly more atmospheric than its predecessor, "Enemy...." showcased more powerful production, drastically darker tones, and heavier than obese riffs that certainly made any Cannibal Corpse fan quiver. Despite all of those amazing qualities, the album may always be remembered for its lyrical and conceptual progression that articulated clearer than ever the band's interest in spiritualism, the relationship between humans and Earth, and the proverbial isolation which results from a commitment to destruction. The reissue of this classic contains demo tracks including an unbelievably powerful demo version of "Takeahnase" and an equally impressive live version of "Cleanse II." This could very well be one of the best and most significant records of the 1990s.

- Joe

Electric Wizard- "Black Masses" (Rise Above, 2010)

Electric Wizard recently returned and released their much anticipated new album on Rise Above Records a few months ago. After listening to the record three times I can confidently say that while it is not my favorite Wizard release, it doesn't fail to bring some memorable riffs to the table. I immediately noticed the profoundness of Jus Osbourne's vocals in the mix, which certainly stand out and appear distinctively clearer and often more melodic than they have on previous releases. This is most evident on songs such as "Nightchild" and "Black Masses," where Osbourne soulfully belts out his lyrics with noticeable conviction. Musically, this album appears to be drawing primarily from New Wave of British Heavy Metal and Blues with a remnant of psychadelic influences playing a role as well. The very impressive track "Patterns of Evil" exemplifies this perfectly with its groovy Bathory-esque riff, background effects, and a lead guitar solo that stands out significantly. Fans may also notice a new production approach when listening to "Black Masses," which often struggles to capture the eclecticism of the band's musical approach. I imagine that the band desired a "rawer" or more "natural" sound on the new record, an approach that often found itself in conflict with the structure of many of the songs. This awkwardness is particularly evident when guitar solos (although amazingly played) appear to jump out in the mix uncomfortably. Overall, many of the songs reveal a straight-forwardness in their approach and style that makes the album qualitatively listenable despite the less than stellar production. For those fans who find earlier records such as "Come My Fanatics" more enjoyable, the tracks "Satyr IX" and "Scorpio Curse" are reminiscent of that era and remind veteran fans why they fell in love with the Wiz in the first place. Ascetically and musically, this album should be recognized as an achievement for accomplishing what 2002's "Let Us Prey" failed to do. Nearly a decade ago, Electric Wizard attempted to blend similar influences and make a stripped down record that adhered to the band's musical trademark. I believe they have finally achieved what that goal with "Black Masses." 8.5 / 10

- Joe

Come Love Lucy!!

Ryan and I are both proud of the material we've been writing and are very anxious to play it live. Yeah yeah, it's my own band and I'm posting it on here. Fuck you. It's an honor playing and writing with him. I feel like I'm sitting in for one of my favorite bands when we play. Our sound is progressively getting more aggressive as Ryan adds to his pedal arrangement. We've gotten a lot of strange looks and awkward phony complements after our shows. Keep em comin! 

We're playing this Friday at the Symposium around 11pm. Come hear us live and shit.

 Here's a teaser for the upcoming LP 

 

-Novak

Loveless

Soundscape : Sequence of sounds shaped to enhance action and mood in a drama.

When I first thought about what albums I'd like to review, My Bloody Valentine's "Loveless" was the first to come to mind.....and then I realized trying to describe it's sound (or sounds) is no easy task.  I looked into some other reviews of this record, to see how other people described this sonic, dissonant masterpiece - all I found was a bunch of 10 paragraph bullshit reviews from people who seemingly spent too much time looking up big words to make their depictions seem more acceptable, more vivid....they weren't.  Fuck you.  Kevin Shields and Bilinda Butcher perfectly craft this landmark album with warm, fuzzed out guitars, walls of noise, all harmonizing while the vocals act as another instrument, rather than just words.  Simply put, it's noisy yet harmonic, loud but not aggressive, and has a depth that few records achieve. 

http://www.mediafire.com/?mydjzm2mjwk 

- Woods

25 essentials

 

Stephen Hawking looks even more retarded without gravity.

There's no order to these for me. These are 25 albums that I'll remember most of this shit decade. Albums that inspired me dramatically or opened me up to something new. I could care less what they've done for you or what albums you think I forgot. Some of these albums haven't been listened to since their release, but still hold a special place in my.. well probably garbage can by now. Any band you are not familiar with on here are bands you need to check out immediately.


1] Autolux- Future Perfect
-This album continues to blow my mind at every listen. Hands down favorite album of the decade. They don't tour very often, yet i've managed to see them almost 10 times in 4 different states. One of my favorite bands live because as painfully noisy as they can get, they always keep their mellow vocals.   

2] Mastodon- Remission
-A friend turned me onto this band and I was shocked at how technical yet heavy their shit was. It was refreshing to hear a metal drummer actually bring something to the band. (Yeah, I'm talkin to you Lars Faggot) Tempo changes, weird timing, unique fills. Loved it

3] Electric Wizard- Dopethrone
- If you don't own and love this record we simply can't be friends. 

4] Isis- Celestial
Overrated huh? Welp, see ya later! 

5] Nine Inch Nails- With Teeth 
-Who didn't see a nails record coming from me? Not my favorite album of his, but definitely a vital album for my list. I could easily go off on a tangent about this, but to sum it up this album inspired me in a million ways both musically and personally. Very important to his career and extremely inspiring to me.

