Music Listening & Sharing

[algroth]

Wonderful, hypnotic stuff from this Congolese supergroup.

[Malcador]

 

[Keyrock]

I've been on  Yes kick as of late. As a bassist, Chris Squire is one of my heroes. Even as a legend, I still feel he's underappreciated as a bassist. Not only is he a founder of one of the greatest, if not THE GREATEST prog rock bands of all time, and one if its primary song writers, he also provided some of the most unforgettable bass riffs of all time. Everyone knows about Roundabout, Yes's SUPER GIGA OMEGA hit song that propelled the band into superstardom, and that song is driven by a RIDICULOUSLY phat bassline, but Chris was the lynchpin of so much of Yes's sound. He altered his sound as the band morphed its sound throughout the 70s into the early 80s, always delivering solid backing, but I'll always best remember him for his work on Yes's seminal early 70s albums: The Yes Album, Fragile, and Close to the Edge. He hit the highs as well as anyone, but what set Chris apart during this time period was when he dropped the bottom out. As a bassist, there's little in life I love more than dropping the bottom out, but even I am perplexed at hoe Chris managed to achieve such EPIC levels of phatness. He didn't even use a 5 or 6 string bass the vast majority of the time, just a standard Rickenbaker 4 string. I don't know what kind of pickups he used or what black magic tuning, but when Chris Squire dropped the bottom out of his bass, it was like he bored straight through the planet and was hitting strings on the opposite side of it... Scratch that. It's like he tapped into a different dimension and was hitting bass strings from a parallel universe. Those bass sounds were are so filthy low they make my neighbors feel dirty. Not convinced? Check this out:

The slide he does around 2:06, and again later on is straight DISGUSTING. That **** drops down past my mortal shell and vibrates my friggin soul. How is he even reaching those level of bottom on a 4 string? How is that possible? 

 

[ShadySands]

 

[ManifestedISO]

same reason I still play Pillars or watch Star Wars ... the music

by John Paesano

 

(media)

 

[Gromnir]

gene noble doing the juice wrld mashup were not only excellent but kinda funny. am suspecting sting gets as much mileage outta lucid dreams as possible, seeing as how he owns 85%. 

HA! Good Fun!

[algroth]

Some neat Polish space rock right here.

[algroth]

New Richard Dawson album coming out this October! Rejoice!

[algroth]

This album is superb, the best I've heard of the entire vapourwave movement thus far. Properly dada, just utterly strange and absurd, but with that same melancholic element the best albums of the genre capture.

[algroth]

On 7/23/2019 at 7:56 AM, Keyrock said:

I've been on  Yes kick as of late. As a bassist, Chris Squire is one of my heroes. Even as a legend, I still feel he's underappreciated as a bassist. Not only is he a founder of one of the greatest, if not THE GREATEST prog rock bands of all time, and one if its primary song writers, he also provided some of the most unforgettable bass riffs of all time. Everyone knows about Roundabout, Yes's SUPER GIGA OMEGA hit song that propelled the band into superstardom, and that song is driven by a RIDICULOUSLY phat bassline, but Chris was the lynchpin of so much of Yes's sound. He altered his sound as the band morphed its sound throughout the 70s into the early 80s, always delivering solid backing, but I'll always best remember him for his work on Yes's seminal early 70s albums: The Yes Album, Fragile, and Close to the Edge. He hit the highs as well as anyone, but what set Chris apart during this time period was when he dropped the bottom out. As a bassist, there's little in life I love more than dropping the bottom out, but even I am perplexed at hoe Chris managed to achieve such EPIC levels of phatness. He didn't even use a 5 or 6 string bass the vast majority of the time, just a standard Rickenbaker 4 string. I don't know what kind of pickups he used or what black magic tuning, but when Chris Squire dropped the bottom out of his bass, it was like he bored straight through the planet and was hitting strings on the opposite side of it... Scratch that. It's like he tapped into a different dimension and was hitting bass strings from a parallel universe. Those bass sounds were are so filthy low they make my neighbors feel dirty. Not convinced? Check this out:

The slide he does around 2:06, and again later on is straight DISGUSTING. That **** drops down past my mortal shell and vibrates my friggin soul. How is he even reaching those level of bottom on a 4 string? How is that possible? 

 

Though I'd argue the claim of Yes being one of the greatest prog bands ever (they wouldn't make my top 20 personally), they had a really good run in the early 70s and Chris Squire's part in their success was not at all small. An utterly fantastic player, truly the backbone of the band even in its direr epochs, and his tone is certainly up there with the likes of Jannick Top or John Wetton in Red for me.

And then there's this wonderful piece from Robert Wyatt's Rock Bottom, courtesy of Hugh Hopper:

A current day bassist that has really impressed me when I saw him live was Chris Pravdica from Swans. Usually when it comes to the band a lot of attention is directed towards Michael Gira, understandably so as he's truly the heart of the band, but in a live setting it was impressive to take note of how much of this most recent lineup of Swans and its sheer weight was up to Pravdica's work specifically. He was doing wonders throughout.

