Chills and tears are what I just experienced. Somewhere between Necro… and Heartwork is exactly where that track falls. Honestly, I’m shocked this was that good. I mean, holy fucking shit, that was good! To be honest, if I really got what I wanted, it would have been a return to grind. I’d love to see them realize their potential in the genre they helped create. My second choice would be between Symphonies and Necro… But my third is what they chose. What I expected was the album after Swan Song (Black Star Rising II. NOOOOOOOOO!) Thank god it’s not that. Praise fucking JESUS!!!
Anyway. Who gives a fuck about Michael Fucking Amott? Bill Steer is the real catch here. I cannot believe I just heard his awesome backup vocals in a new song. Weird solo. I liked it more for it’s weirdness than its heaviness, though. That’s cool that Ken is participating as much as he can. Jeff sounds exactly like he did 20 years ago.
Great list, but, let’s be honest, you could probably chose ten other PF songs and make another list just as compelling.
One of These Days should have been on this list, though. In fact, it’s sole lyric (One of These Days I’m Going to Cut You Into Little Pieces…) is on my short list of greatest lyrics ever (right below JC’s “I Shot a Man in Reno, Just to Watch Him Die.”)
Also, I would put Astronomy Domine at the top rather than at the bottom.
Flaming Lips are an old band with a very strong fan base as well as critical acclaim. They’ve done plenty of weird stuff in the past but have always been able to temper the weird with the valid. Now they are doing whatever they want. They’ve earned it. They’re old enough to do whatever they want. So, let them.
I don’t think an artist has any right to disown a work they produce. Even if they regard it as a mistake. If you make something commercially available, it will represent you for the rest of your life. I think it’s great that they re-tooled their aesthetic and put a lot of work into re-imagining their image. Considering how they started out it’s nothing short of a miracle what they were able to accomplish. Still, they recorded Soulside, and it happened to be a very good example of that style of music (of course it doesn’t approach Entombed…), a far better example of Scandinavian death metal than most of the middle period albums were exemplary of Norwegian black metal. It’s actually very higly regarded in the death metal community. Just last year, Decible Magazine put it on their top 100 greatest death metal albums list: http://rateyourmusic.com/lists/list_view?list_id=363433&show=25&start=25 I think it deserves to be in the middle somewhere. It really is a good album.
What I really fear is that the reason it got stuck at the bottom was because black metal tends to be accepted by the mainstream music press and Pitchfork hipsters to a much greater degree than does death metal. What do you say about that?
You point out that Darkthrone changed their names after Soulside, but the problem is that they didn’t change the name of the band. If they had, we wouldn’t be having this discussion. Really, don’t you think it’s odd they didn’t just start a new band? Since they didn’t, that suggests to me that they wanted to continue the artistic vison they started with their earlier incarnation. Strangely, that didn’t really come through in any way. I just don’t get it. It’s the second most bewildering example of metal band retaining the name, but nothing else from an earlier incarnation (Napalm Death being the number one example).
Look, I’m sorry I called that decision lazy because it came off as way too negative about what you’ve accomplished here. I really enjoyed reading what you’ve written.
Putting Soulside Journey last was just lazy. It’s hard to believe that you did something so lazy when comparing that to the rest of this list. You pulled together some great references and quotes. You even put Goatlord higher than anyone could have expected and that will be a difficult position to defend. I hate to nitpick because you’ve done such a good job with everything else. I just want to see that album recognized for what it was. It could’ve easily sat comfortably amongst the middle albums.
It’s also possible that the lyrics to Die! Die! My Darling are based upon the film of the same name. Those exact words were uttered in Tallulah Bankhead’s inimitable voice.
This REALLY pisses me off. I love my iPod Classic becasue of it’s storage capacity, but I’m getting dangerously close to filling it up. I’ve been keeping my ear to the Apple rail for years expecting a larger capacity iPod to come on the market just in time to save my music file grubbing ass. I don’t give two shits about those other features.
Since I can’t find the lyrics online and since the lyrics weren’t printed in the liner notes, I’m pretty sure you haven’t read them. But if you would like to tell me what the misogynistic message is, I’m all ears.
Artistically, a vagina happens to be a great metaphor for a trap. Clearly, Wrest felt he was ensnared by this woman.
A fair point. The album was obviously too reactionary to the events. Wrest was clearly very angry at this woman and attacked her in the wrong way. However, it’s important to remember that he uses a specific vagina as his focus of ire rather than vaginas in general.