6] Blink 182- Take off your pants and Jacket
- I don't care. This band got me into playing music and I will never deny that. Three best friends hanging out, skateboarding, talking about boobs? Sold! Never find myself listening to their music any more, and certainly not anything after this half assed album. When I grew up I realized quickly these guys are the definition of sell outs and my dog could write better records than them with only one paw. They also spawned about 30,402,349 shitty, awful, terrible fucking bands that I wish I never heard. That whole New Found Glory scene? Jesus christ. This band will always have a place in my cd collection.. just in a dark, very dusty corner somewhere. But they were vital to this list because they absolutely got me into playing music.

7] PJ Harvey- White Chalk
- My friend told me that if I was to check out PJ Harvey do NOT start with this album. It's too weird and unlistenable compared to her others I was told. The music on this album is outstanding. The way it was approached was perfect. Rather than staying on the instruments she was comfortable with, she strayed away and played instruments she knew nothing about, which as most musicians know picking up a new instrument is hard to put down. You can hear the excitement in learning the toys and experiments with her voice on almost every track. Just about every song made my hair stand up. I know you won't, but at least listen to album 30 times a day. 

8] Tortoise- Beacons of Ancestorship
- A little embarrassing, but I knew nothing of this band until this record came out. Very inspiring musically. Saw them for free at Amoeba and was amazed. I like a band that's not afraid to not impress you right off the bat. It was almost annoying that they weren't flashy and or loud, but with this band it works out perfectly.

9] Russian Circles- Enter
-Right after hearing the first track this quickly became one of my most listened albums. Stations was cool, Geneva was.. their third record. Then about 30,492 shitty post rock bands came out. Bummer.

10] Eagles of Death Metal- Death by Sexy
- Let me stress, this list is in no order. If there was, this would be higher than 10. Jesse gave me this album personally in Cleveland after the drama from the show, along with the flamboantly wonderful DVD, Death by DVD just for recognizing him when he came into Spencers. That personal connection and interest in his project he made left me hard for weeks.

11] Queens of the Stone Age- Songs for the Deaf
-This band has continued to inspire me in ways only doctors can, yet won't explain. 

12] Wire- Send
- Nothing like anything they've ever done. "Mr Marx's Table" was an instant favorite. Listened to this album a lot writing in LA.

13] Polyphonic Spree- The Beginning Stages of..
- I wish more albums flowed song to song and album to album like these records do. Can't think of many records like that. Made the listening experience an adventure. Main source of inspiration for my first album to do the same. Big thumbs up!

14] David Bowie- Reality
- Certainly not his best in my opinion, but a huge step for him musically. I own the Reality tour DVD and watch it twice a month. Best lineup of the band for both older and new material. 

15] - The Bad Plus- Prog
- Fuck jazz. I don't know anything about it and I have no interest to get into it. Then I heard this band through Ryan and shit and pissed my pants instantly. Top 5 favorite drummers, hands down. Very tasteful playing all around yet still catchy and melodic. Thumbs way up 

16] Municipal Waste- Hazardous Mutation
- I know I'm bummin some people out by not putting up Waste em' All instead, but on my essentials list we put things I like on it. 

17] Dresden Dolls- Dresden Dolls
- My first time hearing this band was live. It was certainly a performance, which usually takes away from the music. Not with these guys. They did a cover of "war pigs" when I was there and it was awesome.

18] No Age- Losing Feeling
-This was quickly one of my favorite bands. Two piece that sounds like an 8 piece. Walls of sound and noise with catchy simply melodies. Also one of the loudest shows I've been to, which had been many.

19] Lightning Bolt- Wonderful Rainbow
- This should've been called Wonderful Album. This shit blew my mind hearing it. They blur the lines between bass guitar/synths/guitars.. all in one instrument done live. Very cool. Rob someone and use their money to buy their records.

20] Slayer- God Hates Us All
- I think this made everyones essential list. I thought I'd be the only one to have this on there because everyone calls it watered down and over produced. From start to finish this album punches you right in the throat.

21] Devo- Something for Everybody
- Title really says it all. Old and new listeners will find something to dig into on this record. I'd imagine writing new material in this band would be a task, but it's always pulled off flawlessly. I've always been into the catchy yet odd sounds and beats Devo has offered since they started off.

22] The New Regime- Coup
- I hated that I liked this as much as I did. This dudes my age and took Josh Freese's place in the last live lineup of NIN when I was living in LA and it bummed me out a lot. As lame as it sounds, it inspired me a lot and got me extremely motivated musically. Turns out he's actually extremely talented. His vocal melodies catch you off guard in a refreshing way and the songs are put together in a clever way. But I still think I'd be a better fit in nails than this dork. Cool hair, too faggot. 

23] Turing Machine- A New Machine for Living
- Amazing. Each track takes you in a radically different direction entirely, within the same song. Each member can really show off, all done tastefully. A great instrumental band that sadly are no longer around after the death of their drummer Jerry Fuchs in 2009.

24] Tv Ghost- Cold Fish
- Anything on In The Red records is worth checking out. A more "known" act off the label is the Horrors. Didn't make the list but still worth checking out. This hasn't come out of the record player in my room since I purchased it. They also break tons of TVs live with mic stands. Buy their records

25] White Stripes- Elephant
- At first I didn't really get it. I had some friends into them and I really didn't give a fuck. But Jack White writes some pretty cool songs. They've mutated into something a little more epic than what they started, which defeats the purpose for me. This record kept it simple and kept the core around older blues and the instruments were very random.


This took longer than I thought.