 

Edited August 2, 2019 by algroth

[algroth]

I feel this album went a little under the radar, at least in the circles I'm usually in, which is odd considering it's a Jonny Greenwood venture with a documentary accompaniment by Paul Thomas Anderson. Also it's very cool.

[algroth]

Was listening to Maha by Grim this morning, an industrial and power electronics act from Japan. The album is very good in places, but somewhat lacking in others and overall at 100 minutes it's somewhat baggy and confused, at times feeling more like a collection of random outtakes and experiments moreso than a full-fledged work. Possibly by design, as this is a sound often looked by acts like these, but yeah. This track, though, is pretty glorious:

 

[algroth]

Some pretty cool contemporary psych-folk in the style of Espers.

[algroth]

Speaking of Espers...

 

[algroth]

Pretty nice nu jazz jam that recalls a mellower Amon Tobin in a way. @injurai you might like this.

Edited August 5, 2019 by algroth

[injurai]

Already well aware, Elaenia is a masterpiece simple as that.

[injurai]

 

 

Edited August 5, 2019 by injurai
?

[algroth]

Pretty cool jazz-rock record with strong Canterbury/krautrock influences.

[algroth]

Absolutely extraordinary band.

[injurai]

Indeed & likewise

 

 

[algroth]

4 minutes ago, injurai said:

Indeed & likewise

All hail King Shabaka!

Edited August 6, 2019 by algroth

[Keyrock]

 

[Keyrock]

21 hours ago, algroth said:

Pretty cool jazz-rock record with strong Canterbury/krautrock influences.

Very psychedelic. It would feel right at home on Pink Floyd's Saucerful of Secrets or Umma Gumma.

[algroth]

Just now, Keyrock said:

Very psychedelic. It would feel right at home on Pink Floyd's Saucerful of Secrets or Umma Gumma.

Or Can's Tago Mago for that matter. I was actually trying to find "The Above Ground Sound" to share but there seems to be no YouTube link for that unfortunately. The album, which you can find here, is highly recommended on my side. Worth checking out if you enjoyed the sound of that!

[algroth]

Been listening to a fair bit of 2015 music as part of a little project of mine to get up to date with a lot of this decade's music. At some point during 2013-2014 I grew saturated and fed up with the music of the time, feeling we'd been hitting a dry spell since about 2008 and seeing no end to it. And whilst I still hold that 2008-2013 were something of a slump and we are a far ways off from the heights of the late 60s and early 70s, I am thankfully starting to find a lot of interesting acts emerging from this point onwards, and I'm glad to be taking the time to acquaint myself with them. As with previous years I've been attempting to listen to enough records so as to come up with a yearly top 20 list for each that I can feel comfortable with sharing. So far, here's the top 20s for 2013 and 2014, for anyone interested, and if anyone is interested in discussing/commenting:

2013:

1. Run the Jewels - Run the Jewels
2. Bear Bones, Lay Low - Occultciti
3. Jon Hopkins - Immunity
4. Tim Hecker - Virgins
5. Mark Kozelek & Jimmy LaValle - Perils from the Sea
6. Melt-Banana - Fetch
7. bvdub & Loscil - Erebus
8. Autechre - Exai
9. Fire! Orchestra - Exit!
10. Nick Cave & the Bad Seeds - Push the Sky Away
11. Julia Holter - Loud City Song
12. Roly Porter - Life Cycle of a Massive Star
13. The Haxan Cloak - Excavation
14. Matt Elliott - Only Myocardial Infarction Can Break Your Heart
15. Mélanie de Biasio - No Deal
16. Goldfrapp - Tales of Us
17. Alameda 3 - Późne królestwo
18. Boards of Canada - Tomorrow's Harvest
19. Pharmakon - Abandon
20. Oneohtrix Point Never - R Plus Seven

2014:

1. Swans - To Be Kind
2. The Crazy World of Arthur Brown - Zim Zam Zim
3. Africa Express - Africa Express Presents... Terry Riley's In C Mali
4. Flying Lotus - You're Dead!
5. Sun Kil Moon - Benji
6. Run the Jewels - Run the Jewels 2
7. Honduras Libregrupo - Cinco
8. Kasai Allstars - Beware the Fetish
9. Richard Dawson - Nothing Important
10. Angles 9 - Injuries
11. Talea Ensemble / JACK Quartet / Huck Hodge - Life Is Endless Like Our Field of Vision
12. Freddie Gibbs & Madlib - Piñata
13. Widdly 2 Diddly - LISA Soundtrack
14. X.Y.R. - Arktika
15. Ian William Craig - A Turn of Breath
16. Fire! Orchestra - Enter
17. United Bible Studies - Doineann
18. Daniela Casa - Sovrapposizione Di Immagini
19. DJ Rozwell - None of This Is Real
20. The Body - I Shall Die Here