That song with the Video is enjoyable, and a good tune
What else ive seen/heard has been rather incomprehensible, however if they were the support band to The Kooks or something i would pay double just to see the reaction of the crowd. So in a sense i see the reactionary aspect of their existence, but i dont think their music has any kind of real comprehension so i kinda like them as a concept but i dont want to listen to them (again, ive only heard/seen a few things).

you know what's sad?

that boss is getting all this attention and something like, say, sutcliffe jügend's this is the truth is going to go completely unnoticed and it's a fucking genre defying to be classic.

Im not being arsey, but WHAT THE TITS DOES THAT MEAN????

that good albums get ignored for more hyped stuff...i mean, it has been done like crazy since the beginning of time but, i don't know, it still sucks.

and i brought up sutcliffe jügend because their album, like boss, changes the game some for the band, yet sj actually succeed doing it.

Saying 'arsey' is being arsey.

Yeah. There are plenty of better albums that get 3 replies to their threads.

Fuck the markers.

?

EveryNeurotic:
Didnt know what you meant, but yeah i see what you say there. Just thought seeing as how there was such a big response id throw my grains into the hopper on this one, despite the fact i dont have much of a big opinion. But i suppose making this thread bigger by replying negatively to it only helps its cause. Theres not many instances where id bother to slag something off beyond a short comment.

true.

that's why i said i didn't agree with how atsonic was handling himself in this thread, replying to every single post.

Ive not read the whole thing, just threw my hat into the ring.
Stimulates debate i suppose.

yes! in the right context, with a fitting inflection, of course it is.

just like "I seek pleasure." which is a rather pedestrian phrase, that could be said by any dumbfuck, but not when you put it in the context of patti smith's babelogue.

and even patti smith wrote a number of crappy lines.

so did walt whitman. he wrote a death sonnet for motherfucking custer, for fucks sakes:
FROM far Dakota's cañons,
Lands of the wild ravine, the dusky Sioux, the lonesome stretch, the
silence,
Haply to-day a mournful wail, haply a trumpet-note for heroes.

^^there. the greatest american poet wrote that piece of crap. he also wrote i sing the body electric, crossing brooklyn ferry, i hear america singing, etc. so you gotta take the good with the bad.

the fact is that when you give yourself permission to be free and let things come out a lot is going to come out and the genius will be mixed with the stupidity that we all share as humans, but if you only focus on the shortcomings the world is going to look pretty ugly no matter what.

in any case i think elisa does a wonderful channeling of her deepest unconscious, and i love that energy and that freedom. those teeth rattling in the can are forever etched in my memory.


of course it can be. why not? the mc5 were great primitives.


that goes without saying, let's leave adam out of this, because we don't want him strangling on his tongue any further.


nope. that which you wrote above is. it's also bad prose.

i like some of the stuff she's written for boss; and if you've seen her onstage. you will now that she becomes possessed, inhabited by a Loa, she is a sybil, a witch, a savage priestess, she rhapsodizes and enthralls, and the audiences go INSANE because they know they are in the presence of something that comes from another world, and that cannot be faked, and we all share in that. i was there, and i felt that, and your pompous criticism cannot compete with the delight of my experience.

and poetry is not pretty words, poetry is the language of the sacred, the language of imagination, and beyond mere words it is a force and it induces altered states and visions and ecstasy and you can feel it or you can't.

and on the subject of words, when you happen to name one of your songs something as wonderful and funny and brutal (it has to be all 3 at the same time) as "dreaming of vegas and pussy and victory," please let me know, and i'll send you a crown of laurels.


you say "to complete MY explanation of why i don't like or get how someone like this band" as if the two were the same thing. you falsely equate the unstated reasons for your dislike with your inability to comprehend why OTHERS like it. it's two separate phenomena; deal with them separately. and your assumptions are false.

i'll tell you why i like them.

