OfMiceAnd

Comments from OfMiceAnd

I'm not usually much of a FJM fan—I see his talent, but for whatever reason he usually rubs me the wrong way. But this is 'holy shit' good.
+7 |
January 23, 2017 on Father John Misty – “Pure Comedy”
(Upon writing this comment, I've gone back and scanned through Mount Eerie a little, and apparently I have very skewed memories of it! There's other voices on it, but it's still very much Elverum in the lead most of the time. Weird. I'm definitely going to have to sit down and give it another reevaluation one of these days!)
+1 |
January 6, 2017 on Phil Elverum: “Please Don’t Come” To Tomorrow’s Mount Eerie Show
I personally felt (at the time, especially, since I very rarely go back to listen to it) that Mount Eerie was paced in a way that just made it hard to really get into; more prolonged instrumental stuff than IWHWSITW and TGP2, though clearly that's the route he wanted to go when he switched his "band" name to Mount Eerie from then on. And even then a lot of the more song-based stuff on it leaned into the other contributors so much that it didn't even really feel like a Microphones album. It was like a K Records group project or something. That sounds really harsh though... I liked it, I still like it. I just think The Glow Pt 2 was damn near impossible to top.
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January 6, 2017 on Phil Elverum: “Please Don’t Come” To Tomorrow’s Mount Eerie Show
Almost too good! I don't necessarily LOVE everything else he's done, but I absolutely respect his entire body of work AS a body of work. But The Glow Pt. 2 is so good, and so perfect, that it's hard to get the same satisfaction out of any other single album he's made. I'd say start with It Was Hot We Stayed In The Water... then maybe Clear Moon... then if you like what you hear, go ahead and jump into Glow Pt 2 for the full payoff. Point is, Phil Elverum is a treasure, and what he's going through is awful. But I think it's a beautiful thing that he had to even post this "don't come to my show". Because even though I can't (though I considered for half a minute what it would take to get there), I would absolutely love to go.
+4 |
January 5, 2017 on Phil Elverum: “Please Don’t Come” To Tomorrow’s Mount Eerie Show
I'm a bit of a metal outsider; I follow the scene from a distance, and sample as many of the more acclaimed new releases as I can, but honestly only a tiny bit of it really hits me in a deep way. What gets me about the "world" of metal that this preamble is trying to make sense of, as I see it from my arm's length, is that you Metal Guys seem obsessed with sub-genre. There's so much focus on the details of what bucket a band fits into, or which two or three buckets they're combining, and the music in turn just starts to feel like an assembly line of bands who don't have the guts to try anything new or truly make something great. The ones who seem to get credit for experimenting are often just taking one sub-genre, and adding some identifiers from another on top of it. It's rare that I really hear anything truly new or fresh or musically progressive in metal. And it seems that for a big part of the community, that's not the point. It's a contest to see who can be the MOST. That said, here's my very short list of metal releases that really impressed me this year. (AGAIN, noting that I'm a tourist. I don't live in Metal World. I do think I know music, and I like to think I have good taste in general.) I'll probably get laughed out of this comment thread, but I'm curious to hear the opinions of those more metal-centric than me: 1. Moon Tooth - Chromoparagon This is actually my #2 album overall this year. The near nu-metal/Incubus vibe almost makes it too embarrassing for me to even mention in mixed company, but I think what these guys are doing on this album is incredible. Talking about sub-genre, it seems to pretty much blow away any of those walls. It's just guys with crazy chops having a blast playing smart interesting music (and major chords!), and a singer who isn't afraid to actually sing. A little corny, but amazingly good. 2. Katatonia - Fall of Hearts I feel like Katatonia has been doing the thing they do for long enough now that nobody pays them much attention. But this is their best album in a while, just track after track of perfectly constructed Katatonianess. 3. VRTRA - My Bones Hold a Stillness Technically an EP, but whatever. Also it probably plays too many of those sub-genre games that I was complaining about before, but I just thing it's GREAT. Total intensity, but with some really good riffs hidden back there. 4. Astronoid - Air I thought it got more praise than it deserved at first, but I found myself coming back to it all the time, and now I just chill out and let it win me over. 5. Opeth - Sorceress Full disclosure, I'm an absolute Opeth fanboy, so grain of salt. But I think Sorceress is easily their best since Ghost Reveries (Watershed did nothing for me). Heads and shoulders better than their last two prog experiments, though on first listen I was pissed and ready to give up on them forever. But it totally grew on me. It's worth giving a second chance if you wrote it off.
+3 |
December 14, 2016 on The 40 Best Metal Albums Of 2016
These guys are better than everyone else.
+4 |
December 1, 2016 on Run The Jewels – “Legend Has It”
I'm a month late to this, but I just read this comment earlier today and checked out that EP, and holy shit it's good. Thanks for the rec!