-Novak

Red Barfed Tree

All the chorus on Colin's vocals really ruined this potentially decent record for me. I think they were trying a little too hard to revisit Pink Flag and probably realized halfway through they were fucked but apparently released it anyway. If you're a Wire fan, there's a few solid tracks on here I'm sure you'll appreciate, but not as much as you'd appreciate them keeping this album to themselves..

-Novak

my ten essential, mandatory, compulsory, absolutely friggin necessary albums of the 2000's. Many of which I only discovered in the last two years. These are not in any particular order or ranked in any way. Sometimes music manipulates my ears, enters my brain and has a profound and wonderful effect on the electrochemical processes that give ryan cognitive function. These are albums by bands I am grateful to be able to experience.

1 band- Pelican    Album- Australasia. An instru-metal band. I have all their albums but I was particularly struck by this one. Heavy but melodic, primal but meaningful. Catchy but not trite.

2 Band- Isis    Album- Take your pick; celestial, oceanic, wavering radiant, panopticon... sell your television and buy these records right now. It's hard to describe their sound. a sort of dark, ambient at times, shriekingly aggressive at others type of metal. I don't like the "growling" vocal style they use sometimes but I can look past that for this band. Their music is amazing

3 Band- Red Sparrowes     Album- At the Soundless Dawn. I guess I'd call Red Sparrowes post doom-rock. I hate genre names but unfortunately language isn't perfect. This band has gone though a lineup change and I'm still trying to decide what to make of their sound after that. But this album sucked me in and made me love this band.

4 Band- Keelhaul     Album- Subject to Change Without Notice. Cleveland's finest (only?) math-metal band. You need to see this band live. Make whatever sacrifice is necessary to make that happen. Food, sex, sleep... none are as important as seeing Keelhaul live. And make sure you watch the guitarist. (The one who doesn't sing) About half of their music is instrumental and when they sing it's actually pretty good. These guys like to play with timing and dynamics A LOT. Which I love.

5 Band- Russian Circles       Album- Enter. An instrumental rock/metal/post-rock outfit. An amazing drummer and a creative guitarist with a loop pedal. Great, fantastic friggin jump-up-and-down riffs and really nice melodies. Consecutively and/or concurrently

6 Band- the Bad Plus      Album- Give. A fantastic modern jazz band who have their own unique sound and my very favorite drummer. I don't care how good you think you are... David King is better. These guys are known for taking songs by artists like Blondie, Rush, Aphex Twin, David Bowie etc and turning them into twisted jazz covers. But it's their original stuff that I really love. I hope I get to see them live again before I expire.

7 Band- Caspian      Album- the Four Trees. In an increasingly formulaic genre these guys manage to stand out somehow. And they are a lot of fun to see live. Three guitarists, bass, drums and three loop pedals. Waaaaaall of sound kind of thing. Beautiful melodies punctuated by think riffs. Also instrumental... the best kind of music.

8 Band- Clutch      Album- Blast Tyrant. I'm not good at or comfortable with picking a "favorite album" by a band I love but this would be a real candidate. This is before they crossed the line into too much blues and not enough stoner rock. I love Neil Fallon's voice and the heavy groove that is so often the backdrop for it. You can't call yourself a stoner if you don't own a Clutch album.

9 Band- Efterklang      Album- Tripper. It doesn't make sense that I like this record. Ok to be honest I absolutely adore it. It is very electronic and has a heavy focus on the vocals but I've never heard a band make such heart-wrenchingly beautiful sounds. Except Pink Floyd.  Anyway... I bought four more of their albums and I love this band.

10 Band- Meshuggah      Album- Its a toss-up between Catch 33 and Nothing.    Meshuggah is the best math-metal band I've ever heard. They are in many ways the "traditional" metal sound but their songs are rich and complicated and very creative. They are the jazz of metal...not every musician is capable of playing this stuff. Not because they can make a stupid face and play scales really fast but because the timing is often so complicated and offers a really unique listening experience. Catch 33 is my favorite album of theirs and really shows what they can do. But there's a song on Nothing called Straws Pulled at Random that is one of the most moving things I've ever heard. I know it sounds corny but I've actually heard this song in my dreams a few times.

11 Band- Mono        Album- Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined.  I'll just say this... you know NOTHING about beautiful, extended, heavy, droney, wall-of-sound music of you haven't at least heard this. If you're nice to me you can come to my house and listen to it. But I won't loan out cd's anymore. No one returns them.

12 Band- This Will Destroy You        Album- This Will Destroy You. Ignore the somewhat mawkish name. Great instrumental post-rock/ shoegaze, whatever. Lots of ebow and big cymbals. Not as heavy as Caspian and similar groups. These guys are more about pretty melodies. Very good music that stays in your head for a while. I'm listening to it now.

13 Band- the Necks        Album- Chemist. This is a three-piece modern jazz band from Australia. They like to play hour-long things that somehow manage to keep your attention the entire time. Usually bass, drums and piano but this album has a guitarist in the first song. The other unusual thing about this record is that is consists of three songs, each about twenty minutes or so instead of one hour-long thing as mentioned above. These guys are really something. If you'd like to experience the musical equivalent of heroin listen the the record Aether.

14 Band- Tristeza (Portuguese for "sadness")       Album- Dream Signals in Full Circles. Another great instrumental post-rock band that manages to have their own voice in a sea of derivative dreck. Interesting themes to their songs that are catchy but nicely done and not corny.

15 Band- Turing Machine       Album- A New Machine For Living. Buy their albums. Support them. Let them sleep in your living room if you're lucky enough to have them play in your town. We need to make sure these guys keep playing. Really interesting instrumental rock. Has a nice groove with subtledistortion and occasional weird sounds.