i like them because i like them. in a very direct and fundamental way.the same way i like the color red. "oh but i dont' like the color red and i can't understand why somebody woud". bah!! pure argumentative crapola. venom and bile.

the magik markers give me enjoyment and visions of something beyond the reach of reason, a female energy that i have seen only in prophetic dreams, and you can't possibly, in your wildest little dreams of total world domination, touch that magiCK because you are stuck in some stuffy little room having academic discussions.

anyway, i didn't know rock'n'roll and its many mutations required academic knowledge, perhaps you erred in your choice of genre and should have gone into classical music, where your erudition would be more appreciated by the coterie of intellectuals that rule the university periodicals.

people genuinely like something or they genuinely don't. there's also pretend, but people who pretend to like something when they don't can eat my petrified turds.


what does rtx have to do with this? can't a person like both? who's said that the markers invented the wheel? what's up with this KEY bands? is your band a KEY band? so nobody should listen to it and like it? do we all need to erase 50 years of rocknroll and just stick to chuck berry?

and i don't give a shit about what music critics say, their superfluous discussions haven't the least impact upon my enjoyment or dislike of whatever i choose to listen.


ha ha, you wonderful bastard. good to see you again. you don't like her because you live in terror of the pussy, that is all.

Funny how I'm seeing more outspoken criticism of the Magik Markers than the supposed adoration by Thurston clones that listen to nothing other than the Mark Markers. Let's all shout at shadows.

one: "i seek pleasure" gives you a fair number of mental images by itself, let alone in the context of patti's lyrics. two: that walt whitman poem you quoted is a FUCKING POEM, a good poem indeed, you hate it because you know who the subject matter is about.

but the only thing i can think about the "big breasts" shit elisa talks about is how society builds an image for a woman and stereotypes it's role in society, blah blah blah = kathleen hanna bullshit (who was a much better lyricist by the way, and she wasn't what you call great) = pretentious poser typical reactionary leftist thinking. AND THAT'S assuming she meant something "deep" with that line, which i doubt, it's probably just gibberish in the name of "automatic writing".



i'm not questioning mc5's lyrical quality, i'm questioning plagiarism. if i came up with an I/C/O/C song and read the lyrics to the stooges' "no fun" on top of it, i bet everyone would tell me what an unoriginal idiot i am, but when elisa appropriates "rambling rose", then it's "art" and "deep"

but, in fact, she's quite unoriginal even in her so called "poetry".



what?! you think i'm trying to answer you in poetry? why would i do that? i'm just clearing a point here.

when you listen to a lee ranaldo or a stephen malkmus, those guys can write great lyrics in automatic writing, i haven't heard a single line elisa has proclaimed (she doesn't sing or scream, she's like a poetry reader) that doesn't come out as overthought and pretentious, it's aimed at being this "brutal" academic deep improvised poetry...which reminds me of the point i try to make besides this, SHE'S A LYRICIST NOT A POET; if you're in a band, that's why i compared her (not in quality but in function) to lee and malkmus and not to a real poet, that's an aberration to call her a poet. she's a poet like high school goth kids are, or third generation riot girl wannabes.

and to finish the other point, i've read better lyrics, deep, subconscious, metaphorical lyrics from CANNIBAL CORPSE and those guys write terrible lyrics.

and YEAH, I'VE SEEN THEM LIVE, to repeat yet again; they were terrible, they didn't do shit but rock back and forth on their feet while they did shit feedback and did what lee and thurston and kim do with their guitars for over 25 years without the songs or the energy, elisa tried to approach one of the security people in the front of the stage, dude didn't respond, and she did nothing else. it was a big nothing. like ANY band, they can have a good night, but, judging also from the videos ecstatic peace used to put up, those good nights were few and far in between. it's been more lore than truth their "legendary" out of control shows.

you want a song title? "a world of cocks and lillacs"



no, i said why I didn't get why people like them AND that i don't like them, there's an "and" in between, which doesn't equate them.