0 |
November 30, 2016 on The Black Market: The Month In Metal – October 2016
Very cool. Love the low-key (no pun intended) piano that pops up at the bridge. Crab Day is one of my favorites of this year—one of those happy genre-less records that is completely of its own voice, current trends be damned. I'll take all the leftovers they can muster!
+2 |
November 21, 2016 on Cate Le Bon – “Rock Pool”
34 here, although I think your question might be better suited towards those still in their 20s... I feel like anyone currently hovering around 35 is basically at Peak Belle & Sebastian in terms of when we got into them, generally all getting into college or late high school just as B&S were becoming less of a Secret and more of a Thing in the US. Personally I was introduced in 2000 right as Fold Your Hands Child was released. I remember downloading a bunch of songs, and feeling that Sinister was the obvious cream of the crop in their discography (although in my opinion, "Jonathan David" is their unimpeachable masterpiece). As for Boy WIth The Arab Strap, I've honestly never had much opinion about it; it's one of their more forgettable records in my opinion. But to me, Sinister, and surprisingly Dear Catastrophe Waitress, are B&S's only two perfect albums. All the others have a handful of duds on them that keep them from reaching the same level. Still, they're on my short list of all time favorite bands. But also I'm a snob. SIDE NOTE: As far as this idea of B&S being a gateway to 90s kids' embrace of softer, non-aggressive music, by 2000 I had already been primed for that world by Elliott Smith's XO (and Good Will Hunting soundtrack before that), as well as the Eels' Electro-Shock Blues. Neither were quite a pillowy soft as B&S, but they were definitely the records that made teenage blockhead me appreciate a more gentle palette in my music.
+2 |
November 18, 2016 on If You’re Feeling Sinister Turns 20
I don't know what I think anymore! After leaving those comments, I went back (confused) to iTunes to scan through the last three, and I realize I actually confuse and mix up a lot of them, which maybe says something about their interchangeability? Either way, I feel like Women As Lovers was a peak, and the last three haven't quite satisfied me. Also I realize that Knife Play is a lot more screwy than I seemed to remember. I just have this driving 4/4 beat in my mind when I think of it, but that's not really the case. Point is: Xiu Xiu clearly fucks with my mind. But I wouldn't have it any other way.
+1 |
November 16, 2016 on Xiu Xiu – “Wondering”
Oh wait, I totally forgot about Angel Guts! Hah. So forget the thing about Dear God I Hate Myself, really I meant that Always and Angel Guts are the poppiest. Goes to show how their records have been slipping a bit lately.
0 |
November 16, 2016 on Xiu Xiu – “Wondering”
It's hard to really pin Xiu Xiu down album to album, but in general, they've been slowly moving towards this more structured pop sound more as the years go on. The last two, Always and Dear God I Hate Myself are probably the most pop heavy, though I don't particularly love either of them. The thing with Xiu Xiu is that almost every album of theirs has at least one or two absolute perfect pop gems on it, even if it's surrounded by more 'difficult' noisey stuff. For what it's worth, I think Women As Lovers is my favorite of all their albums, followed by Knife Play (which is maybe one of their most straightforward 'pop' albums, despite being their debut). It's not necessarily 'synth pop', but the songwriting and melodic structure of that record knocks my socks off, particularly "I Do What I Want When I Want," which is their masterpiece as far as I'm concerned (apologies to "I Luv the Valley OH!")
+1 |
November 16, 2016 on Xiu Xiu – “Wondering”
Hah, I was listening to this thinking, "I bet these guys have listened to a Hum record or two in their day," and only now realized there was actually a Matt Talbott connection there. Cool song, I like these guys.
+2 |
November 2, 2016 on Cloakroom – “Big World”
I like that attitude! People shit on Lars because like, yeah he's not a master technician. He's not Neil Peart or Brann Dailor or Dave Lombardo. But the dude was the co-writer and backbone of the greatest songs of an entire genre. His drum parts are never necessarily the BEST or FASTEST or TIGHTEST, but they're more often than not the CORRECT parts for the composition. It's just in these last couple albums, in the band's desperation to get 'back to thrash basics' or whatever they're trying to do, he's no longer playing the correct Lars parts for the compositions, he's trying to be fast and hard and Lombardo-y, instead of doing what works.
0 |
September 27, 2016 on Metallica – “Moth Into Flame” Video
Instrumentally and musically I like this WAY more than "Hardwired". Vocally and lyrically... yikes. But then the chorus almost redeems it. Finally getting a little melody back into the mix. Still, not terribly exciting.
+1 |
September 26, 2016 on Metallica – “Moth Into Flame” Video
I think Green Day has made great music in the past, and have the ability to make more great music, but yikes they are on a cold streak and this isn't helping. Funny that the best thing they've done in the last decade (IMHO) was when they were pretending to be a different band entirely.
0 |
September 23, 2016 on Green Day – “Still Breathing”
I love how at about 3:40, you can see that Soundcloud waveform jump, and you're sitting there like, "Yes, yes, come on, get to that bar, get to that bar." Which makes me think, when do we start making Soundcloud include spoiler warnings?