16 Band- Lucy     Album- Self-Titled EP. This is my band. I put this hear because it is a musical keystone of the last ten years for me.  It's also the best music I've ever been a part of and I get to make it with my best (and only) friend.

17 Band- We Followed Lions          Album- Who the hell knows. Someone loaned a home-made cd to me with an album on it by this band. I don't think it had the name of the album itself written on it. But it's sooooo damned good. This is a small-time but very talented band. I hope to hear more of their stuff. I played this record over and over for a week. My wife was not pleased.

18 Band- Esbjorn Svennson Trio        Album- Seven Days of Falling. Possibly the most amazing jazz three-piece I've ever heard. And I've heard a lot. Their music is so creative and beautiful and cutting-edge. Three very talented individuals. The bassist (who plays an upright, like any bassist in a jazz trio should) uses effects occasionally... distortion, wah, etc but does so in a good, subtle way and often their music is quite aggressive for a band with just bass, drums and piano. Very, very, very good jazz.

19 Band- Slayer         Album- God Hates Us All.  I played this over and over for weeks. This record epitomizes metal for me. Kerry King's playing, Tom Araya's voice... the absolute metal archetype. Whether you like metal or not you should at least hear this once. Maybe.

20 Band- Happy Apple       Album- Please Refrain from Fronting. Absolute groove insanity shoved into your hearing-holes by drums, bass, and saxophone. There's nothing more to say. Get this album today.

21 Band- Lightning Bolt          Album- Hypermagic Mountain. Lightning Bolt is a bass and drums duo. I had a hard time deciding which of their albums had the most profound effect on me. Lightning Bolt is the auditory equivalent of a savage ass-beating. I listen to them when I go for a 5-mile run and it shaves minutes off my time. If I ever decide to destroy the world this will be the soundtrack.

22 Band- Medeski, Martin and Wood         Album- Uninvisible.    Their sound is hard to describe. Bass, drums and keyboard with lots of samples and synth sounds. It varies a lot from really nice, funky jazz to crazy fusion to fairly straight-forward head-bopping rock. Instrumental of course. These guys are really something and I highly recommend giving them a listen even if you don't like jazz.

23 Band- Battles       Album- Mirrored. This band doesn't make a lot of sense. It's almost as if they're trying to annoy you. But the music is really good despite their attempts to make into into some kind of cartoony madness. And it's so different from the ubiquitous pop garbage out there that it's really refreshing.

24 Band- Mastodon         Album- Remission. It's hard to stand out in the metal genre but these guys do. They were great until Blood Mountain and Crack the Skye. I don't know what happened to them then but Remission is a really good record. Very nasty metal grooves with a fantastic drummer and some nice guitar work. I like the vocals too which is rare for me. Pay close attention to the first song on this one. It's called Crusher/Destroyer and is in my opinion the perfect metal riff.

25 Band- Tomasz Stanko Quartet        Album- Lontano. Tomasz Stanko is a trumpet player from Poland. A pretty good one. And on this record he has a really talented band behind him... piano, bass and drums. Good stuff if you like real jazz. If you don't you're wrong.


I am not going to check the content or spelling of this list because I am tired of typing and I want to play my bass.

-ryan

CRBB @ ABC

Head to the ABC Tavern and listen to the Crooked River Blues Band. Myles and the guys always promise a good show and a great night. Hours of great folk music and drinking. When's the last time you heard a legit folk band anyway? Get off your ass and let a talented band entertain you. Meet someone and take them home with you for all we care. Just show up and have a good time! 


ABC Tavern

1872 West 25th Street

Cleveland, OH

 

Thursday, January 13th

9:30pm 

FREE SHOW!

-Novak

You've got nothin better to do, so don't give us any shit about showing up or not. Stoner rock show with Might Could (Richmond, VA – members of Alabama Thunderpussy and Face Down In Shit), What's Wrong With Ya Miss?, Venomin James and Electric Lucifer.  No idea what to expect of these bands but Black Ed's in one of the bands so I'm heading there right after work. Meet us all there for drinks and good music.

If you're reading this post, I know you're not doing anything. Come say hello!


Now That's Class
Wednesday, January 12th
9:00 pm
$5

-Novak

Cheap Tragedies

Although I mentioned that the legendary Sick of it All is playing Now That's Class this Friday, I failed to mention that they will be joined by one of Cleveland's finest hardcore / punk acts, Cheap Tragedies. Cheap Tragedies is a phenomenal musical powerhouse fronted by Tony Erba of Nine Shocks Terror, Face Value, and Gordon Sollie Motherfuckers fame. I suggest that all of you attend the show early and bear witness to one of Cleveland's best bands before participating in what I believe will be a very memorable SOIA performance. Below is a review of Cheap Tragedies' latest record.


Cheap Tragedies - Vol.1: Souvenirs and Evidence (Mad at the World, 2008)

Just when you thought that punk had forgotten how to rock, Cleveland's Cheap Tragedies dish out twelve blistering tracks of raw energy on their debut LP via Mad at the World Records. Without gimmicks or a conscious yielding to the demands of a modern audience , these five veterans of Cleveland's underground music scene demonstrate how to stand out in a crowd by allowing various influences to surface naturally. While never letting listeners forget that they are offering a slab of in-your-face hardcore, the twin guitars of Jeff Grey and John Millin display a genuine passion for hard rock that reminds them to pop in Thin Lizzy every now and again. The shouted vocals of Tony Erba (Face Value, Nine Shocks Terror, Gordon Solie Motherfuckers) articulate the struggles of modern-day life in a rust-belt relic with a sense of urgency. This is raw. This is honest. This is the rock n' roll epitaph of a dying city that was left behind. This is the new voice of Cleveland.