where do you get the "academic" shit? when have i brought that up? i said, and kinda gives it away that the post below you quoted and replied to, you didn't associate with this other post, that people don't know about CERTAIN BANDS that have done what mm have done but better yet, that if they knew about those bands, they probably would stop praising the markers so highly and know what they really are.

that said, i did say that I DON'T GET how people like them so much, but that doesn't mean people shouldn't like them, i mean, what do i care what you people like? a lot of people like cheese and i don't, i'm not going out of my way to tell them why they shouldn't eat it, i may explain WHY I DON'T like cheese but i wouldn't force them to stop doing so, just like I'M EXPLAINING why i don't like the magik fucking markers.



see? this is what i meant.

ROYAL TRUX WERE AN EXAMPLE of a band who did something similar but SUCCEEDED.

if, say, the stooges had never formed or made records and 30 years on there was no one else who had attempted and succeed in doing the song with a wilder and improved edge then YES, i would rather listen to CHUCK BERRY, same as i don't need to listen to magik markers when i can well go listen to can't, mars and, yes, royal trux, to give you just three examples.

by the way, have i mentioned besides the hypothetical example in this very post, my bands in this thread? that's what i thought.

my apologies for not having answered this sooner, but i've been busy, and in fact, i had something half-written and accidentally closed it, and didn't have time to recover it. but here it goes again.


no, that whitman stanza is a turd, whitman wrote a lot of turds, but he still wrote i sing the body electric, crossing brooklyn ferry, i hear america singing, etc., and he's still the greatest american poet.

see when you are free to say what's inside you a lot is going to come out, the genius mixed with the stupidity, and only those endowed with balls of steel (or, say, ovaries of fire) will come out & shout it all out without fear of castration.

and some crap will come out and some genius will come out and your audience will remember you for the genius not the crap.

the rest of the herd just cowers in a corner fearing imperfection and failure, calculate their every move and throw rocks at anybody who tries to let it all come out.


so it's the leftist feminism that bugs you. ha ha ha ha.

you know, whitman was full of manifest destiny and other shitty ideologies. just so you know.

but i happen to like leftist feminists, and anybody who is going to tell you you are not the king of rocknroll is great in my book.


instead of wondering what people are going to call you if you cover or appropriate the stooges, you should grow some balls and do it anyway.

people who worry too much about what others will think are the permanent spectators of life.


whatever.


ha ha ha ha. doctor, heal thyself.


you're totally missing that i was making a broader definition of poetry than cobbling together words. i was speaking of a force of nature that connects everything, or some other quasi-mystical shit like that. but don't take my word for it-- go and read ruben dario on the subject and we'll discuss.

elisa is shamanic-- and that is that.


oh yeah if you like right-wing death-obsessed shlocky men


maybe it didn't work for you, or maybe you just put the jinx on them. did you ever watch the movie "the cooler"?


eww, what? first, i don't like cocks. who likes cocks? they look like turnkey necks. second, it's spelled lilacs, but whatever. the image is claustrophobic and sad, whereas "dreaming of vegas and pussy and victory" has this open-ended rhythm forward-moving energy that connot be stopped.


yeah but you give 1 explanation for both things.

"oh i don't like the color red, and i can't understand why others can't, and it's because of this..."


well because you seem to imply that enjoyment of rocknroll requires "study of the old masters". and it doesn't.


you tried to explain with one explanation why you don't like them and why you don't understand other people liking them, that's all.


or sucked seed. i dont think the mm are trying to to what rtx did, are they? and can't one like both? i like both, differently and for different reasons.


ok, listen to chuck berry & the stooges then, and let's burn everything else.


well, you seem to say people shouldnt have license to do something unless it's KEY, and since you are doing something, i'm simply wondering if you are KEY and original and all that so that you give yourself license to do things.

and yes im being a pain in the ass because while i have no problem with you dislike of this band which i greatly enjoy, i find your invective unwarranted, wrongheaded, spiteful, and masking a fair deal of jealousy, and i'm quixotic like that.

