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choc e-Claire 01.24.2021 11:00 PM

 


NIN - The Fragile

Kuhb 01.25.2021 07:44 AM

Quote:

Originally Posted by !@#$%!
im about to listen to monk's brilliant corners

 



So good

!@#$%! 01.25.2021 01:04 PM

Quote:

Originally Posted by Kuhb
So good

yeah. the title track is insane, but the whole album is great.

!@#$%! 01.25.2021 03:11 PM

 


im on a hard bop kick...

Skuj 01.25.2021 03:53 PM

Quote:

Originally Posted by choc e-Claire
 


NIN - The Fragile


I fucking loved that album when it came out ('99?) and I still do. I remember a bunch of meh reviews at the time, but I think many have reconsidered.

!@#$%! 01.25.2021 05:06 PM

 

!@#$%! 01.25.2021 05:50 PM

 

choc e-Claire 01.25.2021 06:47 PM

Quote:

Originally Posted by Skuj
I remember a bunch of meh reviews at the time, but I think many have reconsidered.

The 1999 Pitchfork review gave it a 2.0, absolutely tearing into it (same guy who gave NYC Ghosts and Flowers a 0.0, and Kid A a 10.0). In 2017, someone else reviewed it with the definitive edition coming out, and that got an 8.7 - probably much closer to the actual score.

Of course, it's easily better than The Downward Spiral - it's all so expansive, the arrangements and atmosphere are incredible...plus the vinyl remaster sounds fucking amazing.

_slavo_ 01.26.2021 11:51 AM

Now that I'm thinking about it, would you believe that in my whole life, I haven't heard a SINGLE FUCKING SONG by the Nine Inch Nails? Not a single one, I swear.
I'm 40 years old.

I'm going to listen to something right now.

Diesel 01.26.2021 12:25 PM

Aphex Twin on the compositions given to Trent:

Quote:

'"I never heard the originals," he admits of the two Nine Inch Nails remixes included here. "I still haven't. I don't want to, either – or my remixes, for that matter." The great irony is that the tracks in question are vastly more interesting than anything Nine Inch Nails have managed – desultory blendings of oinking beats and musing orchestration evoke a world more bleak and twisted than even Trent Reznor could imagine'.

To which I wholeheartedly concur.

Their only good song: https://www.youtube.com/watch?v=pw3PQEw6O4U

greenlight 01.26.2021 02:37 PM

 


Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman's large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself.

Along with her 1985 debut album – appropriately titled The Long String Instrument – Fullman's only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland.

Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans.

The Soup Nazi 01.26.2021 09:35 PM

Quote:

Originally Posted by _slavo_
Now that I'm thinking about it, would you believe that in my whole life, I haven't heard a SINGLE FUCKING SONG by the Nine Inch Nails? Not a single one, I swear.
I'm 40 years old.

I'm going to listen to something right now.


NOOOO you were on the right path...

The Soup Nazi 01.26.2021 09:38 PM

Quote:

Originally Posted by Skuj
Wait....you like His Bruceness?


I'll let Mr. Strummer explain:

 

!@#$%! 01.26.2021 10:19 PM

Quote:

Originally Posted by greenlight
Ellen Fullman ...

hey this was great!

i found and listened to this


 


https://allnightflightrecords.com/co...a-wong-harbors

excellent, a new favorite, thanks so much, will listen to more

choc e-Claire 01.26.2021 11:45 PM

Quote:

Originally Posted by The Soup Nazi
I'll let Mr. Strummer explain:


It's a grim irony that you can read "pretentious Martian from Venus" and not make the connection.

Anyway... MBV's self-titled (2013)
 

The Soup Nazi 01.27.2021 12:03 AM

Quote:

Originally Posted by choc e-Claire
...


 

choc e-Claire 01.27.2021 12:27 AM

 

"Nooooo! You can't just ignore my musical opinions!"

!@#$%! 01.27.2021 12:50 AM

lmfao

cmon friends, this is funny but let's stick to the whaddaya lissening and skip the validation seeking

im up late reading and i had the eternal airports on

 


i don't give a shit if anyone else likes it or not but if anyone else needs to chill the fuck out this probably is a good aural pharmaceutical to induce the deep relax

now quit yelling :D

post what you're listening to

ps ok i gave skuj a tiiiiny bit of shit but it was like one sheep shit size not a hot wet steaming cow patty and hopefully with a smile not serious business and only after he said "i cant figure this place out" as if idk.

but i digress

im putting on the noise cancelling headphones so i cant hear any more yelling :D

choc e-Claire 01.27.2021 01:07 AM

Quote:

Originally Posted by !@#$%!
im up late reading and i had the eternal airports on

 

I approve of this message. I should listen to some ambient later meself.

The Soup Nazi 01.27.2021 01:17 AM

Quote:

Originally Posted by !@#$%!
im up late reading and i had the eternal airports on

 



And just like spiking a drink, if you feel like fucking shit up you can always listen to the ultimate mashup:

 


Seriously, though, here's what Robert Wyatt said to Uncut last year:

Quote:

Uncut: One of your collaborations that's sometimes overlooked is your work on Brian Eno's Ambient 1: Music For Airports. How did that come about?

RW: I was first introduced to him by [Matching Mole bassist] Bill McCormick; he played on our song "Gloria Gloom" and then I did some stuff on a terrific record called Taking Tiger Mountain (By Strategy). I love his singing, and his songs and his words. When some elephants get rejected from their herds, they sometimes get together in a rogue elephant herd so I think in a sense me and Brian were kind of rogue elephants. We were free, because we weren't in groups. I didn't know about the "music as wallpaper" theory then Brian just said, "Can you play some piano?" I played and played and then he took out a section that he could repeat ad infinitum, and then he did everything else you hear on it. Working with Brian is great, because we don't have the same music in our heads, but his sheer presence makes me do things differently in the studio, and it's just great talking about music, politics, everything.


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