25 Random Songs

I made a list of songs by bands that I feel represent my general taste in music. I suggest that all of you listen to these songs and become acquainted with the bands that made them.

1.) Eyehategod: Sister Fucker (Part One)

2.) Black Flag: Rise Above
3.) Cavity: Last of the Final Goodbyes
4.) MC5: Kick out the Jams
5.) Pixies: Monkey Gone to Heaven
6.) Husker Du: Don't Wanna Know if You Are Lonely
7.) Negative Approach: Tied Down
8.) Dead Kennedys: Forest Fire
9.) Black Sabbath: Hand of Doom
10.) Tragedy: Conflicting Ideas
11.) Dwarves: Fuck You Up and Get High
12.) Nirvana: Lounge Act
13.) Poison Idea: Taken by Surprise
14.) Howlin' Wolf: Spoonful
15.) Wu-Tang Clan: C.R.E.A.M
16.) Dead Prez: Hip Hop
17.) Neurosis: Locust Star
18.) Sonic Youth: Total Trash
19.) Refused: Summer Holdiays vs. Punk Routine
20.) Napalm Death: Taste the Poison
21.) Rites of Spring: For Want Of
22.) Godflesh: Xynobis
23.) The Stooges: Down on the Street
24.) Misfits: Hybrid Moments
25.) Cathedral: Hopkins (the Witchfinder General)

- Joe 

Color- Electritibe

The project was called Color. The album is Electritibe. A one man band, Josiah Schlater put together a very inspiring record in March, 2010.

I heard this album the day it was released. I was looking into creative ways to release my first album digitially. At first, the website is what drew me in. Thought it was called "electritube" at first. The site isn't active anymore, but it was the above picture-only it was a music player for the album. Then I heard the music and it just about knocked my dick right off my balls. The songs took me in a different dramatic direction entirely. Some tracks started off a bit corny and then opened up sounds that made it sound like the apartment I was living in at the time was one big stereo. Not in the sense of it being heavy, or even aggressive, just a clash of sounds and chords that were just perfect together. Very epic, visual music. It was only released physically as a vinyl, which were limited.

So I started to dig a bit deeper with it. Turns out Josiah is (was) involved with a label out of Portland, distributing this and a handful of other artists material in unique ways. Establising smaller acts into a circle and have a collaborative approach to creating and presenting music to everyone they could. Oh yeah, and they're a non profit label.

Overall, a very refreshing and inspiring experience. Some tracks are haunting but the album has a very beautiful atmosphere throughout. It was good to see such hard work on both sides of this project pay off so well. I know you're busy and all, but take a minute to sit down and listen to this album at least once. If you like it, find a way to support it. Releases and ideas like this are a treat.

-Novak

Lady Haha

I don't think I could top Buddyhead's review.

-Novak

25 Essential Records: 2000-2010

After sorting through every piece of music I own, it really hit me how much the new millennium sucked...in countless ways, but musically especially.  My post will not be as illustrative, or as informative as Joes because....well, I don't give a fuck.  Enjoy.

1.) GY!BE - Lift Your Skinny Fists Like Antennas to Heaven (Constellation Records, 2000)

2.) Cursive - The Ugly Organ (Saddle Creek Records, 2003)

3.) Crowbar - Sonic Excess in its Purest Form (Spitfire Records, 2001)

4.) The Black Keys - Brothers (Nonesuch, 2009/2010)

5.) Sunn 0))) - ØØ Void (Rise Above Records, 2000)

6.) All Out War - Condemned to Suffer (Victory Records, 2003)

7.) Best Coast - Crazy For You (Mexican Summer Records, 2010)

8.) Ringworm - Birth is Pain (Victory Records, 2001)

9.) Pulling Teeth - Paranoid Delusions/Paradise Illusions (A389 Records, 2009)

10.) Broken Social Scene - You Forgot it in People (Paper Bag Records, 2002)

11.) Mogwai - EP + 6 (Toy's Factory Records, 2000)

12.) Electric Wizard - Dopethrone (Rise Above Records, 2000)

13.) Rival Schools - United by Fate (Island Records, 2001)

14.) Mastodon - Remission (Relapse, 2002)

15.) Cave In - Epicenter EP (BMG Records, 2002)

16.) Boris - Heavy Rocks (Quattro/UK Discs, 2002)

17.) Thursday - Full Collapse (Victory Records, 2001)

18.) Sleep - Dopesmoker (Tee Pee Records, 2003)

19.) Discordance Axis - The Inalienable Dreamless (Hydra Head, 2000)

20.) Converge - Jane Doe (Equal Vision, 2001)

21.) Tragedy - Vengeance (Tragedy Records, 2002)

22.) Animal Collective - Merriweather Post Pavilion (Domino Records, 2009)

23.) Isis - Celestial (Escape Artist Records, 2000)

24.) Saviours - Accelerated Living (Kemado Records, 2009)

25.) Floor - Floor (No Idea, 2002)



-Woods

Oi!?