!@#$%!, it seems like the only valid reason you have to enjoy MM is ...because she is a girl.
That's the only reasoning you've given anyway. Just that she is "fiery!" So fucking what, writing about "sexism" isn't some crazy new thing, it's been going on since the start of music. It isn't like she's having a hard time in life, she's making the worst 'music' I can think of, and getting paid for it. There are legions of fanboys that would gladly fuck her, big tits or not. She's not a poet.

oh, multiple opponents-- the fun!

no it's not because "she is a girl" that i like this band, but there is definitely a very female energy to the markers; and i'm not discounting pete's solid testicular output at the drums, but there is definitely a reactor of female power at the core of their aesthetic, and i do enjoy women rockers more than i do men. it's just the way im wired.

but to say that it's "just because she's a girl" would mean i like the music of shakira (hot), christina aguilera, britney, avril, gwen stefani and a miriad other pop divas, and i certainly don't. oh i dont like be your own pet either.

but if you ask me do i love patti smith im going to say yes, and sleater kinney and erase errata an even some of bikini kill's output, when they get too preachy i can't enjoy. and i do love rocking women. but the misogynist boys (and girls) are always going to try to dismiss them with silly arguments.

but if from reading my posts it "seems" to you what you say it seems, you need remedial reading lessons.

in any case, i suppose that the vitriol that the markers inspire in you (i won't diginify some aspects of your post with an answer) means that they are doing something right. it is funny to see the seething hatred you harbor, but fortunately for everybody else your contempt can't touch them and it only reflects back upon you like a shit pie in the face.

sort of like that zen tale where some man who had a piece of shit on his nose and would go around making faces and asking "what stinks?"

anyway, just the other day somebody egged our car, it's a nice little car, and when we found the detritus all over the paint i said to madame !@#$%! "we must be doing well, because someone hates us".

burn, baby, burn.

!@#$%!: answer me when you start making sense and stop being a stereotyping person.

i will just make two points and then i won't post anything else, because expressing my opinion is just getting me labelled by think i'm not.

1) magik markers are gumball of the 00's, in a few years NO ONE will be talking about them.

2) remember this time last year when the whole board was talking about be your own pet but no one (except paulybee) remembered magik markers? see you at byop threads when their next album is released.

enjoy your mediocrity.

Rabblerabblerabble 9 pages of bullshit now. LET IT DIE.

i make too much sense. but ok.


?


i live in the present. who knows about the future?

don fleming is alright though.


this time last year... i have no idea.

byop = not my cuppa


im going to their show in a couple of weeks. wooohoo!!

i'll bring offerings to the holy priestess.

have fun you too!

Mrs Doyle: What do yah say to a cuppa tea, father?
Father Jack: FECK OFF, CUP!

ha ha ha

oh yeah, drag me into the row when im not looking!!!!!!

markers rule. byop suck balls.

heres a question, its been a while but does anyone remember lightning bolt. they havent been mentioned here in at least 18 months.............

*makes quick appearance on thread but not to talk about M&M's*
Haha, everyone remembers Lightning Bolt! Great band. I saw em live uh.. 5 or 6 months ago. I bet they're working on some new material right now. Love 'em.
*leaves*

*re-enters*
a filthy pair of FECKIN WOMENS KNICKERS!
*leaves*

missing out on the last Lightning Bolt hurt a lot

friends' girlfriends ruin everything

fuck fuck fuck fuck me too! missed them as they were burning through the southwest.