+5 |
September 22, 2016 on Stream Neurosis Fires Within Fires
Okay. We all immediately thought "Band On The Run", right?
+3 |
September 22, 2016 on Hope Sandoval And The Warm Inventions – “Let Me Get There” (Feat. Kurt Vile)
I'm surprised that the consensus seems to be for Cubist Castle! I always assumed Black Foliage was their obvious best work, and that everyone else thought that too! Not that I often have conversations with OTC fans or anything.
+2 |
September 22, 2016 on Elephant 6 & Friends Reflect On The Legacy Of The Olivia Tremor Control’s Dusk At Cubist Castle
FOLLOW UP: I remember randomly listening to Chevelle's first(?) album at a record store listening station back then, and was SO PISSED that it was SO OBVIOUS that these losers were clearly trying to sound exactly like Tool. I never gave them another thought (or listen) until just now. And I'm not so sure anymore. The singer maybe has some Maynard-isms in his delivery, but otherwise it's mostly some fairly standard bro-y 90s heavy alt-rock. So maybe quote was correct.
+2 |
September 16, 2016 on Ænima Turns 20
re: "The only band Tool really influenced at the time was itself." ... Chevelle would like to have a word with you.
+6 |
September 16, 2016 on Ænima Turns 20
The rare album that you can be embarrassed for liking a little too much in high school, yet still defend passionately as an adult.
+10 |
September 16, 2016 on Ænima Turns 20
Agree that the pace of Atlanta is very different than 30 Rock, but I think the humor and jokes are actually in a similar vein. Smart and thoughtful and a little bit surreal, and they move on from them before you've even realize they've landed. Only difference is 30 Rock moves on to the next joke, while Atlanta might move on to some dramatic contemplation.
+4 |
September 14, 2016 on Atlanta Is A Good TV Show
S U R V I V E is this generation's The Rembrandts.
+1 |
August 23, 2016 on S U R V I V E – “Wardenclyff”
They also managed to misspell "Elliott" in the contributor credits. Eek.
+5 |
August 21, 2016 on Frank Ocean Blonde Comment Party
Trying to spread the gospel! Same thing happened when Death Magnetic came out. You just see comment threads full of "Hell yeah, sounds like old MetallicA again, fuckin heavy and fast!," when like, no, it doesn't sound anything like that, it sounds like they're trying to keep pace with other (lesser) bands that they themselves influenced, even though that's a contest they're not built to win. As much as they've become the butt of jokes, James and Lars and Kirk are honest to god musicians, but their confidence has been totally shot. I almost want to write a 33 1/3 book on Load. I think the backlash they got from cutting their fucking hair completely unraveled them and their ability to judge their own work. When they should've said "fuck you, we'll make whatever music we want to make" and kept on their own path, they instead got scared and defensive and said, "Naw, we're still hard, see, listen to this shit!". I'd rather have a collection of weird psych-country-blues-whatever they were naturally moving towards than a couple totally thin records of James Hetfield yelling fuck and Lars attempting blast beats.
0 |
August 19, 2016 on Metallica – “Hardwired” Video
Problem here, and with Death Magnetic (and probaby St. Anger, though that was a whole different can of worms), is that they just seem desperate to be loud and fast and angry suddenly, to appease the masses of people who complained that they were no long loud and fast and angry. But what made Metallica great wasn't just being loud and fast and angry. It was composition, melody, harmony, arrangement. Yeah, some of it was fast, and some of it might have been angry. But it was a whole package. Suddenly they've gone through decades of lunkheads complaining that they're "too soft" or whatever, and they give us this nonsense. "We're so fucked. Shit outta luck." What? Death Magnetic was full of fast riffing and somewhat complicated structures, but it was all noise. There was nothing behind it like there used to be. Same goes with this. I might be the only person to ever actually defend Load (but not ReLoad), but I truly think it was a fine album, with good songs and interesting moments. But the fact that everybody yelled at them for trying something different leads us to "We're so fucked, we're outta luck." Old guys trying to relive something instead of daring to try anything new.
+2 |
August 19, 2016 on Metallica – “Hardwired” Video
I don't say this to be be an Old Man Yelling At Cloud, but it's interesting to me that, to this day, I couldn't sing or quote you a single Drake song, I don't know what Drake sounds like, if I heard Drake rapping directly into my ear while sitting on the bus, I'd have no idea it was him. Call me out of touch, whatever, point is: I don't think this would be the case with the previous generationally-significant mega-sellers you pointed out. Somebody could not be a Celine Dion fan, and still be able to sing all of My Heart Will Go On. Somebody could have no interest in pop music and still dance their butt off to Billie Jean. People who never owned a Prince record found themselves wiping away tears when he died. But, like, Drake? Really?
-1 |
August 5, 2016 on Skewed VIEWS: The Huge Truth About Drake’s Record-Breaking Chart Run