What ever happened to Oi!? I was listening to the "Voice of a Generation" LP by legendary Oi! veterans Blitz the other day and pondered that very same question myself. A once vibrant and relevant subculture of punk, Oi! seems to have disappeared in recent years, particularly in the United States. Despite the income disparity in the United States being the widest it's been since the Gilded Age of the late nineteenth century, this music genre typically associated with a "working class" ascetic has not seen a resurgence in popularity. While once notable groups such as the Angelic Upstarts, Blitz, Cockney Rejects, and Combat 84 participated in reunions and continued to record during this past decade, a relevant new band in the genre has yet to emerge. What accounts for this musical style not being played or listened to by America's youth these days? Perhaps the genre's association with either right wing or racist ideology has stigmatized it enough to make it something to be avoided in our present "PC" era, despite the long history of the genre (and skinheads in general) that predates the infiltration of said ideologies. Or is it that this genre is believed to be imported similarly as hockey or rugby are in sports? While many have heard of the English bands in the genre, little is known about the American bands such as Iron Cross (the Baltimore band whose song "Crucified" has become a legendary and much covered hardcore anthem), The Bruisers, or Anti-Heroes. It appears that, at least for now, Oi!'s legacy in the United States remains its influence on hardcore and punk bands such as Agnostic Front, Dropkick Murphy's, and Death Before Dishonor. While the influence is apparent to those who are familiar with the genre, I still yearn for a new  Oi! band with a "classical" sound to come out in the United States, release an album full of lyrics that reek of class-consciousness, and breathe life into this seemingly dead (yet still inspiring) genre. Oi! Oi! Oi!

- Joe

Record Stores in the Digital Age.

As a twenty-five year old individual, I have fond memories of shopping at various record stores around the Cleveland area including Ultrasound, My Mind's Eye, Chris' Warped Records, and so on. Many of these tiny shops acted less as stores and more as meeting halls, where local fans would meet one another, discuss shows, pass out demos, and generally congregate while escaping class, work, or other irritating responsibilities. As much as I would like to avoid sounding like a nostalgic old man rambling about the "glory days," I feel compelled to discuss how the digital age has transformed the very nature of every music culture. Clearly the digital age has made participation in any particular music culture easily achievable. For example, I think it is great that a fourteen year old boy or girl can wake up one day subjected to the constant loop of bull shit on MTV and by the next day have an entire punk rock catalog on his or her Ipod. The accessibility of music is something that helps bands and fans alike, and there is a clear correlation between the increased availability of music and the expansion of once minimalist independent music cultures, thus forcing everyone involved in said cultures to reassess their once narrow interpretations of what "independent" even means or is capable of meaning. Simply put, there are far more punks, indies, and metalheads than there were ten years ago. As expected, record labels (both independent and corporate) have survived the digital age by evolving accordingly. Digital downloads are purchased in droves as discs and records once were, although independent record labels still heavily benefit from the cultural norm of record ownership among independent music scenes. While labels are clearly surviving the digital age, record shops are not. In the past year, Cleveland fans paid their last respects to Ultrasound Music, owned and operated in Mentor / Willoughby by Gary Pflueger since 1995. I spent ample time at Gary's shop, and over the years (ever since I was a pimply faced kid buying death metal CDs and hiding the disgusting inserts from my mom) we developed a friendship. Gary was a kind of independent music guru for me, molding my tastes and shaping a very profound aspect of my personality, perhaps without even realizing it. I am not advocating for regression in this modern age, honestly I feel that record stores would benefit from an increased participation in the digital age and should seriously consider the idea of blending record stores with social networking sites like Facebook and Twitter. What is true is that the record store as we know it has become a relic, so enjoy them while they are around. Travel to My Mind's Eye, meet  and discuss music with Charles (owner), and enjoy the company and surroundings. It's the closest thing to time traveling you'll ever participate in.

- Joe

Psychedelic punk rock at its shittiest!

Primitives are back. Where better to celebrate than one of Clevelands coolest bars? Come listen to the jams, get trashed, and meet cool people.

Sunday, January 9

10pm - 2am

Now Thats Class
11213 Detroit Avenue

Cleveland, OH 44102-2405

Primitives music: 

http://www.myspace.com/primitivs

-Novak

Sick of it All, January 14th

A reminder that I will be attending the Sick of it All show at Now That's Class on Friday, January 14th. Stay tuned for a complete review of the show on IllustriousWords.

Sick of it All is, in my opinion, one of the defining hardcore bands of all time. A band with an extensive and qualitative catalog, SOIA never disappoints live and I encourage all to come and participate. Whether you are a long-time fan of the band, new to their sound, or bored on a Friday, come to Now That's Class (a terrific venue by the way) and see what I mean. Below I have provided NTC's address as well as the show time.

Sick of it All / Outbreak / Alpha & Omega / Cheap Tragedies
Friday, January 14th @ 8:00PM
Now That's Class
11213 Detroit Avenue
Cleveland, OH

-Joe

25 Essential Records: 2000-2010

25 Essential Albums: 2000-2010

In a decade defined by political polarization, two controversial wars abroad, a crippling economic recession, and other domestic and global ailments, a generation synthesized despite being trapped in a figurative whirlwind. This generation, although perhaps slighted by history for being born in turbulent times, should thank Madam Fate for providing it with a stellar soundtrack to make this journey through time less painful. Below is a list of twenty-five albums between 2000 and 2010 that I feel are essential. Essential, although dangerously essentialist theoretically (no pun intended), I feel is a safer adjective for any list than the commonly used “best,” a term that disguises its subjectivity paradoxically with a false appearance of objectivity.