it was nobody, but temporary poverty, that fucked us up though... :mad:

i will get my revenge

http://www.pitchforkmedia.com/articl...iew/45781-boss

Magik Markers
BOSS
[Ecstatic Peace; 2007]
Rating: 7.5


Despite their long list of releases, Magik Markers have up to now been more compelling live than on record. Even on their best discs, the highs of their free-ranging noise-rock have come with meandering, sometimes off-putting lows. By contrast, the live act of guitarist and singer Elisa Ambrogio and drummer Pete Nolan is constantly fascinating. Their commanding stage presence steamrolls over musical gaps that, without the visceral visuals, might stick out awkwardly on record.
So it figures that, to make an album that holds attention the way their shows do, Magik Markers would have to channel their rambling spontaneity into more conventional tunes. What's so great about BOSS is that even though it is more structured and song-oriented than any previous effort, the band's fiery, scraggly approach remains intact. Paradoxically, by restricting their options (and, coincidentally, losing bassist Leah Quimby), the band has made its music even more open and free.
Such discipline has also made Magik Markers' sound more diverse. Their improv-based records sometimes got stuck in a narrow range of noises, but while BOSS may be a bona-fide rock album, there's lots of different stuff happening here: straight up rockers, punk rants, country-ish acoustics, and even an aching piano ballad. And each has an energy and authority that matches the band's live show.
That said, BOSS isn't a complete split from the band's past. They have veered toward straight rock in the midst of some of their noise jams before, and many tracks here evoke the post-Sonic Youth clang of 2005's I Trust My Guitar Etc. But there's definitely something new going on, and most of it comes from the seductive voice and lyrics of Ambrogio. She's always been a deserving attention-getter, but here her talents seem wider and sharper. Her singing primarily evokes Patti Smith, as do her words, which deftly use rhyme to build intangible meaning. For example, on "Taste" she varies her choruses with tantalizing off-rhymes-- "He had tasted her, tasted her/ Smiled right into the base of her/ He kept racing her, racing her/ And stayed alive; outpacing her"-- while her guitar and Nolan's simple drumming seem to rhyme in turn.
"Taste" may be BOSS's most memorable track, but highlights abound. Opener "Axis Mundi" rises from initial guitar noise into a chugging swing, while "Last of the Lemach Line" sways hypnotically as Ambrogio intones with increasing desperation. Later, Nolan contributes primal piano chords to Amborgio's Cat Power-ish croon on "Empty Bottles", mixing nicely with the glockenspiel of producer Lee Ranaldo. Ranaldo also adds a layer of guitar fire to the manic "Body Rot", which sounds like a punked-out take on Rhys Chatham's minimal trance-rocker "Drastic Classicism".
BOSS stumbles just slightly at its end. The noise essay "Pat Garrett" never really gathers steam, while closer "Circle" comes off as a thinner version of "Lemach Line". But sandwiched in between is the stellar "Bad Dream/Hartford's Beat Suite", a haunting tale of bloody pockets and severed thumbs that approaches the chill of a Johnny Cash tune. Such a comparison might be surprising, but then BOSS is bound to rearrange a lot of people's perceptions of this potent duo.
-Marc Masters, October 04, 2007

i find it abit odd that this band creates this much controversy? i mean do they demand it? only in that they are backed by Thurston and Lee and SY and are on Ecstatic Peace! so people are gonna diss because they are only where they are because of SY... thats lame thinking. come up with something better than oh..."i want to see the MM fans who aren't thurston-shadows" and what about Elisa playing in Six Organs of Admittance? heh, where's all the Ben Chasny shadows??? and the J. Mascis shadows etc etc... for that matter. i bet elisa and pete would laugh in hestorics if they read all of this stuff, in that in a certain way this sorta of confrontational response to their work would be quite the complement for them. i'd love to have this many lovers and haters of my music...

lightning bolts new long player due out by end of year. fuckin awesome band to see live!

Yeah, boi.

jesus, this thread is probably the most magic markers will ever be discussed in thier horrible, and hopefully over soon career...and for the person who said magic markers probably love it that people hate them so much...maybe MM need to rethink...the people at thier shows ARE the people they should want to liek them. its not like some Creed fans are disliking them, people with VERY good musical taste, like a lot of people on this board HATE them...sometimes, esp in the case of this band..people mistake being "open minded" for lacking any common sense at all.

did i read right that some dude compared SY to magic markers??