1.)    Electric Wizard- Dopethrone (Southern Lord Records, 2000)

Released in 2000, Electric Wizard’s third album proved to be a crowning achievement. One of the last records to feature the three original members, Dopethrone merged Sabbath-style hooks with the heaviness of Eyehategod and Sleep to create a confrontational and atmospheric sound. Tracks such as “Funeralopolis,” “Barbarian,” and “I, Witchfinder” made this album an instant classic and treated listeners to a trip that is still continuing. Hail the wizard.

2.)    Tragedy- Vengeance (Tragedy Records, 2002)

As the United States began its invasion of Iraq, the youth of America watched as another generation was coerced into war in an intensely unstable region of the world. Although nationalism was at its apex at this time, freedom fries didn’t stop Tragedy (featuring members of His Hero is Gone) from unleashing possibly the best punk album of the decade. Combining the ferocity of Disclose with the atmosphere of their former band, Tragedy emphatically stated that punk rock would not die in the new millennium. Vengeance fused melody with aggression and intelligently challenged the consumerist, materialistic, sadistic, and bloodthirsty environment that spawned it. Very few albums, regardless of the decades they were made in, are as powerful and substantive as this.

3.)    Isis- Oceanic (Escape Artist Records, 2002)

Boston’s Isis released Oceanic in 2002 and brought their unique brand of ambient metal to the masses. The maturation of Aaron Turner’s songwriting is easily identifiable on this record that blended the heaviness of the band’s early material with a distinguishable post-rock influence. Although their next release (2004s Panopticon) sent them on a national tour with Tool, Oceanic displays a band discovering and experimenting with a sound that challenged essentialist ideals of heavy music.

4.)    Pig Destroyer- Prowler in the Yard (Relapse Records, 2001)

Perhaps the quickest way to introduce your jaw to the floor is to let Pig Destroyer’s Prowler in the Yard rape your virgin ears. Twenty-two songs, an 8-track in Scott Hull’s basement, and some drugs were all it took for this Virginia band to change grindcore forever. Lyrically, J.R. Hayes sacrificed the politically-charged slogans that defined the band’s early releases for surrealist prose never before seen in the genre. A noticeable thrash metal influence underlies the album as well, foreshadowing the band’s progression throughout the decade. From the eerily uncomfortable intro “Jennifer” onward, this album’s atmosphere is paradoxically beautiful and morbid.

5.)    Tear it Up- Just Can’t Stand It (Deranged Records, 2001)

Out of the ashes of Dead Nation came Tear it Up, a hardcore quintet from New Brunswick, NJ that merged the hooks and ascetic of early Black Flag with the ferocity of 90s powerviolence to create a plethora of memorable, confrontational, and angst-ridden tracks. Just Can’t Stand It accomplishes what very few records of its kind can by inspiring the listener despite its negative and pessimistic demeanor. Well played and carefully crafted outbursts define this record that I recommend for any fan of punk or hardcore.

6.)    Converge- Jane Doe (2001, Equal Vision Records)

Always innovative and unpredictable, Converge ushered in the new decade with Jane Doe, an album that reminded listeners why Converge is among the most celebrated bands in independent music. Jacob Bannon’s distorted howls comfortably accommodate the chaotic (and noticeably more metallic) sonic assault. Many moshed, legs were broken, metalcore would reign supreme for what appeared to be an eternity, and Converge solidified their place as legends in their own time.

7.)    Limp Wrist- 2001 LP (Lengua Armada Discos, 2001)

Just as Crudos existed as a window that allowed individuals to peer into the lives of Latinos domestically and abroad, Martin Sorrendeguy’s Limp Wrist project challenged the conventions of hardcore culture by exclaiming the presence of a gay subculture within punk. The codes of conduct and norms concerning gender, sexuality, and identity within the national and hardcore cultures respectively were examined and slain in twenty-two minutes. This all gay straight edge powerhouse sacrificed sensitivity for aggression while superb songwriting made even the most homophobic of hardcore fans jump into the circle pit. They’re here, they’re queer, and don’t knock this record until you try it.

8.)    Leftover Crack- Fuck World Trade (Alternative Tentacles, 2004)

After leaving Hellcat Records following the censorship of their album “Shoot the Kids at School,” Leftover Crack released this album under Jello Biafra’s Alternative Tentacles label. A new label meant a new artistic freedom and a resurgence of the band’s experimentation. Punk, ska, and metal converge on this record that contains longer songs, a myriad of instruments, and a noticeable sense of inspiration. Lyrically, Leftover Crack assaulted an administration for its invasive distortion of civil liberties, aggressive and destructive foreign policy, and exacerbation of a conservative ideology that intensified social unrest, systematic racism, and economic decay under capitalist dictatorial control. For its time, it was a necessary testament and soon it became an instant classic.

9.)    Backstabbers Inc.- Bare as Bones (Blackmarket Activities, 2003)

New Hampshire’s Backstabbers Incorporated literally came out of nowhere in 2003 with “Bare as Bones,” one of the most hostile records ever and certainly the most qualitative release that Blackmarket Activities has ever offered. Diatribes on the overreaching influence of the corporate media make the atmosphere tense before the listener is pummeled by a well concocted hardcore / punk / metal / grindcore hybrid.

10.)                        Kylesa- Kylesa (Prank, 2002)

Although many bands blended metal with punk during this decade, Savannah, Georgia’s Kylesa seemingly set themselves apart from their peers by combining carefully crafted songs with qualitative production. The result was an album that set Kylesa on a path toward success and greater artistic experimentation.