LMAOOOO

BOSS is very nice album in my opinion.

*re-enters, only to point out something*
see, lethrneck4, that was the point I was trying to make all along.. I bitched about the markers but tired of it, but then I read the REVIEWS; I mean, did anyone even bother reading those? People thought I was endlessly bitching about the Markers -- which I was -- but I retired to my quarters until I started seeing those retarded reviews. Specifically the review that goes, "I can't tell the difference between Sonic Youth and Markers anymore." WHAT?! Regarldess of whether you like the Markers or not, that's about the dumbest fucking thing I've EVER read and I'm surprised more Yoof fans didn't cry outrage. Jesus. Okay, yeah, I'm pretty sure that I have nothing else to reply to now. Fuck this.
*leaves*

the magik markers vortex sucks ac in again and again.. its only a matter of time until you start doing the handmade marker shirts man!!!!!


(((microwaves)))= ear candy!

Yes, (((microwaves))) are fucking excellent. What's funny is.. they used to have Six Finger Satellite listed as an influence on their myspace, and I was one of their first friends, and I messaged them saying that I really dug them and they were like Six Finger Satellite for the 2000's... and then a few days later, they took "Six Finger Satellite" out of their interests. Hahaha. Listened to the Pre, fucking excellent, of course, Skin Graft!!! It's funny, I had some of the album downloaded before you sent me that link, but the guy who I was downloading from never got back online, so you gave me the whole album. Dig. Weirdly, one of the riffs on that album is nearly note-for-note identical to a riff I came up with before; I think that's the first time I've ever had that happen. Haven't listened to the Schroder (sp) stuff yet but I will shortly!

The Magik Markers
Boss [Ecstatic Peace; 2007]

4.5/5


Styles: noise-rock, harsh psych-pop, proto-punk
Others: Sonic Youth, Lydia Lunch


Lately, my heart has been telling me that perhaps the rock ‘n’ roll well has run dry, that all the inherent glee and rambunctious energy we draw from our Fun Houses and Rocket To Russias are beacons of their time, perfection never to again be duplicated. Take a look at any consciously amp-fueled rock of any shade from the past few years, and for the most part, those with the most exposure or support have let nostalgia work against any pure creative triumphs. Sure, a little revival or remembrance can be healthy when delivered with a certain unpretentious elation, but many musicians embody a self-conscious reaction against the fading of their beloved idols of years past, a prospect that gives us the occasional strychnine rush, but one that acts as a naive approximation of the breakthroughs of rock’s innovations.
So, to see one of the most vehemently combustible and untamable bands (who operate by a burnt thread under the “rock” banner) pull out one of the most rewarding and assured song-oriented rock records of recent years leaves me honestly dumbfounded. The Magik Markers have become one of the more difficult groups of iconoclasts operating in the underground, smearing their filthy tangles of feedback and rabid no-wave spittle against the face of the post-2000 “rock” revival, doing much the same as their most obvious predecessors (DNA, Mars, etc.) did when punk became tainted with the mainstream’s opportunist influence. Sounding like Kathy Acker throwing Half Japanese down a flight of stairs while Jaki Liebezeit keeps pace over the scene, the Molotov-cocktail of near-anti-melody and confrontational stream-of-conscious poetry truly splits the increasingly elitist, self-satisfied, and musically craven “indie” camp down the middle. And now, with Boss, the Markers have by leaps and bounds made questions of their talent moot. By reinvigorating the use of pop melody in the context of atonal and fervent desire (in a manner that stands inches by some of the greatest punk staples of yesteryear), they’ve become a potent machine that lesser bands best watch out for.
As a first “official” studio release, Boss is initially frustrating and disarming for the dedicated follower or the curious observer looking for an easy entry. With their trademark-free and unruly career-making squalor documented on countless CD-Rs and limited LPs, it makes sense that Boss aims for something more difficult to attain for such a typecasted band, even though one can only imagine the band’s early years wreaking havoc on the concept of a studio. From the moment Elisa Ambrogio lets her voice take reign on “Axis Mundi,” the song becomes less a noise-rock stalwart than a nugget of psych-punk utopia embedded with warm sonics and Ambrogio’s decision to actually sing. And regarding that eyebrow-raising choice... well, all those snide comments that were hurled at Ambrogio’s snarling atonal rants will feel mighty stupid after listening to this.
It’s not automatically impressive for a raucous act to go pop, but it is for a band whose fearless abandon into avant-punk noise was, and still is, their calling card. The secret in Boss is that the Markers, like all the greatest punk, psych, and garage bands, treat pop as a necessary part of the whole. Songs like “Body Rot” and “Circle” are still caked on every angle with grit and grime, but still serve their purpose as too-the-point blasts of fleeting joy that demand constant immersion. Too many bands in the realm of indie rock, indie pop, and even the classic punk/garage revival movements view pop as a saccharine novelty, a prospect still so coated in elitist irony that even the most sincere of the new breed feel either naively nostalgic, too shrouded in déjà vu to make a commanding statement. On Boss, Ambrogio and Pete Nolan (bassist Leah Quimby left last year) seem to understand the spirit that The Sonics, The MC5, The Stooges, and X-Ray Spex left, which is why a song like “Body Rot” has both the vigor and fuck-all attitude of the noise and avant scenes and the immediacy and appeal of more straight-ahead rock songs. Even the ballads (“Empty Bottles,” “Bad Dream”), a seeming oxymoron to the casual observer of this band, are treated with a careful restraint, never piling on the preciousness or melodrama of most post-Dylan/Cohen folkie fare. Why a song like “Bad Dream” somehow becomes fittingly gorgeous is that it never feels like its screaming to be heard in a specific manner. It just exists as it is, without any overextended effort or transparent showiness.
So many bands have forgotten how to make a song in a traditional format sound dangerous, and for those who need some sense of everlasting rebellion in their sonics, Boss has everything they’ve been wishing for in spades. It’s not trying to hearken to the past. It’s not trying to bid for a wider audience. It’s not a one-off experiment. It exists because this is what’s most appropriate for the Markers at this point in time, and they evidently have more talent and passion than even some of their most fervent fans probably gave them credit for. As evidenced by the epic discomfort of the stunning “Last Of The Lemach Line,” the Markers still punish their instruments into catastrophic bouts of anguished fuzz and feedback, only here on a surprisingly restrained and mature manner. Lee Ranaldo’s production brings out all the echoed squeals and beautiful ambience that deserves to be heard, and what separates Boss from any cynical cashing-in critiques is that the Markers went above and beyond to actually create an album that nearly contradicts their constructed identity. Whether or not this is representative of a new phase of the Markers, at least the inevitable pop record has surprisingly staked itself as one of their strongest statements and one of the very few pop records in recent memory to engage its audience in something profound and challenging.
1. Axis Mundi 2. Body Rot 3. Last Of The Lemach Line 4. Empty Bottles 5. Taste 6. Four/The Ballad Of Harry Angstrom 7. Pat Garrett 8. Bad Dream/Hartford’s Beat Suite 9. Circle
by Paul Haney

http://www.tinymixtapes.com/Magik-Markers,4414

oh im seeing them on monday

im seeing them on monday

i'm seeing them monday...

FUCK YES!!

haters, please go eat a bag, eat a bag...

I'd gladly eat a bag if I meant I wouldn't see the markers.

ha ha ha

that's not a fair challenge-- you'd eat a bag if there was a bag, no questions asked, you big slut :P

cool adam. i reckoned you would like pre! the si schroeder is a different thing altogether!!!!

Funny how this treads run for so long. There must be somethings that's really annoying some.
When I first heard it I thought it was great. Then after a while I thought it was just ok... funny how you tire of somethings so quickly. I still like it, but it's not amazing.