11.)                        Slayer- God Hates Us All (Def-American, 2001)

Released on the day that initiated the destruction and turbulence that defined the decade, Slayer’s God Hates us All appeared to be more of an omen than a record. While Metallica was busy protecting their wealth from advancements in technology and Megadeth was making songs for professional wrestlers, Slayer returned to prominence by releasing an album that sacrificed not one shred of integrity or ferocity for commercial success. Another generation would bow to Slayer, I pity the first that doesn’t have the opportunity.

12.)                        From Ashes Rise- Nightmares (Jade Tree, 2003)

Melodic, honest, well-crafted, beautiful, dark, impeccably produced, often imitated, not yet duplicated.

13.)                        Jesu- Jesu (Hydra Head, 2004)

2001 may have seen the death of Godflesh, but soon after Justin Broderick returned with Jesu, whose self-titled 2004 release on Hydra Head ushered in a new beginning for one of the most significant musicians of his time. Ambience and a dark atmosphere define this first release, signifying a departure from Godflesh sonically and ascetically that makes this record not only significant historically but infinitely interesting.

14.)                        Mastodon- Remission (Relapse, 2002)

One of the finest metal albums released in a very long time, “Remission” introduced Mastodon’s brand of heavy music to a wider audience than many thought possible. Dynamic songwriting and truly awe-inspiring musicianship (especially the play of drummer Brann Dailor) helped turn Mastodon into a metallic force that stormed through the decade with disregard for what record labels had planned for them. Although I still believe their finest hour has yet to come, I at least can acknowledge the majesty of their early success.

15.)                        Boris- Amplifier Worship (Southern Lord / Mangrove 2003)

Japan’s Boris changed the scope of rock music with this release in 2003. Part rock, part doom, partly indescribable, the album remains the only Boris release other than “Smile” to feature vocals on every track. Stellar riffs atop a psychedelic atmosphere challenged my perception of how heavy music could be played.

16.)                        Sun0)))- Black One (Southern Lord, 2005)

Sunn0)))’s dark atmospheric style of music has come to define the style of drone. Either worshiped or despised for their unique blend of music, this band challenged the listener more than ever with “Black One” and soon after became infamous. One aspect of this album that always impressed me personally was the fact that the vocals were recorded inside of a coffin to intensify the album’s manic vocal delivery. Beat that Darkthrone.

17.)                        Eyehategod- Confederacy of Ruined Lives (Century Media, 2000)

After barely surviving the 90s, Eyehategod ushered in the new century with perhaps their best sounding album to date. Although not as revolutionary as their earlier work, “Confederacy of Ruined Lives” continued the band’s tradition of sonic nihilism and a disturbingly surrealist ascetic. This album marked the beginning of a challenging decade for the band that included overdoses, arrests, and a devastating hurricane. Their survival is figuratively an act of spiteful rebellion.

18.)                        Cold World- Dedicated to Babies who Came Feet First (Deathwish, 2008)

Inspired by Biohazard, Mobb Deep, Cro-Mags, and probably a plethora of other mysterious influences, Cold World put Wilkes-Barre, PA on the musical map in 2008 with “Dedicated to Babies who Came Feet First.” An eagerly anticipated release, Cold World displayed powerful musicianship and demonstrated how to allow unique influences arise naturally on tape. This was in no small part due to the impeccable production of Billy Graziadei (Biohazard), who encapsulated Cold World’s sound perfectly. The album’s deeply personal lyrics, if relatable, will turn any song into an instant anthem. Despite your opinion on the direction hardcore music should be headed in, the product that Cold World presented in 2008 is undeniably eclectic.

19.)                        Floor- Floor (No Idea, 2001)

Wonderfully heavy, Floor’s 2001 output became an instant classic in various music circles. Often labeled “doom pop,” Steve Brooks’ beautiful voice disguises the album’s mischievously dark lyrical content. Topped with a collection of some of the best riffs ever recorded, this album has stood the test of time to the surprise of none.

20.)                        Terror- Lowest of the Low (Bridge Nine Records, 2003)

Put on this list for Ryan Helton, R.I.P

21.)                        Dying Fetus- Destroy the Opposition (Relapse, 2000)

This album revived a stagnant genre of music with its musicianship and lyrical substance. Few records redefine their genres, but thankfully Dying Fetus made death metal interesting, even if only for a short while.

22.)                        Infest- No Man’s Slave (Deep Six, 2002)

Yes children, I know the music was recorded in 1995, however the vocals were recorded and the album was officially released in 2002, when Infest’s voice was desperately necessary. No metal, no songs about “the crew,” no superficial image, just intense music for an intense period of time. Some of us took note, but I wish more of us had.

23.)                        At the Drive In- Relationship of Command (Grand Royal / Fearless, 2000)

Rick Rubin + At the Drive In = Classic album. Own it nerds.

24.)                        Insect Warfare- World Extermination (625 Thrash, 2007)

They seemed to disappear as quickly as they arrived, but Insect Warfare’s first and only full-length release is already recognized as a classic piece of grindcore. Listen and hear why.

25.)                        Fucked Up- Hidden World (Jade Tree, 2006)

I am of the opinion that Fucked Up is one of the most significant independent musical acts of the last twenty-five years. To say that this band is substantive, creative, and innovative would certainly be an understatement. After spending most of the decade releasing e.ps on Deranged Records (all of which could make any list individually), the Toronto quintet finally released a full-length album in 2006. Like the best post-modern architecture, Fucked Up used old patterns and new techniques to quote the past ironically, causing dissonance between the past and present, and related a double-coded message to the listener that encapsulated the paradox that is life.

-Joe